Pen and Wash Essentials - Urban Sketching For Beginners

1. Introduction: Hi and welcome to the thrilling and captivating world of pen and wash. As they 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? Urban scenes are fascinating. The combination of buildings, architectural details, interesting objects, and people make the perfect subject for a painting in pen and wash. Essentials Urban Landscapes. For beginners, you'll discover all the essential processes and techniques you'll need to turn any urban landscape photograph into a stunning and impressionistic pen and wash painting. With my guidance, you will 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 and the final edition of details and highlights. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create or 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: All right, so before we get started with the painting, I want to go through just the materials that I'm using and that's going to help you in case you're purchasing some materials. We're deciding what to use. I think these ones are going to give you the best possible chance to make sure you get things right. So on the left here, I've got some watercolor paper, and I've got two types of watercolor paper, but they're both made of 100% cotton. That's really important if you want to get the best possible results in terms of nice flowy sort of effects, the transparency and the vibrancy of color as well when you're going over previous washes. It's not going to lift off when you're using proper 100% cotton paper. So this is in smooth, so hot press and it's a lot more difficult to control then say this stuff here which is medium texture or rough texture sort of paper, also called cold press. Cold press, it's just a lot easier to work on for beginners, especially if you're getting in these nice little washes there in the background for the sky and the buildings and that sort of thing. Here, it's a lot harder when you've got smooth hot press paper like this. Okay. But that's what I recommend. If you don't have that. Just to use normal cellulose paper or just watercolor paper. It's probably just going to be wood pulp. But you can get by with that as long as you don't go over and scrub too much over a previous wash. Now, over here are some of the colors that I use. Now, I don't use all of these colors, but I'm going to name all out anyhow. So over here I've got Nacridone Gold. I've got a yellow ochre. And the yellow ochre is really important. I use that for some of the rooftops, the ground here, for these particular scenes. I've got a bit of pyal orange and pyal red here. Okay, those are also some good colors. I don't really use them too much. Maybe a bit of this inacidone orange here, I've used for the door. Sometimes you can mix it in with a bit of the other warmer colors. Over here, I've got a bit of cerulean blue. Okay, cerulean blue is just nice for a sky color. We've got these other colors here, basically, a little bit of turquoise and a bit of lavender. These ones I don't really use much, but again, they're kind of these sort of lighter, cooler hues that I use sometimes. This color here is a bit of ultramarine blue. And ultramarine blue is a great little color for kind of those darker areas, Especially here, if you see in the water, I've made that blue a lot darker. Okay. And that's with a bit of ultramarine blue, with a bit of also neutral tint over here, which is basically a mixed up gray, pre mixed gray. And you can mix up your own by mixing your blue, red and yellow together. But I just do I buy my own neutral tint, I need to fill that up. Yeah, but it's basically gray over here. I've got a couple of browns, I've got a burnt sienna and I've got a burnt umber. Okay, so burnt sienna is like a lighter, more kind of warmer brown, brown, almost like a reddish brown over here, burnt umber is more of your traditional darker brown. Okay, over here I've got a bunch of purples and purple. I also use at times to get in some clouds, especially like a grayish purple color. Same in the water. I might add in a touch of purple there if I don't want it to be too vibrant, too blue. You know, I can put in a little bit of that to balance it out. Touch okay. I've got a bit of this other brown here. This is called brown oak, which is a granulating brown. Okay, I do have some green here as well. This is a darker green. That's actually called undersea green. But you don't need to have this. As long as you've got a Hookers green, you've got an olive green, something like that, Emerald green will do completely fine. You can even mix up your own greens just by mixing a bit of ultramarine blue with a touch of yellow. And of course, I do have a little tube of white guash as well. Now this is great right at the end for getting in these little highlights. See here in the water, the reflection of the mast in the water. Little bits of highlights on the roof and the sails and stuff like that really makes a difference just at the end. Now over here, I've got some brushes. Just show you what I have and I'm not using really all of these brushes. I keep them out. But the main ones you'll need for this class is basically some watercolor mop brushes. Now these ones here are basically come in a set of three. Now, I only use these two smaller ones because the paper I'm using is quite small. Anyway, it's like a smaller size bit of paper. A four sized, yeah. You don't need a big one like that. But a nice water color mop brush is so important because it holds a lot of water in the belly and then it's also got a sharp tip on the top. So that allows you to cut around shapes get in that detail. Okay, Do use a few other brushes. This is like a flat brush and I use this for detailing small figures, painting smaller areas, maybe trees. And I combine that with something like a small synthetic round brush like this as well. Okay. For detail getting in those small figures as well. Okay, apart from that, you don't really need anything else for these paintings. That's pretty much it. So let's finish off and go to the next video. 3. House: Drawing: All right. So I'm going to get started off firstly with the bottom of the house. And it's really just a quick mark to indicate where the roughly where the bottom of the door is. Okay. So I'm going to give it would not even a quarter of the way through, it's less than a quarter of the way through. Just a quick indication, just like this basically across the paper. Okay. Give it a bit of room down at the base. The interesting thing as well is because the line is quite thin and it's very light, I'm just pressing lightly. I can even just re, draw the line up here if you want, potentially like a bit more area there in the foreground. You can move that line up a little bit like that. Okay. Same goes with the house. You can see here the roof. It does, leaving a fair bit of sky up on the top, probably a third of the way through the paper up the top you can see Sky probably just going to use that same yeah, that same guideline there just to get the top of the roof like that. Top of the roof. What I can see here is you put this door here, little door frame. Okay. I can just go ahead and bring this down. Okay? It's just a rectangular shape. Look at the doors. Just a rectangle. Everything in here. Think of ways to simplify the shapes down. Instead of looking at it as a door, look at it as rectangle or square, that thing, It's really going to make things a lot easier for you. The door frame here, as you can see, I'm just going to go and draw a line like this. Okay? It's just going across the door frame. The same thing goes on the right hand side. A little indication of that, okay, Running down. It's interesting as well because this one actually has, it's almost like you see a little bit of that three D element of the door here just coming through. It's very, very subtle, just on that side. Okay? You can see actually the bits of wood come all the way down here. And then you've got, you've basically got the bit of rock here on the front. These little steps, okay, That we can put in a bunch of lines here just to get in the markings of the steps. Simplify little markings of the steps. And even here on that left side, that bit of wood comes down a bit further like that. But you've got the bottom parts of the step here just joining up like that. Okay, there we have it. This one here as well. It's a lot of, it's in shadow. If we look at the door itself, you'll notice interesting because the top of the door does have a bit of this darker section there. And it looks like the door is left slightly ajar. Okay. You can see the right hand side there. It's dark, dark there. It's an interesting, do I wonder why there's that darker bit up the top? We might get rid of that bit later, but yeah, just see how we go first. And you can see the grain of the wood. But there are three main planks of wood. Can you see that? Just these planks of wood that are forming the door that okay, there's all knots and things all through the wood. We can imply that. A little