Pen and Wash Essentials: Old Car and Building Scene

1. Introduction: Hi and welcome to the thrilling and captivating world of pen and wash. As a beginner, mastering the Art of creating a loose yet accurate painting can feel overwhelming and daunting. Where do you start? What techniques do you use? How do you bring your vision to life on paper, in Pen and Wash Essentials, Old Car and Building Scene, you'll discover all the essential processes and techniques that you need to turn any photograph into a stunning and impressionistic pen and wash painting. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of light and shadows, as well as the final addition of details and highlights. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create awe-inspiring pen and wash scenes with ease and precision. Whether you're an experienced artist or a curious beginner. This class will equip you with the tools and techniques to unlock your full creative potential. I'm excited to get started. So let's unleash your inner artist together 2. Materials Required: What I'm using here is 100% cotton, watercolor paper. It's in medium texture. So cold press slash medium texture. And you can tell because you run your finger across it and it's kind of rough. Rough paper also works as well. I just prefer cold press because you can still get in a lot of details with ease. This is the best type of paper I recommend 499 per cent of beginner Watercolors out their environment big sheets and tear them down. If you don't have this stuff, any other cotton watercolor paper is fine. But just remember that it's gonna be a little bit more harder to layer colors over. The colors may not appear more vibrant as well. It may lift off when you're adding a second Wash. So this is, I think the most important material that you can invest in. So here are some more materials. So I've got some brushes, and these are mainly mop brushes, these three here. And the mop brushes work great for getting in large sections of paint. If you're talking about the sky wash here, some of the grass, that sort of background color of the grass, even the side of the car, roof, that kinda thing, side of the building. These brushes can pick up a lot of paint. They've got a large belly but still have a small tip so you can cut around other details. Very important. So make sure you have a few of those. I also have myself a bunch of these other brushes. These are detailing brushes and for, I guess painting smaller things because these ones carry too much water at times. So for painting the trees, but at the details and tire, the Car, little speckles and bits and pieces, the shadows. These brushes are fantastic. I've got a, a round brush and they're synthetic runs, synthetic round brush. I've also got a synthetic flat brush here, small sort of synthetic fat brush. And here I've got a fan brush. And this allows me to get in smaller little blades of grass and things like that. Even smaller trees out the back. Important to have some of those brushes for detailing, but there are only applicable right at the end. So let's go ahead and talk a bit about paints now for this scene, I'm using quite limited number of paints really. I've got some gray here on the House, and the gray is just a mixture of the three primaries. If you've got a blue, a red, and a yellow mixed together, diluted down and you get a nice gray sky is a cerulean blue. And I need to squeeze some more out of my palette. But typical sky color, I use a little bit of that on the cart as well. Tiny bit of turquoise to, and I'm using a kind of an orangey color. This is a Quinacridone, orange color. Quinacridone, burnt orange color that I used to create the rusty color. And you can see here as well, got a little bit of brown and the trees, the ground. I've got essentially a couple of colors in here. I've got a bit of, I've got a bit of this yellow ocher, and I've also got a bit of buff titanium. And that color works really well to get in a subdued, yellowy, sort of grassy area. And the green I'm using is a green color, undersea green, you can just use any dark green you can even mix, you're in green with the blue and a yellow together, just to pop that in their olive green hookers green as well. But of white gouache. And the gouache, as you can see, just create some final highlights right at the end, which I used for the grass and a lot of bits of area and the grass. But that's pretty much it for materials 3. Drawing: So we've got quite a complex looking scene over here. And we've got the car in the front, in the lower right-hand side of the frame, we've got the house round the back and some trees. And essentially we also want to separate the sky. And the easiest thing to do is separate the sky, the earth. And I'm using a pencil first because this is gonna be making, making it a lot easier, especially if you're a beginner and learning how to draw. I think it's always best to just start off with the pencil first, just to outline the main elements. So just separating out the sky and the Earth. And if we look on the, on the reference photo, you'll see that it's roughly about halfway through the scene. Okay. The bottom of the house starts about here. And I'm not trying to get this hundred percent perfect as well. Okay. Roughly about here. So I'm just making these little guiding lines just to get indication of everything in before we actually start with the pen work. We've also got the car here and we can see it actually runs all the way into the house. But I will put in a little indication of just the house first and noticed I'm putting in these little dots. The dots just serve to create this little Guarding, guarding points for when I draw in the actual full lines. They may change a little bit later as well. Look just a bit of the roof. They're coming down like that. And what else do we have got the side of the building as well here running down the page. This is kind of 3D, roof coming out like that. Trying to separate all these out into the shapes. Triangle, square, rectangle on the bottom. But you can see the side of the building here. There's actually a door or something like that of their side. Okay. Something went that okay. Let's have a look here. Just going to put in this side of the roof. There's actually a chimney running over the top as well. Let me just connect this up like that. Okay. Good, good. It doesn't have to be the exact proportions. But I do find it helps if you can keep it similar to the reference, but it doesn't have to be perfect. There we go. We've got chimney here. This will be important later on down the track when we get into pen work. To just make sure you've got a little bit more detail in with the Pencil. Okay. I don't want to do all of it, but just a movie indications here is a window. Now the window here beneath like this. Just the frame of it. Not trying to detail too much. And the sides of the house, you can see it actually. You can see actually the car just runs through it. I'll have to put in more of the cars, the detail of the car later. That's really going to be the trickiest bit. But for the time being, we can actually work on this house all the way to the side like this roof here. Um, it's kind of a wonky looking roof because it's all dilapidated. But it's got a nice rustic feel to it. Okay. That's where the roof roughly ends here. And a lot of this stuff we're going to be able to rub out anyway once the once we start getting in the actual pen work. But this is this is it house there in the back? Okay. See a bit of this side of it to here. There. I liked that they are these darker bits as well in the house you see these windows and stuff, doorways and things. These are gonna be important to emphasize later on and that again, they're not really apparent because they're falling apart for one. You also don't want to make them too detailed because in the background, maybe have it in another window. They can also be a little bit wonky given that they house is essentially falling apart. So that's another doorway or whatever on the side like that. So we have some basics in for the house now I think everything else we can work on with the pen and stuff later. Let's work on this car. This is gonna be tricky. The top of the cars, just kinda this round like more fluid shape coming across. Notice how I was drawing that Car in a little bit as well while I was doing the house because it actually cuts in front of it, we don't have to get this perfect first on the first go, but I just want to put in some of the windows here. The front of the car. Just quick indication I have to erase some of it later. Maybe sides of the chi you've got this shape there for the windows. Maybe have it