bit later. I just wanted to start with the door because it is obvious element of this scene. Okay, to the left hand side of the door. What else do we have? We have this cabinet here. It's just a little cabinet. I'm going to put this in. It's just a, another rectangle. If we look at it very closely, there's lots of little details in there, but I'm going to just simplify this down for the time being into nice little rectangular shape. It doesn't have to be exact as per the reference, but you can see these bits of wood there on the side. There's a bit of wood here running through the inside. There's a shelf here as well. And there's another, another bit of wood here as well. The bit of wood up the top there, like that. Okay. The bottom part. Not too much going on. You can, if you get a chance, just in zoom into the reference photo and you'll be surprised there's little details that you can suddenly just start slowly picking up here and there. It looks like a medicine cabinet, something in here like a bottle. That medicine bottle. Just standing up there. And this is like a packet of package of some sort next to it, okay? It doesn't matter exactly what's there. It's just something simple. Okay? You've got bits and pieces hanging on the wall, like, I don't even know what this thing is, but it looks like a rock or something. Okay, We can just put that in there as well. Okay? I really like how this scene has so many interesting bits and pieces. It looks like someone's collections of bits and pieces. There's like a hook there as well. Really ambiguous things. There's even like a bunch of sticks here or something on the wall and there's another and a bunch of sticks there as well. We can imply what that is essentially not what it is, but yeah. Okay, let's have a look. What else do we have in this scene? Let's see. Obviously we've got the roof and things like that as well, but I'm going to just put in a few indications of this tree. Just some indications of the leaves where I want the leaves to be. Okay. Because this is going to intersect with the house a bit. Just a few leafy like shapes. Okay? They don't have to be too much bits and pieces here for me it's just tout little bit of tree I suppose. Okay, do you have a bit here coming over the door as well, say just intersecting with the door that don't even really look like leaves. It's just something quick to imply that they are there. Then I'll actually get the details in with the water colors later. You can indicate branches and things as well coming in from the side. That's something I like to do. Even if the reference photo doesn't have such branches. They often, you can't really see the branches in the photo, but they do to give, these leaves are a little bit more presence, more presence out there. Let's have a look. What else do we have here? We've got this roof top. It's like a double over here. It's like another layer there. It's quite dark underneath this section of the roof. Okay. What else can we do? We can put in a bit of detail because actually we do have quite quite a bit of stuff going on here. I might lower this down a bit more. Actually, this can be the actual shadow underneath the roof. This darker line I'm drawing in here gives enough room for me to put in a few layers of bricks. Up the top you can see there are these tiles, okay? And you can see how they just flay out a bit. As you go to the left, they flame more to the left, and to the right they flame more to the, to the right. Okay? Like that gives it a bit more of this three dimensional type look. Okay? And then you can just draw in another layer, just on top. Okay. Another part of that rooftop. And this is quite dark as well in here. I'm just trying to get it in quickly as possible. Okay. On the top, you've got another layer, more and more of these bits of rooftops. And you get to the point where it just, it just start looking quite, quite flat. But you do have the undulations and ups and downs running through. And I am careful just not to overdo it as well, because you can really get bogged down and all the details of the roof and that stuff in there. I really like this chimney, quite an interesting part of the scene. I want to put it in here quickly. Perhaps a bit more of the left side of the chimney as well. Look a bit more three dimensional like this. That looks better. Something like that, chimney on top. Then you've got this house. This house structure. But this structure on top like that, bricks and stuff, we can get in afterwards. I'm not sure what this is. There's something there in front of, of the chimney. I'm just going to draw it in and then continue on to the right like that. Another thing to take note as well is that there are, you see here just some little shrubs here in the distance. I always like to do some of this stuff, especially if the shrubs are a bit darker trees, actually bigger trees, they help to just bring out the light on the house. Here we have the other chimney. Okay. Well, I'm actually thinking, I'm moving it more to the right hand side, a bit more. Can you see that? I've actually changed it up so that it's just shifted to the right few centimeters. This is just so that I can get it more into the frame. Okay. Because, yeah, I realize these chimneys for some reason, they're just quite interesting to me. These plants and things growing up the side as well. Let's have a look. What else, what other interesting bits and pieces do we have in this scene? We, another thing I've noticed is this window. Okay? And the window right next to this cabinet, it's just a square, and the top of the frame of the window is a little bit taller than the actual cabinet itself. Okay. So we can judge that based on where I've put the cabinet in. Bring that down, let's do it over on this side. Remember it's just a square. It's just a square. That's all you're drawing in here. Okay, you bring this line across like that. Good. Then we can put in the frame of the window. Okay, let's put in that little frame. And this one is hidden around to the frame. To the left is just hidden a bit over to the side. There's something here. I don't know what this is. There's like a, another object here that I can just put in. I'm not sure what it is. Okay. It almost looks like a life boy or something like that. Okay. And you've got the window frame as well. There's like this wooden wooden part of the window frame. You can see it quite closely. It's just this, is it basically wooden frame on the window. There's patterns and things as well inside there. There's all kinds of bits and pieces going on, cloth and all that. We'll just get in the bottom part of that window. Then a little bit of indication of what's out there. I like how there's these little tools on the walls. Let's tell you what. Before I get those tools in, I think what we can do is start tackling these chairs. Because of the chairs are also quite a, quite an important element of this scene. Okay, we'll start maybe this one on the right first begins about here. We're going to bring the top of it in. It's just like this longer section of the top part of the chair coming down. It's an old broken chair really. There's not much. Wow, it's broken off a bit wanky. Even if I make it look more wanky in this drawing, I don't mind. It's just to make it more interesting in my opinion. And you've got this rag or whatever, this seat cover here, a bit of ends like that. Something like that. Okay, now we've got the two legs. One leg coming down here. It's a funny angle into the ground. And the leg is a little bit taller than the actual back part of the chair, if you notice. Just a little bit taller. So I'm going to just finish it off roughly here. Okay. What else do we have? We've got this part of the chair here, bring this bit down like this. There we have it. That's the other side of the chair. You've also got the parts in the back. You've got this one coming down the back like this. Okay? But not before. We've actually got a couple, these little ones running through in the front where you put your feet on. Okay, Like that. Then you're going to run that back leg through there and finish it off. Roughly about here. It's very difficult to see what is exactly going, going on back there, but there is. Certainly something happening. Okay. Another two little bits, giving the back of the chair a touch, touch of support as well. Okay? You can't really see the left side of this leg. It's completely covered behind. Okay. But that's a chair. Okay. It's probably a little bit thinner. Almost looks like a stool to me, but it is a chair of some sort. Now, there's a tree stump, a bunch of stumps here. Look at that. Let's draw in this stump around here. Let's see what we can do with this. Almost like just a bunch of these tree stumps. And don't always feel like you have to get these things in. If you don't actually want to paint these in, there's no need to whatsoever. I just want to put it in there. Okay? All right, and these create some nice little shadows running to the left as well. Okay? You can see on the ground, there are these tiny little rocks just embedded in the sand. They create an interesting contrast with the ground. It's not just completely the yellowy colored sand, but also these little rocks that some of them are just flat as well. They're just in the ground. Just flat like that one there near the door. You can see that they're more cut so that they form a bit of a walkway, flat walkway to the front of, of the house. Okay. Can you guys use these rocks in such a way to make it look like they are leading almost to the door? Make the look a little bit more flat. As you get into the front of the scene, you can see that the rocks get a bit bigger. Just increase the size of the rocks like this o to the side, I don't bother too much. Just put in a few here and there there is a larger rock just standing up here. If you look at it, just rock lying on the side like this. That's good. I'm going to merge that onto this side and make this like a rock standing up here. I don't know what this is. It looks to me like a bird cage or something. Okay. The great thing with these line of wash paintings and drawings is that you can really practice all shapes drawing, all sorts of shapes and things in here that you wouldn't normally do in just pure water colors. Okay, that's something there. Obviously, I've not put a whole lot of detail in there, but it is something, an area of interest that I've indicated in the center here. There is this, I don't know what this is like a water canister or something like that here, a boiler. And I'm just going to put in some basic details for it like that. Not too much detail but something to indicate that object in the center does have a handle here. I just noticed a little handle here. One on the other side? No, but there's some of notch there or whatever. You bring this down and end it just like that. Just that chair. Okay. This makes it look like it's leaning onto it. Yeah. That you do get like a shadow here running across the side of it as well, which I will put in afterwards. Okay. But let's start with this chair. The front of the chair, you can see here, this is the bit that you sit on. Then you've got all this cloth just running over into the back and disappearing off into the back like that. It doesn't have to be much detail at all, but that's one of the arms, the back part of the chair. I mean, there another part here. Oops, like this. Okay. The back plate of the chair, if you can call it that there, then you've got, it's actually a circular cut out there, to be honest. And you can just try to get a bit of that in. There we go. Another part of that chair coming down. Okay, let's have a look, what can we do here now? We want to get in this front part of the chair again. I'm going to bring this leg all the way down past, almost around the same length as this other chair at the front. Okay, there we have it. I'll make the front of it, Mike, about here then a bit of this part here that's in the light there. Okay, we have it. We've got the chair leg. What else do we have? We've got some light running behind, some more light running behind these, like it's very hard to see what's going on behind there. It's all just pretty dark in general. Okay, let's get in the other side of the other leg. Let's put it in roughly, maybe here. Okay, there we bring this up and the side of the chair like this. Okay? And I'll just connect this up, these two areas where you put your feet to rest on the front of the chair. Okay, So we've got some details, bits and pieces in here already. What I'll do is just start working a bit on this light. See how tiniest little light bulb here? Okay, I'll just emphasize, just increase the size of a little bit. Notice I'm just using one pen as well. You don't need a whole heap of pens to be able to do this scene. You can just work it out by using a few different pens. It's like this cable that's running across the rooftop, underneath the roof of this, of this scene, creating a bit of a mess if you ask me. But it is what's there. You don't have to paint everything in. I do think the slight messiness of this scene is actually something that makes it look quite interesting. Weirdly enough, there's like a something here. It's like a necklace or something just hanging around these bits and pieces on the door. Who knows what they are? I don't know what they are. They're just bits of metal, but these are maybe leaves or shells or something like that hanging around the front of this medicine cabinet. Even on this door frame, there's something here. There is some rusty thing. I don't know what it is. There's even more, it's like a rope here and it's actually got a circular ring there where the rope is going into the ring and then exiting it down the other side. Another bit of rope just hanging down here as well. Lot of stuff going on, lots of stuff going on for sure. That's why I chose this reference. It's just fascinating, keeps me really interested to continue on and just give it a go. Okay. If you do get tired of just detailing in one area, then just simply stop and work on a second area. Now, this window should probably be a little bit further down. There is these little tools and things on the wall. You can see there's like a red plank and it's holding up all these little tools. I'm going to shift it further down, somewhere around here. Whatever this is, this little red plank that's on the wall. I'm just going to shift it a little bit below here. I can just attach some of the indications of these tools and things as well. Okay, just draw it in a bit more detail. This is, I don't know what this is again, it's like a rectangular shape here. It's hanging on the wall. Whatever this thing is, hanging on the wall. And I'm just looking at the shapes that it's comprised of. Okay. Could be anything, just something there. There is a pointy bit like that. Okay. These look like maybe some gardening tools with two. Bits and pieces there to hold on, this looks like like a rake or something. There, again, another tool on the wall. What's this? Like a sickle or something? Yeah. Okay. I can go overboard. You know, you've got to be careful not to overdo it. I mean, these could be anything really bits and pieces on the wall, but you don't want to spend all day detailing them. Sometimes you'll find that the details in the front, you'll just lose out a bit on them. And this is where I go over again. You see in the, in another liner. But just press down a bit harder, essentially bring it forward. Now if the lines are thicker, then it actually brings it forwards more. That's a nice little trick that I learned to create depth in my scenes. Just simply thicken the lines of whatever you want to come forward and you'll find that it just starts to do exactly that. Okay? Take the emphasis of everything we've got in the back because it's just too much going on. And the chair I'm going to lose out. I really like these chairs, what we've done to them, and they are on the foreground as well. Okay, notice how I just treat everything as one shape. They all just combine, join together. Suddenly you've, these three shapes canister there. You've, you know, you've got this chair here and they all just come together and create an interesting collage. Okay, that there. Just put that down like that. That, okay. All right, we are certainly getting there with this scene in terms of the drawing, a tiny bit more detailing on the roof top, these little kind of like upside down on the roof. What else do we have something here on the wall. It's like a another rectangular shape. I don't know again what that is exactly. I can just put that there, another shape here as well. I'll just put in some more of these little rocks and bits and pieces here in the ground that will create a bit more of this interest here in the foreground. Especially here, we've got people just walking around. The does help to create more interest and make it look like the scene is just gives a bit more depth. Okay, that's all right. At the bottom of this house, I'll just have to outline this bottom of the house a bit better. Lost out on it before, but here we have it. That's the bottom of the house. One thing we need to do, I think would be good, is to put in some of this little brick work on the house. Look, we can just start putting in rectangles here and there, and notice how some of the bricks as well, the gaps in between them. In areas you can actually, you can actually go and color them in and create another dark point in there. Okay? But really all I'm trying to do is just emphasize some of these bricks, okay? Like this one here. You can see there's quite a larger gap in between that and the surrounding ones. You can go and do this thing. As we look at that, there were another technique is that although it is tempting to just draw in all of these bricks, you can just skip through some of them like this, look, draw a few in, skip over, and simply just continue on as you were around the area nearby. Okay. This is the, I don't know what this is, just whatever