sought windows and some little details there as well. This Windows for a little bit large and you just reduce that down It's really hold the Old Car and you can see like leaves and debris and things just gathered up on that Car. Here's the hood. And we can put in some little details of the car, the front of it like that. And just this bit where it starts turning blue underneath the windows, can see that just this little blue, the blue section in back of the car. So it just dips down like this until the ground and this is where you get the heirs of the wheels. More sharper looking here, there's a wheel in here. Just going to draw in rough indication of that wheel like this. Like that. I mean, you've got it's all just grass and things just growing around the car anyway, so we don't need to detail too much. But just the edge of that car where it hits the grass. Just want to add in a bit more little bit more in there. Okay. And I'm continue on and we'll start putting in the door. You can see the door of this car comes down like this. And then you've got another section here where the second part of the door also stops around here and separates that Car there. We can just draw and I just look at them as shapes. You can see just the shapes. Square. Another square that the wheel is like this round is shaped like that. Here it's gonna be a little bit trickier. But it's good that we've done a bit of the work already on the front of the car, but it does need to be extended out tiny bit more. Let me just put that headlamp here. Headlight, Sorry, another headlight here. Okay. Third of Pencil in roughly where it is. And it's putting more of the front part of that card or joins together like this. And again, it's, this is probably not looking exactly lot. The reference. We want it to resemble it. This front side of the car just underneath. We've got this interesting looking patterns like this diamond pattern here. Diamond shapes, diamond shape, and it comes down like that. It's kinda like the brand of the car or something like that. They're adds a nice detail, something different. Knew the headlamps, headlights keeps going. Headlamps with the headlights. Can see here I've just indicated the to another. These grills near the front of the car with a radiator is like that because it's really big bumper down the bottom as well with a number plate sticking out. Do that just a moment. But I'll get in this bottom part where the blue part of this car is just sort of carve out an area where the whether the front wheel can live, something like that. Okay. Now I'm just going to connect this up there. Okay. So we've got coming through. It's coming through. I mean, this car is really falling apart. You've got the bottom part of it just starting to disconnect as well. There's lots of debris and stuff here, but the wheel, I like how the wheel is turned, facing us, facing the viewer. Like that. Almost like it was park there in a big hurry and the person just left it. So weak. I think it looks kinda cool this way, just a bit more. Tell us a bit of a story, I suppose. So you've got the wheel turn to the side, like that. It's all where the dark and they're really, really dark. You've got grass and things, you've got stuff underneath here. It's all just it's all just dark under there anyhow. The tie of course. I'm just going to indicate that tire a little bit more. And of course, when we going with the pen work as well, we can redefine everything and make it look a bit more detailed. Let's have a look underneath this car. We've got this cool little number plate. The Bumppo also runs right next to this. We'll Qia rusty, rusty old bumper is gonna be an interesting one to paint. You've got this part of it here that just connects over really large rusty bumper. It's almost disconnected from the actual car itself. We can connect that up, make sense of it like this. Connected up with the number plate as well here right in the center. Let me just draw that on a bit better. Kinda like this. Whoops. Should probably be a bit further down, like they're Dot connecting up the bumper as well here? Yeah. A and this part of the bumper just connecting upwards onto the frame of the vehicle? Like that? Yeah. Do you need to do a bit more here with the slight make it more round. Little bit more roundness in this light like this. And start putting in connecting it onto the actual Car like that as well. Like that. I have to redefine it a little bit with the pen work afterwards, but I do like this side there. This light is nice as well. It does have a, another ring around it. If you can see like this other less defined ring and it's darker as well. So we will just darken it a touch. It's just filled with rust and stuff around the light, but it helps bring out the actual light itself. This one, I just redo it quickly. This I think I can just do this one a little better. Okay. Just get it to stick out more sort of a bulbous look to it like that, much better shape and definition. Sometimes you need to do these things. You don't get it right the first time. Don't be afraid to go back into it and correct it. Especially at this stage where we are only just getting in the little smaller details in there is no issue at all. It's best to iron out some of these small details before you get in the the pen work or the painting afterwards because you can't really you can't really change it afterwards. Okay. I think that's looking pretty good. Still going to look what else we can do. Enlarge this a bit, and extend this little line that runs up the front of the car up until here. That started to look more three-dimensional. This may be better actually. Move, shifted to the left like this. I'm just shifting this this shape here, this little diamond shape because they actually, the left side of this is actually little shorter, little bit shorter than the right-hand side. Right? Let's have a look. What do we have here? So we've got this other part of the front of the car. I'm going to move this shift that over like this as well, connect that up. Okay, so we've got a car. Certainly go to Car in there. I think. I can probably work the rest of his rest of this easily with the pen. Tidy it up better. We've also got some trees. I love these trees coming through. They just give the painting, the scene a lot more character. So why not just putting some here? I'm going to make these, some of these trunks a bit thicker as well. Okay. And I'm going to also follow the rough guide of the reference photo with the limbs of the trees and things like that. Like that. You can see that tree coming down here. I also think maybe another one coming in from the side could be nice. Change up that reference a little bit like that. Little ones, little branches coming off on the edges like this. What do we got as well as a here, we can probably, I think we could do another one. I can just get it to kinda connect with the house a little bit as well. Like here. Things that would be good because the house is going to be all full of. It's gonna be more light on the house, but this dark, darkness would have branches and things that I'm doing. And paint drawing in here. It's going to help create extra contrast in the sky. Okay, so, yeah, something last minute thing I wanted to do, just leave this branch kind of heartbroken off or something like that. Even behind the house you can see these little branches all coming out and I'm not going to draw them on much because it's more just an indication that they're there for afterwards. Remind myself when I'm painting to leave them in, to draw them in or whatever, paint them in right at the end. Here's another tree coming in from the left-hand side. And these ones look like they have been stunted or just a lot of wind. Don't really see too many trees around just a few trees. And the wind is blowing in from the, from left to right. So they're growing in this direction like this. I kinda like that. So just put that in a little indication. Okay. I mean, there's all kinds of stuff here as well. The grass and that. But we're ready to get in the pen work now 4. Pen Drawing: Time to go in with some of the pen work and I've got a 0.6 liner and a 0.8 liner. You can only if you want, you can just use any line I like a 0.5 liner for this entire scene. But if you do have a thicker liner, work on that for some of the details in the front. So the lines, you want to make them a little bit thicker in the front than in the back. And that will help bring forwards details in this Car. And for some reason I'm just drawn to this car first. And I'm going to just hold that thought and start working on this part. So you can see there, we'll go round and start drawing in