is hanging on this part of the wall, you know, obviously the trees and stuff coming in as well, okay? But the bricks, I tell you what, they really start to look more interesting on the house itself. Looks more interesting once you put in a few of these little bricks. Okay? Like I said, you don't have to do all of them. Bunch one here or there. Okay? Near the door as well. Okay? Because otherwise you might be here for a long time. But you can put them all in if you want to, just notice it weaving in between everything else. The rectangle, all your drawings, just tiny little rectangles. You can see here on this wall as well, there are some bricks and these look quite obvious as well, the much larger. So you can have a bit of fun here and add them in. Add them in a bit larger, okay? But again, I don't encourage putting in too much detail because you're going to start to detract from everything else in the scene, okay? But I will put in a few rocks and things here. Whatever this footpath near coming up to the house needs to be something here in the ground just to give the ground a bit more texture. More these bricks, if you do want to add some more bricks later, you can always do it. Once we finish the painting, I find that you can gauge right at the end. Once you've added the painting, there are some areas that might need a little bit more detailing with the pen or whether you're completely fine and you just want to leave it as is, okay? But see how I'm picking and choosing a few bricks to put in here and there. That's the idea. And the viewer, if you've done this right, the viewer will get an overall impression of a brick wall. Okay, without having to draw 1 million little bricks running through this whole thing. Okay? A few is enough. Probably done. A bit too many, you asked me. Okay, Top of this chimney as well. Same goes. Give you another brick work feature here. Okay? Look at that. Simple little bits of brick and perhaps a few little detailing, architectural details on the top of this chimney, like that bricks. Just making that up as I go along. Stop really looking at the reference photo, a certain point. Okay, I'm just going to outline this. Window frame touch. Yeah, a little bit more, but I think that should be good in terms of our final drawing. We should be able to now get started on our painting. 4. House: First Wash: Okay. We're going to go ahead and get started with the painting. The first thing I want to do is create a very light wash for all the lighter colors in this scene. I think the first place I'm going to start off is the roof. I do have a bunch of oranges here. I've got this acrodone burnt orange. You can also use other types of orange. I have this other stuff here which is pyal orange. Okay. I'm just going to go up there. Add that onto the roof top. Very light wash, I'd say it's mostly just water. About 90% water. Okay. You can also add in a bit of yellow, bit of yellow in there as well, if you want. I'd just like to vary up the colors a little bit so that it's not always just the same old color. Okay? But here as you can see, it's just a very quick wash. I'm not spending too much time at all in there, Okay? You see some of it goes behind the building, okay? The bricks are the same, orangey, yellow, Lots of colors there. Okay? I'm going to actually go over the top of that as well, making sure to cut around some of the bits and pieces like this light bulb here, okay? But you can see, for instance, around the windows, doors, and stuff like that, you've just got a lot of this lighter color that we can very easily just get in there at times. You might want to us make it a bit stronger as you can see here. Just vary the values and the color of touch. Then you can add in a bit here and there. But at the end of the day, I'm going to go over the top of those bricks anyway with another layer. Okay, But look at that. Just cutting around pretty much everything like the cabinet, these little bits and pieces on the wall. It's all yellow orange. But you can add in a bit of yellow here as well. Down the bottom you can see it's getting a bit more yellowish some of these bricks. And remember to just keep adding more water in there so that you're not making it too dark at all. Here we have it just going around this chair, cutting around the chair a little bit. Okay, This is going to be an interesting part because the background is actually a bit darker than the chair. Okay, I can actually color over. That doesn't matter there, take a look what's going on in the edges. Bit of orange, that bit of yellow touch yellow in there. Probably a bit too vibrant. I've just added in a little bit more of this just to water it down to touch. Okay. Just getting in a very light wash. That's all we want. Okay? This rock, bit of orange or something on there, coming into the ground. Okay? This is where I'm going to have a bit of a play rounding. And again, just start adding in basically a bit of this yellow. I've got yellow ocher here. All right? Work my way around to cut through these rocks. A touch, can you just cut around the rocks a bit like this? What else do we have? We've got bits underneath here as well. Okay, yeah, these little bits of rocks here in the foreground. I look at that, just sort of cut around them in a little bit. Okay, Notice just how light I'm going here. It's a water essentially. Just a water, 90% water in here. Okay, just mop this little section up a bit. It's got a bit of additional color in there. Just mop up some of these high concentrated areas. Okay, We can start working on things like the, I'm going to pick up a bit of burnt sienna, but I'll mix it in with a bit of orange or a bit of red. Okay, to get myself a nice almost burgundy color for the door, the chocolate brown color. Okay? This is again a lighter wash. Still a lot of water in here, but we can still afford to go a little darker because this door is quite dark anyway, it's under the shade inside, you say. Instead of cutting around the frame, that's actually a bit of darkness in there. Go over that quickly. Oops. And one thing I've forgotten to do is paint these little tiny little steps below the door so I can go ahead and pick up again just a touch of maybe a little bit of yellow. And just drop that in there. That good a bit of yellow for this chair as well. Just getting light color for the chair. The background will have to be dark and to touch as well. Now this little canister here in the center, I'm going to actually add a bit of turquoise for it. A little bit of turquoise color. You can make this yourself using a bit of blue and a little bit of yellow. I do have a Pre mix that I'm using right now. And really being careful to make sure that I've got a light wash too, for this can be a tempting to just go quite dark over the whole thing, but I'm not going to do that. We still need to make sure we get in all the bits and pieces. Lighter colors in first little window sill here, I'm just picking up a touch of lavender which is a lilac color there. Okay. In the windows, there's a bit of coolness in that section as well. I can just drop in a little color whatever is just in the background like this. Okay. On the edges of the door as the door frame, you've also got this nice little turquoise mix. Okay, excellent. I'm going to do is just add a touch of color up here for the chimneys. Maybe a little brown burnt up the top there. I've just forgotten to color it in earlier on. Orange. Same similar sort of color as what we've painted the roof, I guess. But I will bring this color down so that it just looks a bit more natural. Of course, we have these tiny trees here on the side. I'm going to go ahead and add in a little bit of this green. It's called undersea green. It's a very light, feathery color. When you dilute it down and it granulates out. You can use any green. I'm just using a darker green that is just water down a bit, essentially. Okay, we can just see a bit of that foliage coming in from the side. Okay, there's also some here, Let's just put in a bit. There, here, there, here, behind the house. Little bits of green as well. I'm just trying to be wary not to overdo it. I still want to keep it quite light, but with some areas of darkness within as well. Okay. But as you can see, you know, I've got a bit of that green start to creep in now from the side here. This is interesting. And it's all very soft as you can see it on wet because that previous layer is still dried still. I'm just feathering in that green nicely. It's mostly just water. Okay. Might look dark but it will certainly will dry lighter as we continue on with the painting afterwards. Yeah, here he going up up into the sky, little impressions of leaves, I guess really does the trick to just make it look like there's something there. Okay, I'll add some more later. This is just one little I wanted to add here because it just creates a bit of additional interest. This medicine cabinet put in this bluish color, this cooler color in the center. Okay. Just to change it up a bit, you can tell it's like