this side. And this is where that Pencil work really is so handy because as you can see, I can really just go over the top of that pencil work and not worry at all about whether I'm in the right spot or not. You've already done that pre-work that allows you to have more confidence in your drawing. I like that. I liked that the car and everything in here, it's all pretty bad it up and everything, which means that complete accuracy, especially when you look at new cars or just cars and to maintain on the road, they have a lot of symmetry that have a lot of small details that if you make errors, it's actually quite visible. But with the scene like this, where the car is kinda dilapidated and it's been aged and there's nature sort of grown in. Bits and pieces are falling off. So if there are elements of asymmetry in here, it's really not a big deal and make sense given the context of the scene and it's the same thing as the house. So this makes it a little bit easier for you. And let's do the front of the car here, where we have it connecting up to the side of the car. Like that. That's where this little bumper is as well. So I'm going to just go in and start with the light here. It's just getting that light the way, the way you draw the light as well as important to make it look like it's facing to the left. So it's this oval shape that I'm trying to get in. Again, helps to have that in pencil beforehand so that you can have more confidence like with what I'm doing here, going over the top and knowing that it's going to be in the roughly the right spot when you go over it in Pen. More detail the scene, I think the more it pays to actually plan out what you're doing. And he'll go, Here's the bumper right here, nice little bumper underneath. I've already drawn this all in. So as you can see, it's much easier for me to go over the top of it and figure it out from there. We've just want to get in the basic line work. There are some shadows and softer things in there, but we want to use the Watercolors to take advantage of all those softer areas and where we've got sharper lines and bits and pieces like what I'm drawing in here. This is where the pen work really shines through and creates detail and contrast that pairs very well with the watercolors. Here is that it's this old license plate here. Trying not to do it too detailed as well. I don't even know what to put in here. Just a few little maybe a few little indications of some letters or something like that can't even really tell K. So let's start bringing this part over, this part of the bumper. The other part of the bumper here that then connects up with this top part of the car and the side of the bumper there. Like that. Good. We'll is looking pretty pretty decent already. I will go in with some little details in a moment to just to get in some darkness around the sides of the wheels, maybe inside the wheels as well. But I start, for example, picking up around here These little bit to detail around the opening of where that wheel is. Okay? And let's just go in. I think the hardest thing is actually the front of the car. There's just so much going on in here. And it's put in this diamond Shaped kind of logo there as well. This there we go. We've placed it. And I'll just put in this detail of the front part of the car here near the radiator is just connecting it all up nicely. Underneath. There's actually some little grills. And see these little grills that run just a horizontal grills. Just take a bit of time there to draw them in straight underneath. You've got this like a thicker connection here. And then the part of the bottom part of the radiator. Whoops, that's not perfect, but you've got it in anyhow. Let's work a bit on that. And something here, I don't know what this is. Some another shape like that. This light to the left-hand side. Let's work computer on this light. And I always spend a bit more time on the lights because they indicate, again the direction of where the car is facing. And so you do want to take extra care, a little, little extra care here, like that. K is that little darker spot inside the light like that. Okay, good. Let's connect this on the body of the car and work on this side as well. There is a section that runs up, goes into the front light, just connects on all sorts of the body. The car. That can just follow this up. Now, he's put in this section as well, running upwards into the section that joins up the windscreen, the two sides of the windscreen. There is all this debris and stuff all over the car. I'm just thinking how am I going to put the scene and we can actually do that. I think anywhere we can do that with the Watercolors laid. I'd, I don't want to, I don't want to detail too much with the pen work. Just have enough of the structure of the car. That would be enough. Because surprisingly, you'll find that you can detail a lot of these leaves and stuff like that later on. And they'll just look more organic and fit in. Whereas if you try to draw too many, some more details with the pen and it becomes overwhelming. If you're not careful, if you add in too much and then you miss the point of it and you've ended up with more of a line drawing, then then a combination, wine and Wash. It's finding that balance coming across to the back of the car now just bringing it down, I'm focusing a lot on this card is a central subject in this scene. And there's the wheel is, you just have a look at, we'll kind of comes out. I'm gonna shifted a little bit more towards the back. We just plan this out. A *****. Hey, maybe running down in some way like this. I mean, this wheel is just covered up with just covered up really with all the the shrubs and things just running through this section and it's not even too visible in there as well. So I might just leave it like that. And don't want too much of a focus in that area, but I do want some darkness under there to imply what's going on. Okay, let's work on the top of the car now. And some first glance. I've made the roof a little bit too high. So we can reduce that roof down just a touch, but let's get in these windows. First. Side windows here it is, just start drawing in this side there. Finished it off for this one actually runs all the way towards the back. You can really see that before the separator is roughly about here. This other one is probably, again like this, is not exactly 100% accurate as per the reference, but it looks close enough that the back of the car you can see just sort of comes and joins onto the like that. Okay? And the roof of the car. Let's get in this let's get in this window. If we've got the window, Yeah. Arch up a little bit. Maybe guidance window. Bring this down here, connect up that window, the side of the car. Let's get into these ones as well. Remember the height of them should roughly be quite similar. The windscreen and the side side ones that the side windows. Let's getting this Psi part of the car now, a little bit like that. Not the same time I'll work on this window here. Screen. It's really Old Car. Never seen a windscreen like this. Modern cars. Sure. There we go. Coming down a bit more of a curved angle around that side and then this coming down here. And the bottom of the windscreen like here. And there's all kinds of stuff in here as well. You can see just all the debris and Mark I'm running through. And I can just indicate a little bit of this stuff here in the pen. But again, like I was mentioning before, you do want to just be careful with this so that you're not detailing too much in the pen. Tiny a little bit, maybe just of an indication of leaves and things gathered up in there. But we can indicate a lot of this later on with the Watercolors. This pili paint stuff here as well. Whether patches on the sides of the car, the rust, all that stuff we can actually indicate with Watercolors a lot better. And the roof, again, this is kind of what I was mentioning before in terms of want to reduce it down a touch, maybe like bring it to here. It's bring this across. Its have a look. Can we make this look a bit better? Definitely needs to be reduced down a touch like here, maybe maybe are It's the roof and we just join this part out. Now, just like this. Here we have it. That is mostly in terms of the car that's mostly done. Should really be a wheel under their can't see it. Okay. Time to get in some of the background details. I'm going to work on the side of this house like this. Just bring that down the page there, the side of this house as well. We can just put in emphasized a bit more. Of course, UV light catching on that side of the house as well, which is interesting. Then we've got this rooftop like that. And drawing the general shape of that roof. And again, it's a bit of a dilapidated building. It's just falling apart. So even some inconsistencies and things, windows that look off, angle. This one here, I've done that on purpose really. That's kinda help. And also another thing we might want to swap to a thinner pen. I've got a 0.6 liner and this is going to help me to just detail and push those shapes into the background a bit more. There's some dark spots here and it doesn't make much sense exactly what's, what's in here at the moment. But once we get the paint in some details and it's going to look good. Here is, well, we've got this other window. Bring that down. These ones actually quite straight. There's not much damage in some parts of the building. Okay. There's one that's getting these, this part here as well. Maybe try to draw a little tiny bit quicker as well so that I'm not getting too precious with everything. Here's another window here as well. Long window with a wooden frame. That I think what's important is also to getting the wooden the wooden planks that on the house will do that in a moment right at the end actually. And I'll use another line of For that. I'm thinking about how to do that. Since the start, this door here is Quite potent as well. Got darkness in there. And if you want to color that in to make it really dark, Go ahead. Because I'm going to do this at the end with another pen that just makes it a lot easier. But you can see here frames the door in there. There's bits. Who knows up the top, the rooftop, the separation of the rooftop in the buildings really important. Really, really important. What is going on in here? It's just a triangle shape like that. Let's get into this part of the building here. The roof like this. And this part of the building just coming up. Me go and we can go in and do the left side. Now. They've side going up, connecting up here. You just draw a line. It's just, let's just get it in. Draw that line up connected up left side. There. You can see it just connecting up with the side of the roof and forming a darker spot and the left side of the building, lots of spots, sorry that we've got that side of the building in. Let's bring this left side downwards. Okay, nice and sharp downward line here. Let's put in some of the windows. So we've got a window here to Window. Go to Window here of the top. Some details and the windows as well. You can see there's like a little separator. There's this one even has a couple kinda like this. Oops. Side of the roof as well. Just get that in to join up with the rest of the house like that and the chimney. So this is where it was important to draw that chimney and before, which just gives us a bit more leeway to just relax here because I just need to go over the top of those lines really like that. Okay. Good. Top of the roof. Just get this one in. Get this done, something like this. I'm gonna put in some line work for the house. The boards, these little like what she called them, these little wooden boards. Planks. Okay. Megan going to come across there, run across the house. They actually a lot more detailed and more numerous in the reference, but again, I'm wary of over detailing the front of the house. I think we just look a bit more interesting if we had some more of these little bits here running through it. And this just checking the thickness of those lines to make sure that they are not too thick as well. See how thin they are and they helped create a sense of essence of detail and pushes the detail backwards as well so that it does not connect on too much with the the vehicle which has thicker lines. Here, is continuing on like that. Let's just continue with this one. Okay. The house is just falling apart. So you can see that some of the lines just run off in odd directions and that kind of thing. There. I like that there's all these shrubs shrubs and things just running into the house from the bottom part here as well. Okay. Let's work on these lines on the front of the building. Now, just again, looking around, putting the frame of this window, let's put in this little bit of a frame for this or forgotten to do that before. Let me say something like that. This one as well, just getting a bit of that frame so I can cut around it. Take your time with this stuff as well. I'll probably thinking of the roof. I'm not sure if I want to actually put too much line work in there. I might put in a few little stray lines here and there just to indicate the direction of direction of the material on the roof. But apart from that, So just some more horizontal lines. I'm trying to make him a little jagged and in there as well just to create. And then I create a bit more interests. So that's not just a straight line. I mean, you can do them straight like this. But I do find that can sometimes be a little bit boring like I just as a pattern interrupt, I'll just add a little bird or something in there. Okay? We don't have to do that. Just a stylistic choice. I want to just taking quite a while to do. We should have a very solid drawing. By the end of this, you can work on and start painting. I don't know what this is. Some rocks over here on the side of the house. I'll will just draw a bunch of these in like this. Yeah. Look there just rocks or something the size of house. Want to put another one here and I'll think I'll put another one here is as well. Just, just to create a new interests. And also this helps to lead the viewer into the scene. If we have some, For example, we see how the rocks and I'm just making these rocks, they're getting a little bit bigger and things like that as we come forwards. So it helps to draw the eye into the scenes. There's something on an honest right then actually it could be debris or leftover bits and pieces that could be like a log or who knows, Just things, junk and things leftover on the ground. Even little shrubs. You can just combine them on like this. Tiny little shrubs on the sides of the vehicle here as well. A lot of this stuff you can just indicate afterwards. Bits and pieces. Okay, let's put in horizon line actually add the back, I'm gonna put it in about here, rejoining the trees anyhow, so like that, trees switch back to the 0.6 liner. And I'm going to work a bit on these trees and take too long doing this, but just a little. Just get them in quickly at the back. And this is interesting actually, there's one tree that comes quite close to the front of the scene like right here. See that before I didn't notice that it was actually closer, but that's good because I can bring this one a bit closer so that it looks more three-dimensional, gives the scene a bit more depth if I do it this way. And we got here in the ground, this tweaks and things and bushes and cons of stuff. Let me just, just simplify that to something like that will make, make do with it. For now. This way, I kinda had drawn in this other tree coming in from this side as well. Like that. Let's do this when first, one thing at a time that a lot of this stuff as well, we're going to just re-emphasize with the Watercolors. We reemphasize a bit more. And, and look at how we make those branches splay off in different directions. They actually go into different directions like a Y shape right down here. Let me connect this one up like that. They overlap with each other nicely. Okay? Work on this one here. And how this kinda just interacts as you can see with the building as well. But we can just rejig this one a touch like that. There. This one coming up like this. They're so much detail really. I mean, I don't want to want to overdo it. I think the other ones are getting with watercolors. I'm just putting this one here. Little tree coming in from the side like that. Another branch or something. Another these trees just with these blown in, uploading to the right, like that, like that it gives it feels like it has a sense of motion. Makes it more exciting like that. Okay. So we are nearing the finishing point of the drawing. I'm going to because I'm getting a bit tired of actually drawing. I'm going to pick up some pens that are thicker. Pick a liners and if you don't have these, it's okay, just use your smaller pen and you can actually just color it in. Basically, I've got a three millimeter nib. It's kinda like a thicker nib. And I can just Go ahead and put in some darker spots. And of course you can do this with the Watercolors afterwards as well. But I find that this can be helpful to already create a sense of contrast in your, in your scene. But I also don't want to overdo it, so I'm just being careful. Because this is only one tone. It's really dark and with the Watercolors, I'm going to be able