faded and it's weathered, but it probably originally this turquoise color. But this is your opportunity to carry on and add in little details even here. This thing on top there, all these parts are looking. I've just mixed up a bit of brown and a bit of cerulean blue together to try to get this slightly rusty look for some of these bits and pieces, like the tools and stuff that are hanging off the walls. An indication of that, like this and cerulean blue for the sky. Just want a really light wash of it going across. Mostly just water. Okay. If I get a bit of blending going on as well, that's no big deal. Just bring that across. This nice blue in here, here, and in here, bring that down. Okay, See how it mixes in with the leaves a little bit. Doesn't matter. Just let it, let it continue on. Okay, I'm going to give this a really quick dry. 5. House: Second Wash: Okay, let's go ahead and get started with the second wash. Now what I'm going to do is I'm basically going to mix myself up a shadow color. And I've got a good idea of what I'm going to use already. And it's basically some mixture of purple and a bit of gray. Okay, I've already got some purple here, but you can mix up your own purple and gray purple just with a bit of red and blue together. Okay. And I'm using purple because it's a nice complimentary to all these yellows and oranges in here, But I want to dull it down just to touch the gray is just a mixture of your three primaries. Again, that's just to double down the color a little bit so that it's not too purplish. Putting in a bit of this here on the left side of this chimney. Now, a bit of a test to see I've got the right value here. Okay, put in a bit more. I think that's a good mix. About 50% paint, 50% water. Okay. And you can see a bit of the shadow running across the rooftop here, just to the left of the chimney. Okay. There as well on the chimney itself, you've got all these tiny little details, but I don't want to really emphasize them too much. Just a little line here and there. It's more on the areas. Can you see here on the rooftop just little bits of darkness here and there. And I just have a play around like that to just insert some of that darkness into this roof. It's really just like I said, it just purple and a bit of a bit of darker color, bit of neutral tint in there. Okay? And running that across a little place here and there. Okay? I'm going to start putting in a bit of this shadow underneath the roof top, this little section here. Okay? You can see it does get a just a touch D that Okay. Bit of that. A little bit of that shadow. Okay. Going to blend that shadow on with these trees and stuff on the right hand side shadow is going to just help to bring out the contrast of the roof top of touch. Okay. Now the rest of it, it's not actually purple. It's really like a dull down, reddish color. But I do, I do want to get in some of these little bricks and things in here, but at the same time, I'm remembering that there is a bit of darkness underneath the building. Okay? The roof top here. As we move towards the center, it just becomes a little bit lighter. Okay? But because you can see here, I'm leaving some of that previous wash on the paper as well, carving it all in. Okay. Like that. Just leave out some of these little bricks and things. Okay. As we move down here. I'm just going to water this down a little bit. Add some water into my brush so that I've got a little bit of color but mostly just water. I can move through this section fairly quickly just by picking up a smidge of orange with mostly water in there like that. Using this, it's a flat brush, I'm using to imply, as you can see the bricks. Okay? So simple. Just one little line like that, you can slowly start to put in the details of the brick work, okay? Not only that, You've got this light tree here, of course, there are these darker parts of the tree. I might actually leave that to later to sort out the brick work a little bit. Okay, but as we move further down, you notice that it just becomes a little bit muddier. And you can see this wear and tear of the bricks and stuff like that. So I'm going to take a bit of that purple, mix it in with some of the leftover grays and stuff on the palette. Even some browns and stuff. And just work my way into the bottom section, a bit more orange in there as well. These bricks just look a bit more weathered. If we get rid of some of the light in those bricks, it's no big deal as well. Because I can always bring them back later on. This is like a rock, going to add in some color to that rock and darken it down the front part. Especially here. It could be anything big deal. Some of this cage you can see here as well. Cage there, and some more bricks. We can just slowly paint in like that. Okay. And the trick is just to be intentional with the work so that you've got, you know, the indication of these bricks. Okay. And that we're kind of cutting around the rest of the chairs and things like that in there as well. Yeah, it's just kind of indicating these bricks here and there and using that to negatively paint this chair. Can you see that? By adding in the darker background, suddenly the light on the chairs, it starts to pop out a bit. This milky color running through here. I've just got a bit of white watercolor paint that does help as well to blend together. Some of these darker bits that transitions nicely still got a lot of this purple going on. Let's go ahead and get in some of that purple around the edges of the chair. That here underneath the chair as well, you can see there's a bit of darkness in there. And also this shadow that's cast by the chair onto the tank or whatever. This is, this receptacle here to the left. I'm just going to pick up a bit of that purple paint. It's putting a bit of neutral tint in there as well here. Okay, You can see the chair is casting a shadow to the left. Just like that. There we have it. I'm doing my thing in order to portray this. All these shadows and things running from the chair. Okay, To have a look. This one as well. There is a bit of shadow in between the legs and things underneath this one here, so I can just quite easily dark and like that. Okay. A bit of darkness underneath that chair and on the left side of the legs as well. Nope, I'm just picking out some little spots that I can dark en creates some shadows underneath the top part of this receptacle as well. You see there's some darkness there on the left side of this. Well, you get more darkness then, it just fades off. We'll just use some water for that, like that. A bit more darker to the left. Okay, good. And you know you've got things like this tree trunk as well here out the front. I'm just going to put in some more brown there. It's really just quite dark, but it's difficult to even tell what exactly this thing is. But whatever it is, it helps to make this shadow more convincing. Running to the left, a dark bits underneath over here where the chair is. By putting an object to the right hand side greatly to indicate the source of that shadow. These little things and bits and pieces on the walls as well, that you can start to just drop in a bit of darkness to indicate. Okay, now I'm going to work a bit more on these trees. Just going to pick up some of this darker green and flick some of this in for the trees. Look at that. You can just get in this indication of the leaves and things like that running through here, that area running across. There's also some darker branches and things here as well running through the trees. Look at that. Just little branches. I'll just indicate this touch there. You can see the branches coming through. It's not that obvious in the reference photo, but I'm making it more, more exaggerated here because I think it does help to add some more details into this scene. Often when you've got a reference photo, you're taking away details. As a consequence, you need to also add in some extra extra details here and there. Just notice behind this door, there's like, it's like quite dark behind this door. I can just indicate the edge of the door like that. It's left slightly open, as you can see oak in this area here. It just looks like the door is perhaps slightly open. That okay. What we're doing is we're building the details bit by bit, okay? The window, for example, I might just, for example, simplify this one down and just make it bring dark on the inside here. All right, for one of these areas of the windows and the other part going to pick up a bit of brown. Just get in some of these window frame here, window frame edges here as well. These ropes have like yellowish tinge to it. And I can just put in some of this color, some more of this tree sort stuff here on the left hand side. Okay. And you'll notice, like I said, it is a bit darker than the actual reference. But like I said, just helps to create some extra values, some extra darkness and contrast keeps things interesting. You can start putting in like, again, this same deal with the branches, the tree branches and some more