to get in a few other tones here. So it's not just all black underneath the car, there's something there's some grays and things as well, but this helps, as you can see, to bring out a bit of depth, a little bit of contrast with everything here. And for me anyway, it gives me, it gives me a bit of hope at this stage and lets me see the glimpse of what the final scene could look like in a more simplified sense with the shadow is putting its what I mean. It's why I like doing it this way. And what else can we do under the bumper? You can see this like little bits of darkness and things. And like I said, you just pick out little areas that you can just darken but not need to color everything in really bits like that. And this will draw it out of the, draw it out of the background. Give it more like it stick out better. That's really it in the car. There's a lot of docs underneath the car which we can continually work on. But you see, look at these windows, dark a window back here. I can go in and color this in, for example, like that. But a couple of pins like that one I've got this other one to store, have these two similar pens. Wants just a bit thinner. Do the same thing for some of these windows up there as well. Even these little planks of wood and stuff, some may be darker and have cracks in them like that one, this one's coming apart from the building. These darker pens are so good for indicating this stuff. I remember to leave the, a lot of that previous line work in place as well. Don't automatically go over it. And forget the thinner lines. That's I think really important to leave in. Just wanted to detail. But over the top of the windows and underneath the years well, a bit of extra detailing like that. Okay. Good. Side of the car as well. There's sometimes these nooks and crannies will have a little bit of extra shadow or something in there. You can imply In areas. Okay, Here we go. We've got another window here and I'm just going to just color that in darkness in that area. Is this dark, so let me know. And what do you finding as well, is that doing it this way you create negatively shape and bring out the car. Because all the darkness and stuff you in the background, you'll notice that actually cuts around the white. That's not really white, but like the lighter color on the car. So that it comes forwards. You can even outline that Car a little more. When I'm doing here, just adding a bit more of a stronger outline. So that again, will come out better. Some people, I do this as well. Sometimes I'll draw all the stuff in the front first and then do everything afterwards in the back. I kinda did it both at the same time I was drawing the house and then I carve the car around. I like what that did, what I did just then. So I'm carrying that on to shape the Car bit more. This will help to bring it forward to touch. Cool, Let's have a look at this side door or whatever here as well. Let's put that in like that doorway like that. Some of this stuff in here underneath the roof top, you've got just a lot of darkness. And again, this is an interesting point because I want to darken underneath, but I also want to get a lighter shadow and I can't do it with this pen. That's going to have to come in with the Watercolors. So with the darker spots, I'll just jordan. We'll do the rest of it afterwards. The rest of it afterwards. Windows. Let's go ahead and Get the dark spots in the windows again, because that just nice spots to coloring. Square, another square here like that. This one has kinda like for section then 1234. That underneath the house as well, you've got some darker spots like for these darker planks or whatever. So I'm just going to darken a B to that. Something here right around the rocks and stuff as well. Maybe a bit of extra darkness here around the extra the side of the building. Okay. The last thing I did mention as well is we're going to work a bit on the roof of the house. And I'll use that same just a smaller nib pen. The smallest nib one I can find. And I want to indicate a bit of the directionality of the roof. Let's try see how we go. I do notice it's kinda funny. It's going off in this straight and then it starts to go a bit more of an angle like on this end and stuff it up if I'm not careful. There's some stuff like a pen that I could use that as more of a this one here, perhaps just a little bit thinner. 0.005. Maybe this could be better. This is experiment first and put some here so that they start kinda like flaying out more on the edges. You can see. Okay, like that just helps with the perception of depth as well on this building, the perspective of it, or having a little some of these lines running across the roof. But I can't I don't want it to be too obvious. Alright. Rusty sort of stuff running through there as well. Okay. I think that looks pretty all right. I mean, for beginning drawing that we can start to paint and already resembles what we want to put in there. So I'm gonna erase off all the pencil and then we will get started with the painting 5. First Wash: Okay, time to start with the painting. And the first thing I'm going to do is apply a thin wash over the entire scene with some of the base colors, most of the light colors actually. So when you look at me mixing up the paints here on the right, the Essentially it's just going to be 10% paint and the rest of it water. So very light paint. And yet to get that light color, you need to make sure you use less paint. So let's actually go into the grass and stuff here. So I'm using a bit of yellow ocher, a little bit of yellow ocher and a little bit of buff titanium. And I'm just going to drop in some of this color here. That's very nice. Light yellow. I might actually go over the rocks as well. Why not? Something like that? And the buff titanium just helps to make it look more creamy white in color. That There we go. And cut around the car. Now the interesting thing is that they Car probably has like a really yellow tinge to it actually behind it. So I'm actually going to paint a little bit of that yellow just coming up into the car as well. Thinking with the the actual windows of the car, I will add in. I'm actually adding a bit of blue or something up there. So as you can see, really a lot of lighter colors. But I'm taking care to just cut around. So they're not getting any of that blue part underneath the car as well. So just let section up there over the top of the car as well. And there is a lot of rust in there, but we're going to get that in afterwards. Okay. Just get that nice, very desaturated yellow coloring there. That tip of the Brushes important and these little mop brushes is so good at picking up a large amount of paint, but still preserving still preserving other areas because you can cut around them. So bit more yellow, Buff Titanium stuff around here. It doesn't have to be perfect. Carrying that through using the yellow is trying to get in these yellows first. The reason why is chest so that I don't accidentally mixing mix of green in. Its often it's quite easy to make screen until this, if you're not careful, probably have a bit of green lighter. But the time being, just want to create some lighter mixes. Bit of wet and wet later on down the base as well. I'm just going to re-wet this area down the base. Just wet this area down the front here. That bit more yellow. And I think having a combination of yellows and colors in here really helps. Just makes it more interesting. Sharing this all the way down page. Lots of water. As I said, it's mostly just water. Hey, there we are. Good. Let's have a look. What else can we do? Probably a little bit of yellow here for the bumper because it is it has been corroded a little. And we're adding some kind of reddish paint, orangey colored, rusty color afterwards. So let's have a look. What else can we do in the car? I think I'm going to just put on the blue. I've got a bit of this turquoise color is, and then I'm gonna get anybody to bluish turquoise see color cerulean mixed with turquoise. Let's drop it and that's nice. That's what we want. Lots of water in here. And you'd lots of water. And if for some of these mixes in with the yellow, okay. I don't mind the edges or they might blend a little bit. Me, yeah. What else have we got down the side here? More blue. Cerulean blue color, turquoise color ran here. Look at that. Or that blue been under the car is probably a little bit bluish as well in here. So I'm going to assign a color that into you can see it just start to slowly mixed together. Okay, Let's have a look. What else do we wanna do here? I think we can probably go ahead and work on the sky since we've got some blue anyway, I'm just