of these leafy parts. I guess like this here, dark. And some of these shadows are touch as well. They're not dark enough, especially here in the foreground for this. Yeah, this part of the painting, just using neutral tint and a bit of purple mixed in there. And remember the light sources coming from the right. So you've got often a lot of shadows forming on the left side of the chair, like the left side of these little limbs. See to redo this shadow, make it more obvious, that good, more darkness underneath some parts of these chairs as well. At least now there are some shadows that are formed by these trees. And I'm going to put together just a general purplish color. Okay? Diluted this down a fair bit as well. But what you can see here, the shadow just skips over different parts of the scene. But it's a lot of water mixing, lots of water in for this. Okay? I'm trying to make this possible. A generic one big connected shadow. Okay? Joining up all these rocks and things going over the top of the rocks. Okay. Just looking like it's yeah, it has to be quite transparent as you can see here. Okay. It's not a dark shadow, not like these ones. It's using a lot more water in here because it's the shadow softer shadow cast by the trees above. Okay. You have to differentiate between the two. It's on the trunk of this tree as well. This shadows being cast there. Okay. The door is too light as well can go in there. Just adding some more brown in there. Just darken it more. But at the same time, you can do stuff like just dry brushing areas like get this scratchinesschy look to it in places as well. You notice some parts of the door are a little bit darker than others, other parts as well, I can scratch through some of that color. Okay. You look at that. Some more details in the background. There's outlining parts of this door as well. Frame this one here too. A bit of blue for this bulk. All right. Going to play around with a little bit of white watercolor paint and just mix it in with some touch of green for these areas of the trees that I thought I would be nice to just get back some little speckles of speckles of light for some parts of the tree, not too much. But just bits and pieces like that white quash as well does help. I tend to just mix this with other colors very similar to the other white there. Almost identical. It's just that I've mixed a bit of a bit too much green into that leftover white. I want to get some yellow in there as well to get some other highlights in other places. That said, look what else can we do? Let's try this chair. Okay, some spots I can continue to work on. Bring out just a bit of a bit of color, a bit more yellow into some areas and white. I find you tend to lose out on some details here and there once you, once you've gone over and done the darker bit, this just helps you to bring out some little finishing touches on detailing details of the chairs and that kind of thing without causing too much of a fuss, hopefully using the tip of that brush. Just to go in and ab a bit of paint here and there. Okay? Touch a lights, the side of that tank or whatever as well like that little rope hanging around. There's also this little kind of wiry thing just running across the roof like that. The rock, maybe a bit of light on the right hand side of that rock. More bits of minor shaping, I guess bringing out some more of the darks. Want to create more cohesive wash in the background behind these chairs just doesn't feel like it's joined up nicely. I'm going to just put in a lot of water back there and bring it down. Just see, see what we can do like this. Just to join it on a bit here as well, because it's these darker bits in the background that really bring out the light on the chairs. It's super important to have something back there that's a bit, a little bit stronger, even if I have to exaggerate it a bit. And it's not that way in the reference. Okay, O. 6. Coastal Scene: Drawing: Okay, so we're going to get started on this painting. The first thing I'm going to do is go over with a lead pencil just to indicate some of the main elements of the scene. If we look at where the water meets the land or I guess the pavement, well, the people are walking on, it's about a third of the way through the scene. The roofs of the buildings are about a third of the way through. Okay. From the top, that's about the location where the roofs are. This is potentially where, maybe a little bit lower than a third. Okay? Where the water meets. Okay. Now I'm going to just put in a few little details here. For example, the boat, there's a boat just about here. I want to get the right because we've got these shapes of the boats especially can be quite tricky if you're not careful when we go in with the pen afterwards. I just want to be quite certain. Okay, there we go. Just the side of that boat. Just look at the angles of the lines when you draw. Okay, Make a bit of a mistake there. Just raise that quickly and just redo that part. The bottom part of that boat. That's one boat here. We've got a person as well just bent over behind, fiddling around with something on the boat. Okay. There's a bush or something behind him as well there. There's another fellow here on the boat. I don't know what he's doing. He's got his arm out, he's sitting at the back of the boat or something like that. No big deal. Just out the back there doing something. The boats also got like a motor engine or whatever down the back of it, like that. Something simple. Okay. Over on the right hand side, we've got a pretty boat. It's about a third of the way in from the right hand side of the scene. Again, noting the angle of the front of the boat where it hits the water. Just that diagonal there, go across all the way to the back and there we have it. That's the main part of the boat, the side of it. Anyway, this part here comes in. There is quite a large boat. But you've got this window here on the side, comes down, looks like a large yacht. Over here we go. This little sail connects up here with a mast roughly about here. Going up. Disappears off the top of the scene somewhere, who knows where it goes, Something like this. This is good enough to get us by for the time being, we'll get in the rest of the details later. There are a little bits and pieces and whatever left, but we can skip over that. What I'm going to do is just put in this bottom part of of the basically footpath, the side of this area where the boats are docked, where it touches the water. Just a little bit more detail, a little bit more strength that. Okay. Now this is the footpath just coming across out the back there. Look at that. People going to be walking as a person here. In fact, walking through the scene heads a bit too large like this going forward, it's walk to the left of the scene here. It knows we can put another person just walking here as well. Maybe there's a couple people here just with their hands up, just discussing, having a nice old chat, you know? And these little figures they help to also bring out the size, give a sense of depth to the scene. Sense of perspective as well. Okay, now let's have a look at these houses. Right in the center, there's a division between two houses to the left and then the three to the right. I'm just going to put in a quick line here like that, remembering the rooftops now, roughly about a third of the way down from the top of the scene, okay? Now, just getting in this one, like this, simplify that down, okay? And this really large building here to the left, it's pretty big building, isn't it? Should reduce that. A roof top down a little bit like this. I don't know what that is side of the building. That side of the building being exposed a little bit by the rooftop. This rooftop of the building to the left there we have it in the nice little rooftop. Bring this down. You'll notice the building skirts off to the left, a little bit down the base. I don't like that. I'm going to just make it, bring it straight down. Okay, Windows. Let's place the windows so we've got. A little guide of where to put the pen work. Okay, Look at all the shapes. Remember these are just shapes rectangles. The triangle, a trapezoid rectangle, squares. Draw them in like that and you won't have any issues. Look at them. Try to look at them as shapes. Underneath these two windows, you'll see there's a rectangctangular shape. There's another one here for the sign. It looks like some shop. I don't know what it is really, but that front end of the shop there, I want to just make that door come down a bit further so that it makes sense. With this person walking in front of it, I've actually really made it look like they're walking right in front of that door area, have changed the location of that figure. Here is something else there. There's another door here as well. There's a lot of artistic license. And I encourage you to use it because often when you have a reference photo it does. There are elements that are missing from it that you need to change around. You need to alter, you