going to pick up some cerulean blue, probably in a larger brush, larger brush here somewhere, just a really big brush and I'm picking up cerulean straight off the palette, putting a lot of water in there. And I'm just gonna put in a quick To get this in as quick as possible because I don't want to spend too much time up there. Just a bit of that blue and cut around the buildings. Look at this one. I can use the tip of the brush to cut this here. Across there. Okay. Bring this wash down the page and if it's just the flat wash, that's completely fine. I mean, I'm not looking for anything to the sky. Just keep it simple for the scene. Look at that. It's starting to kind of come together in terms of the sky. I'm just going to bring this further down, connected on the ground a bit and we'll do the same here as well. Just connected on like that. Okay. Good, good, good. It might be good as well. Just to add in a touch of touch of darker blue on the top, like this, I find that it helps trade more of a gradient. Okay, So something like that. And I'll let that sit and do its thing. Let's have a look at the house. Now. What we wanna do is have a gray and I've already got some gray here in the palette is just some previous mixed paint. You just use a bit of blue, red, and yellow mixed together. Or if you've got some neutral tint. That also works pretty well. But I want it to be a bit more of a warmer gray. So I'm putting in a bit of brown in there. Let's try this. Let's see what this turns out. That's too dark. That cross bit more. I'll give you more brown in there. Maybe more brown. And you just want this really light still ten per cent paint. Okay, We've unless I get that just feathering in feathery in this light wash of gray, I'm leaving the roof. They're like what might go into a dark and lighter at some extra colors. But really for the size of these buildings, we just want to get in a light wash of gray 10% paint, but it's still still very, very light. It's go to the right-hand side. Yeah. Just a backing color. Some of it may mixing other colors below just three edges, that kinda thing. Hey, but just because that just gets rid of that white on the paper. Right? Okay, so we've got a nice basic wash here. Just a nice basic sort of wash. Let's go into the windows. I'm thinking they do look pretty dirty. I've actually use a tiny bit of gray with some blue mixed into it. I'm just going smaller brush. Just dirty it up a little bit there. This car is actually quite tricky because there's a lot of details in it. Just popping a bit more. This stuff. I'm just dotting up the window is really and adding in some darkness there. It doesn't have to be perfect. Something like that. Tiny bit of light blue or something. I can just reflect some of the sky or just the coolness in the sky up in here, but that, what else do we ever, I mean, there's little darker spots even inside the windows to put in a bit more this gray at the base? Yeah. Yeah. Okay. So it kinda looks like it's reflected a bit and I'm going to apply the stuff inside there as well and just a moment. But things like just a softer line like that in there. Just spread. It implies some little details. While the paint is drying. Don't want to overdo it, but something like that. Years well, Okay. Good. Right now the roof of the house That's going is pretty light. To say the roof of the house is pretty light. Maybe a little wash of gray, slight little wash of gray up there would be good. In some areas. I'll just leave that one to the left side of the roof to left. A little bit lighter, maybe to Peter that gray out the top. Now I'm mixing up a video of this. Quinacridone, burnt orange, and this is a granulating kind of orange and I'm mixing it with a little cerulean blue. And this is how I make my kind of rusty color Okay, bit of red in there as well. It is more of that blue, tiny Buddhists cerulean blue. And it creates because both of those colors are granulating. So when it dries, it actually looks interesting. Granulating, so shouldn't drop if you do that in here into the hood of the car. And this actually might be a good time, just use the spray bottle. Let's just give it a little spritz like that. It moves around a little more because I want to preserve that previous wash as well, parts of that previous wash. So if I can get some of it to just shift around a bit more, that's gonna be great. Look at the roof. This roof is really in bad condition, completely rusted out. So just touch a bit more of that orangey paint up there. That blue in there as well. Notice I'm using more paint. I'm using a lot more paint than I was before. So you've got darker orangey paint up here. Just blending into everything. Sleeve that see what it does. You can see even some of these rusty color just moving down the page like here. Like down the town, the size of the blue light, just these tiny bits like that. And this is going to help to create this weathered. Look. There's lots of blue in here, but tiny bits of the bottom part which I can just tap in here as well. We've got them about this bid, but the autonomy to brown, I'm going to be the brown ocher as well. Turn it down a touch here just in the bumper of the car. Just tap that little bit of that and there it looks rusty. Let it spread out and do its thing. You can continue to just do this layer over and over until you're happy with it. But I find wet and wet works the best when you are trying to layer this type of effect. Because the paint just granulocytes a lot nicer if you do it this way. Get more random effects. And it looks, in my opinion, looks more like rust in the rooftop here. For example, look at all these stuff. There is some rusty stuff here. And I can go in, indicate a bit of this that it's coming to the sky. Didn't really want that, but it doesn't matter. We're gonna put some trees in there in the background anyway. But some of that rusty color up there, some tiny bit of spirulina and blue mixed in. And look at that as soft. Doesn't look too, doesn't look to miss out of place. There's even some like really lighter bits Eros there as well, some here too, like that. Okay. And to have a look, what else have we got in the grass? I think what will be nice as if we if we add in some wet and wet effects for the grass, I'm going to pick up this little fan brush and grab myself. Some yellows, some, some darker yellows, brown maybe as well here a bit of brown and just drop some of that. Ian, I want to make a distinction between the background. The foreground area here, where there's like some darker shrubs and things. This is just a little bit of brown bit of brown ocher. Spray that spray that bottom part of the paper down as well. First, give it a bit more water in there to work. Work through all sorts of stuff here, just simplify it. It also works since we're getting down the base of the car here and it's actually a lot darker. So I can just imply some of these stuff, but also if you can leave in a bit of the yellows as well. The yellow is just create more interest. Hey bit more interest. That bit a darker color in there. Okay, the fan brushes described for this stuff, you just can't beat it in terms of efficiency. That all around the car, you can get in a few more little brush strokes like this up into the background. So wet into wet, mind you so everything's still drawing and if it isn't, then you just can re-wet it and continue work on it. Okay. But look at that. It's getting there, starting to look more More like something here in the foreground. Bit more of that darker, darker colors. Well, can just pick up a bit of that and feather that through underneath the car. There's actually more darkness and things here that we can imply. Use a smaller round brush for this. I want it to blend with the car, to blend a bit with the ground at touch here, softer shadow underneath it. In areas that, Hey, good. The wheel There's also got over grayish tinge to it. I'm just going to color that we'll in lightly bit of gray, something like that. Even in that area there, they're good. The paper downward so the water runs down the page a little orangey color and that just more of this rusty color I can drop in while it's drying. To re-emphasize this rusted the periods. Okay. Even get a bit running through there, but I don't want to get rid of all this beautiful bluish color. So remembering to preserve some of it, preserves some of it as well. You've gotta be that rust on the roof already coming through. This is starting to dry off a little and see what we can do in terms of feathering in a little bit more color and detail in here, more in here. So she did it near the front of the scene. We can really getting some nice nice little marks like these to indicate grass growing around and softness. Bring back some of these buff titanium or below this yellow, yellowish color in here perhaps. Let me go a little bit more of that yellow making its way through. Just feather a bit of it here as well. Constantly just moving and adjusting everything. Okay. Continuing on, I'm going to start working on the shadows on these back buildings and I've already got myself a bit of this dark color, neutral tint again, you can use any gray that you've got. You can even use a dark blue mixed with the brown. And let's put in this shadow. It's quite a dark shadow. 