need to make more interesting at times. Sometimes it is too complex as well. In case of this reference photo, I can certainly relate, It is probably complex to include a lot of things. I'm just trying to simplify everything down. See rectangle? Rectangle in this little bit here, under the underneath here. You've got this thing there and then you doorway. Interesting doorway, isn't it? Two wooden doors and in the center bit seems to be open. Got all these little bricks and everything everywhere. We'll get them in the pen later. Okay, three houses. We're going to fit three houses. One should be a bit longer to, and then we've got the third one here. Okay, good, fit them in. You got to make sure we've got room for three. That's why segment, divide the map a little bit. First, play around the pencil. First, notice this rooftop is just below the rooftop there. You use all the other rooftops to guide where you're going to put in the next ones. Okay. There is a chimney here. Nice little chimney, put that in like this. Just can see the side of it even come through there and just sit on top of the roof nicely like that. Okay. Perfect. There's another sort of roof to the left as well. There behind, I mean, that's that's what I meant. And this other roof, top of the second building to the right there coming down. Let's just get in some details there, okay? That we have also another kind of interesting area here. It's like a interesting bit of roof, isn't it? Comes down like that. But then it creates a bit of light and in fact, this is like the side of the building side part there which then tapers off. At the base is another door or something underneath here disappears underneath this ship. Okay, But you have a window, nice little window here. Oops, get that in a bit of this rectangular bit at the bottom. Okay. Not to detail as you can see. It's just the basics of what I have. Okay? A large window here. There's a larger sort of door here as well. Another window here to the right and the door here. Okay. Look at that. All I'm doing is just drawing rectangles. There's not much detail in here at all. It's just a guide for the pen. I don't like the way that these windows are oriented, set a bit of a slant up the top. I don't like that. So I'm just going to change it so that they look more straight. Then you've got this doorway underneath, there you go, just segmented again, and there's a bit of darkness underneath here. All this stuff, you can change around quite easily. But I think for the time being we have a really good sketch that we can go by and start on with the pen work. Do have a bunch of pens here. I'm going to be using a 0.5 A few other liners as well, but I think the 0.5 0.6 maybe the 0.3 might be the 0.3 0.2 liners are very thin liners. Don't need all these liners, You just want a 0.5 liner, that's going to be fine. Don't need a whole lot of liners. It just helps you to imply depth. If you've got thicker liners and use those thicker liners on the bits and pieces in the front, it makes it come forward. Let's have a look. Has been a little bit over used, but I think it will be able to get us through it. Otherwise, I can use the 0.6 0.6 will look nice. Okay, I'm going to go in. Firstly, let's get in this boat here in the foreground. Okay, I'm starting off just on the front part of the boat. Okay, like that, the side here. Let's get in this side part of the boat. And remember that. Just look at them as shapes. Okay, Look at them as shapes. That square shape on the top. And then you've got this side of the boat that comes all the way towards the back, comes down like this hits the water, this front part just joins up with it at the back like that. You, the engine or the motor or whatever on the back end as well. There you've got these bars and stuff, who knows what they are. But of course you have this fellow here playing around with something on the boat. Looking like quite an interesting, making the subject look a bit more interesting. This person here is also bent over and it has got his hands dirty. Doing something here on the front of the boat, looks like he's maybe untying the rope or whatever that's connecting it, releasing the boat or who knows what. But just a drawing of that figure there, you'll be completely fine. Might as well just get in the bottom of this area as well where the side of the foot path or the dock touches the water like that. We've got people here while we're here, just draw the outline of that figure. Like this is going to look better once we get some water colors in and I add some more details. But this is a simplified, just some simplified figures there just to get in some idea of where they're standing around doing something. Just get in this area on the top where they are standing like that over here as well. It makes it so easy when you have that line work in beforehand. Makes it so much easier to go in with the pen afterwards. This person here just walking as well, arm outstretched like that, one leg forward and the other leg back. Pretty easy to draw that person in. Okay. And make sense of where they're walking as well on this path boat. Why am I doing the boats first? You're probably asking, well, at the end of the day, the boats are in the front. And if we do the objects in the front, it means that we don't have to then draw over the top of them. If we get everything in the back and then I try to put the boats in, after I'd be drawing over the top of buildings, it would be a bit messy and I slid this style a little better. It's the personal thing, but I do find it helpful if you follow this process, especially if you're a beginner. I know some people don't mind whichever order, but it is a stylistic thing. At the end of the day, I find just makes it easier, less messy. There's the boat and you can see where it touches the water right here. Let me just get this in quite try to get this as accurately as I can. Good. Okay, we've got this mast as well. Again, the see how it just cuts through the building that it makes it a lot easier to do when you do that first. Essentially these little riggings and things like that on the boat as well. It doesn't matter too much. I have to get in this mast sail, sorry over here connects up there, make it look like it's fluttering around the wind a little bit. Just helps another bit there. That sail just obscured in the background. Okay. The boat probably needs a touch of extra work afterwards, but I'm going to leave that. Well, let's have a look, what can we work on? I think this building here to the right could do with a bit of, a bit of detailing. First thing as I'm in here, it just makes sense, I guess. Work on it. Now on top part of the building here, that comes down like a triangle there on the side. And then you've got that rooftop. This little pattern for the rooftop like that. Of course, that edge, side edge of that building. The subtle. There we have it. That part of a doorway that's just obfuscated, covered by this yacht here. The window. Let's get this window in. Just like this. A rectangle that I'll probably put in some more details later, but I think that looks all right. This bottom part there as well. Let's have a look at the rooftop. We've pretty straight, really up there. Get that coming out the edge of the scene like that. Roof, top of this building like that. Let's connect this up as well there. The bottom part of the roof here is where it gets interesting as well. Just getting at this pattern to indicate the tiles, so many of them, they end up, the ones up to top here are very light and difficult to see. I can spend such a long period of time just doing this, but you don't need to. Just like that. Okay. Like little U shapes or shapes, I suppose, On top of the rooftops. Okay, let's go through these windows. There's a window and then this might be a chance to even swap over to a thinner line if you want. It's really not a deal. I'll probably let me just try. These are, thinner lines are good for getting in like the window frames. But when it comes to tax drawing windows itself, I think the thicker lin, er, the 0.6 really looks a lot better. Otherwise, it's hard to tell what's actually going on back there. This is a doorway, obviously. I'm just trying to get that in. Of course, working a bit on this figure because a person just walking almost missed out that figure. There's a bit of darkness under here. Something there, there's a window. Part of that doorway there as well is covered as well. You've got another window here, so I can just get that in like this. These frames as well. Just put them in the window frames. This little window here. Let's get that one in. Just like that. Okay, we've got a fair bit in at the moment. Let's continue on to this building to the left, chimneys in the center like that, but then we've got another chimney to the back there. We've got this rooftop as well. Just combining that rooftop up like that. Okay. So I'm going to make this a little bit more jagged like that. Yes. Good. And a few more little bits of indicating these