50 per cent paint, 50% water is the mix I'm going to be using. And I'm just going to use this little flat brush to indicate the shadow running over to the left-hand side of the building here. Comes out like that. That and it's just a sharp a shape like that. Okay. It'll be underneath there. And I'm trying to do this all at once. I mean, you can see here as well, we kinda runs across the right-hand side of the building. Light sources coming from the right-hand side, top right area and K. So just to be to that darkness under here is gonna be good. That's not really perfect as well. You do have tree branches that interfering. So you've got these weird little bits running through tree branches and things which I'm going to try to imply. Just use the edge of your brush while you're doing this to create these little effects, these little conjoining lines that join onto the shadow. The whole shadow shape. Look at that. You've got some coming cross the window like that. As long as it all just joins up all into one, you're gonna be completely fine. Okay, into one large shape is what I'm saying. That Hey Look here. Well, you still want to keep these shadows looking quite transparent. And not only that, but you see it also coming across the roof. Can you see these little tree branches running across the roof like that? He wanted to indicate some of these as well. Just running across the rooftop and interacting with the roof. This tree here in the, in the foreground there getting in the way. Just making those shapes. I've actually got a little fan brush. Maybe this might be easier to do. Yeah, this is actually a little bit easy with these brush. I don't want it to be to put together. They're just more random. It is probably the better. I'm just shadows and they join on. Can you see I would just joins onto the bottom part of the roof as well. Maybe spray a bit of it to soften. Part of those shadows. Still have some sharper ones. Also running through. Some running across that side of the rooftop to the left. You as well. It's important to combine both sharpened soft shadows. When your painting it makes you paint your painting look a lot more interesting. And soft and a bit of this touch that hormones come back to that bit a little bit later as well. And forgotten to get in this top part of the chimney which is warmer color. This color in a bit of that, they're thinking I should want not just a bit more of that rusty color in here, top of the building. Rooftop here. Just a little bit more tiny bit more rusty color up there. Yeah. You also want to leave on some of the white. Just thought it might look more consistent. This way. The shadows on the buildings are more or less in. We do have, of course, some little little shadows running across for some of the planks. Even the window actually could do with a bit of a shadow here to the left like that. This one here just exaggerate that more. Shadow to the left. And underneath it. That nice as well here. Good. Alright. Bit more darkness perhaps in the crevices up the top. There. Premises, they do need to be darkened to touch. Just using more darker paint. While everything is still drawing. This will allow me to get it to blend together nicely, more seamlessly. Gone too far into the roof. Redo that bit. Here and here. Dark. Yeah. Like I was mentioning there, these little parts of the building that have like sticking out and stuff like that. I'm just going to just outline a few areas on all of them, but just dropping a touch of detail here are there because actually some of these planks it darker if you look at them. Some of them have a slightly darker appearance as well. That this is going to help. But you want to leave those, some of the previous ones in there as well. You don't want to color all of them in the same color. This is just again, creating some variation in these planks of wood and you've got it Also over this side to a lesser degree. Okay? Rely a little brush strokes to emphasize some of the details. Just thinking I want you to be more darkness up. They're still does run down quickly and disappeared. Working a bit on these little tree shadows, these branches, the shadows of these branches. Again, running through the roof top like that. But of course you've got a lot of those sharp ones as well, softer ones in the back. Thank a few little marks running through there as well. 6. Second Wash: Work on some of this stuff you in the ground, I'm going to dock and Annette and small brands and earth and colors for the foreground, especially some sharp upbeats here as well. It's just some little darker bits and pieces. I'm just using some brown and a bit of neutral tint mixed together. And I want to create a bit more of a division, a bit more of a barrier here between the foreground and the yellow grassy area down at the back. So it's just a grayish brown color of yellow mixed in there as well. And this is also creating some shapes, textures as well. Nice little sharper textures. This the trick is, is just going and drawing, painting. And then just continue on. Continue on and don't spend too much time one area, if anything, it will just dry and then if you've not happy with it, just go back into it and redo it afterwards. But this is to create some textures in the ground. There are some, maybe some little green bits. I'll just pick up a bit of green. Okay, because I don't think I have some proper greens in here at all. So just a little bit of green here in the ground. I think I'll actually use some gouache later as well to bring out some extra highlights and all this. But especially around here you can see some of these clovers near the wheel. Yeah, Just nice little movements through here to indicate textures and things. Yeah. Gray perhaps here. Some more brown. Brown over here. Okay. Some darker color. But a black, neutral tint. And I'm going to edit underneath the car again. Be good to just spray this underneath the carpet here. Just to re emphasize the shadow. Emphasize the darkness under there. That yeah. Okay, I'm going to work a bit on these trees out in the background. Pick up some brown and a bit of neutral tint mixed together and go straight into it, really just adding this darker color. Now these need to be pretty dark. I might actually bring this one down a little further like here, so that it makes sense that these with a shadows are being cast a bit more brown in there, perhaps like this. There we go. We're just using a little brush. We can use round brush or we can use a flat brush to do this. Switch to the flat brush. Get some more interesting shapes in here and bring this down to the ground like that here as well. That just some of these more other branches running around like this cutting across parts of the scene. There? Yeah. Of course. Like I mentioned before, we actually had some branches and things coming out from the roof just of trees and things will use perhaps a smaller brush for this. That and continue on. This. Just kinda make some branches least brush shapes, I guess coming out from behind the house. Darker, need some darker brush strokes and some sharper brush strokes as well as let this quite a nice Sharpness behind some of these other trees need that. Almost just putting in the really dark spots of the painting. The final, I'm not going to touch this stuff afterwards. These little branches. You can do stuff like just to see what I'm doing here, just adding more branches and things down to the edges of them and they will appear to be more detailed. Branch off some distant trees. Making this up using the reference photo. Basic sort of sense. But really it's not, I'm not really following it completely. You might get a bit over hues. Well, just some trees in the background. I'm trying to remind myself not to keep that make them all look the same. You've got to change them around a little bit so that they look different. This tree coming in from the side as well because I had just a bit of color there. Yeah. Yeah. Another another branch coming in there. Like that. Good. Okay. I'm going to continue detailing a little bit further down in the car. Let's put in some darker colors. So for the tiny details, like over here just underneath the grill, these little radiator parts probably would be good to put some paint in here as well, just for the front part of the car. And the bottom part just let it looks rusty even mix it in a touch like that. Even around there, this heavily rusted, I'm going to use some brown and a bit of this Quinacridone, orange and brown to just create a really dark, rusty color here. Maybe some neutral tint in there as well. Darker rust color. Okay. There. Okay. Soften that up a bit. I'm good. Can see like also there's these tiny little little leaves and things that have fallen onto the car. I'm going to just indicate them a bit of yellow, a bit with this color on here. That kind of just dropping that coloring. Dropping it in with the brush. And the blue drops should hopefully look like leaves. You can see him just on the on the windows and things as well. Tiny little dots. It takes a lot of patients to adding these small details and you gotta have the time to just sit around and wait for it to dry and go back into it again later and just continuing, continuing to add details and layers and layers upon layers. Each of these little leaves as well have funny shadows on them as well. Difficult to do it all at once. Some little clumps of stuff here, I'm actually using a bit of white gouache at this stage, tiny bit of whitewash to help bring back some of the lighter colors that we have on here. And it's really just squash and mixed in with some yellow. And I can actually just draw the brush off and use this gouache in some areas to create some lighter spots. The brush across the paper Like this is drag it across and then you've got some little inconsistencies, tiny little inconsistencies, textures, even here in the actual bottom part of the car. And work on that a bit. Textures. Darken this wheel. Well, needs to be darker in a bit more. A little bit more of this darker paint as well. So I have some additional details and things down the base layer of darkness. Still using this fan brush. Money this up a little bit where we have these leaves and things on top of the GAR. Bring back a little bit of this light. Little highlights around the the windows. Yeah. Little bits of tiny bits light. That's all you want in there. Okay, Good. And getting me getting there started to slowly come together. I'd actually just work on this, maybe connecting a shadow on the trees as well on the ground. Gotten to get that shadow in here for these trees will get them in, sort of running to the left like that. Just connect that on, looks better that way. We're just makes more sense. There is a shadow. I'm not only that we can put in some shadows and stuff, will these rocks as well. Left-hand side of the rocks. Here and here. You just the left-hand side. These rocks and bushes and things. I don't know what whatever they might be running towards the left and I keep having to go over this, this part, but I want to make sure that this shadow on the underneath the car is also accurate. I'm kinda comes out to the front like that. You can see. But it's quite dark underneath. Need to work on this more. Dark in here as well. Just pick up some darker color. Really putting in, trying to put in the darkest parts of the painting at the moment. Underneath the wheel. What else do we have actually underneath here is pretty dark as well. I can just do that part. Bits of darkness underneath here, the Bumper and things really bring it together. Yet. This wielded really dark there at the back. Sharp contrast as well. Once you very sharp contrasts, do we have you've got a hole in there. The light's been banged up, banged out more underneath the radiator of the car there. I'm want to connect this up, this shadow connected up a little bit with this bumper. So I'm just going soften some of the colors on the bumper. Get it to blend a little bit with the shadow. Maybe I just blend a little bit with the shutter. Down. Even this wheel here in the front, I could just dark and a bit around the edges of it, please. Yeah. Okay. Here as well. You really dark details will create the contrast that's needed. Going around the light. Here also on the front of the car, you might get a little bit of darkness. You can see it just a little shadows running around the sides of the car like that. The edges of the vehicle here. Look, it's just a little section there and then you've got all these leaves and things there. So I'm not going to bother with that. Huge well, Okay. Bit more of this here. Yeah. Around these little windscreen areas as well. We can just dark enough. I'm spots. Lot of this paintings, just finishing touches of areas and touch shops and adding in extra details here and there you, for example, in here even now realize we need some more detail inside the car. So I can just adding a shadowy shape or something in there. As you can see, that little shadowy shape running inside the car. This one here as well, of a shadowy shape there. Like that. Um, in terms of this one, there's not a whole lot to do. I mean, I can just dial it down a touch, I suppose in areas like here There. Bit of water on shadows, softer than some of this stuff here. Dan, a little softer than the shapes down. I'm going to add in another layer of blue around the car just to darken off that, that darken off the bottom of the car and lead to be just another quick layer of this cerulean blue up. But to be careful as well, because I've actually mixed the day with some other color. I'm Just give this to try, drop that in heavier. And hopefully it's going to make it a little bit more three-dimensional. But here, yeah. Especially near the back. You've got just darker color out there and it's even just mixed in with some gray or something like that. It's quite dull down and actually near the back of the car. And you can see it's just a downward brush strokes like this could potentially help to make it a bit darker. That could do with a bit more blue here as well. This left side of the car, just dragging some of these darker blue color downwards at and where you've got this line up there, I'm just actually going to soften that off a little bit. Another round brush to help it to blend a little some parts that leave it to a bit later actually, when it's completely dried. Either way is fine. That's actually fine if it starts loose, look a little bit dirty. Looking at is actually good because you've got you've really got all these colors and combinations running together. Yeah, Good. One more dark and off this part of that car here as well. Beautiful grayish pick up with a gray color here. Just use this bit of gray to create a highlight around this wheel. Tiny bit of a highlight there. So gouache, white gouache, but it's turned gray. Like that. Maybe a little bit here as well. Side of the wheel. I'm going to darken some of these windows as well here in the back. Really bring out more of the car. So just adding in a bit more of this contrast. See just some of these windows a touch darker. So I can play around with that. This is just pure black paint. This will help to bring out the car in touch, hopefully darken these ones as well. That window. I mean, this one could have a bit more something in their door. This door definitely you could do with a bit extra like that. Perhaps even underneath the rooftops and this sort of corner sections like I tried to get it in wet into wet before, but it's still sort of evaded me. You can go in and add darkness underneath there You've want Wash and yellow again to mix myself up, lighter color to add in maybe some shrubs and things here is just some lighter ones running through. I also want to get them to just blend a little bit with the darkness on the bottom of the car. I'm just something here is well, you actually see some really light bits of yellow and things in here. It's running through as well. So why not just change it up a bit? Bring somebody back in the background as well, some to grass and stuff, outlining and the car and the detailing I suppose, before we finish off, you in the window sills, little bit of orange, some more scratchy, sort of rusty stuff coming across. I'll just draw it. This is just dry brushing, so I'm picking up some of that paint, drying the brush and a bit of paper and just rubbing brush across the surface of the, of the paper using the side of it. And that will create a textured like effect. Use that in a few different areas, like here. We want it to be with dark though, so just in a bit more paint, neutral tint in there as well. You just can't some dry brush strokes running in this. Alright, and we're finished.