tiles and stuff on the roof. This is tricky because I don't want to spend all my time doing this, but I want to imply something up the top there. Okay, here we have a window, large window. Let's just draw that in. It's a rectangle's. Just a rectangle. And you've got another rectangle here with a, another bit of rectangular thing there as well. Notice I don't really refer to it as a window or whatever, I just draw the shape. There's someone hanging their laundry here, it looks like just on the front, but I'm not going to bother getting that in all the detail of that. This door behind, there we go. See how I've drawn those figures first so that the door doesn't, doesn't, I don't have to cut over everything to get the details of that door in. Okay. Is another one there is this line splitting the these buildings like that. And you can actually see these tiny little blocks and stuff running through the side of the buildings. They're all over the place, but they actually are interesting. Give the building a bit of character. If you feel like detailing, definitely give this a go. Because I think especially in a scene like this where detail ends up getting lost when you're drawing and you're translating that reference photo over. Small little bits and pieces like this, they really make a difference. But you have to make sure you don't go overboard. That's easier said than done just because I'm already in this section, I thought just go in and add in a few of these little blocks, bricks or whatever, in the wall. I've got a 0.1 liner as well. This could probably work better for this actually got like a stray brick by itself like that. And notice how thinner liners, the blocks, it pushes them back and it makes them not too obvious. Whereas if you use a thicker liner for this, it would really get in the way. Start looking to jarring, I guess, in comparison to the rest of the scene. Yeah, even this smaller liner is working. I think better how that there's a blocks even on the right hand side of this building. You see them? I'm tempted to, I really want to do this quickly, but at the same time I want to do it right as well. It's interesting they left, it's almost like a few feature bits of stone and stuff on the building. I don't know if it was there before or whether they've just added it as a architectural detail, stylistic thing. There's some more look just coming down the side of the building, pressing too hard to my pen, but you get the idea. Just tessellate them a little bit, let them overlap with each other. But don't worry, I not perfect because they're not meant to be perfect in the first place. Let's go in and getting these extra additional blocks. That here, here, here, just some more blocks going in that we're getting there. We're certainly getting there in terms of the detailing. Let's flip back to these two houses here. We have to get these ones in as well. Here we have it just again, part of the bottom part of this roof top. Just join that up there. And straight line across the top coming downwards these buildings separated out by this fissure in the center of these windows. Let's just get in rectangles. Two rectangles, pretty simple. If you can draw a rectangle, you can draw a window, you can draw a house, you can draw bricks. Pretty much almost anything in this scene. There we have a front side of this doorway, essentially. Let's, let's put in the side bits as well like that. There are a lot of bits and pieces on the door. A couple of these signs, a little board bits and pieces. Again, I'm starting to go towards just grabbing the smaller pen for these little bricks just running down the side. If you have more time or if you want more detail, just spend a little bit more time drawing each of these little bricks. Okay, You can even change the size and like I've actually made them a bit bigger than the reference, than the reference photo. Look, what else do we have? I've forgotten this chimney on this rooftop. I'll get that in here. That the chimney with like a couple of these spots like that, the join up that rooftop here. This is just like the top of this building there as well. We can just start putting in, again, decor effect to indicate the roof tiles and stuff that building. Let me just go ahead and do pretty much the same thing as we did before with the other windows. Draw them in like that. It's just a rectangle. It's all it is. Other thinner pen which I can. Bring out the frames of the windows. A touch like that. But don't you just need that one pen really? At the end of the day there's a smaller window here. I'll just get that one in as well. Simplify that window down later. This is like the doorway here. Nice little doorway like a painting or something here or a large sign. I'm not sure. There's two more windows up to the top left of the building, two fairly large windows that this rectangular bit underneath the windows, that's going to help to create a shadow When you end up going in afterwards to get the shadow shapes, everything in the shadows will be done in water colors. We almost done with the drawing of the scene, But there are a few little things that I want to do before I actually start with the painting. Getting this little side part of that's like that little tree and the wall thing back there. Okay? Really what I want to do now, look at the buildings and think to myself, well, how can I further detail if I want to further detail. I've got myself a bunch of thicker liners, but I'll use a thinner one just here as well on the windows because I know there are parts of the windows that I haven't got in the frames and stuff like that. This can just help to bring out a little bit of detail I don't have to do to all of them, but just some of the windows. I do think that just having a bit, a bit of extra detail and really helps to bring out the scene. But on the other hand as well, you've got these sections that whole thought to just maybe leave it in with the water colors. But we can actually get in a little bit of that now. See little doorway there working on that. On the side of this boat, we have a little bit of darkness. You see that like stripe running there behind that boat as engine there, I can color that in underneath the boat. There's a bit of darkness as well, helps to anchor that boat to the water. Not only that helps to bring the boat out forwards more as well because we do have a lot of thick lines in here. And this pen is making a really thick line. As you can see, it can be used to bring out these boats. Touch that, just a quick little thing like that. You'd be surprised what you can imply here as well. The bottom part, This area, Okay. Just bringing forward, Bringing that forward a little bit. Rooftop, maybe some tiles and stuff as well because I'd missed some out before. Keep things consistent with the rest of the scene like these ones on the right. You see just keeping it consistent. Let's see, what else can we potentially do? I've still got, where is that pen, that thicker liner as well. We can look at things like windows. If you see here, this windows just got some darkness in it. You can already begin to just bring out some of that darkness in areas, not just darkness, but I guess sharper details, contrasts. But I don't want to do it to all of it because we do have a lot of color running through it. And using that color, we can also bring out those dark contrasts and things as well. So I really don't want to overdo it, but just showing you what I mean, see that you can get in these windows very quickly just with a few, few little quick movements. And if you don't have a thicker pen like this, you can just use a normal pen and then just color that area and it takes longer. That's why I like to use this pen. It's just easier to do. Okay. But you've got these figures here, people here. And I find that this helps to bring those people, those figures, out of the darkness of the light. Sorry, bit more here. Let's get the erasor here and get rid of all this pencil work. Okay, here's the scene just with all the pencil removed. And this gives me an opportunity to just again, go through and remodel parts of this to add little details, sharpness here and there. Just make it look the window frames, especially if you want to make some of these window frames look a bit more crisp and present, okay, a little bit more crisp in areas, just anything that you think you want to tidy up or potentially needs a touch of detail in here. This is a great time, a great time to do it, really because you don't have any other opportunities unless you wait right to the end to go in again and do it. Not just that, but you know the little bricks on this building as well. I've forgotten to get some of these in. Let's put some of these little bricks in. Okay. Kind of come down the bottom here as well. Joining up with other, other parts of the building that here. What do, what else do we have? We have some more here on the left, just some bits and pieces. Again, the ornamental bricks are quite like these. Actually, they give the buildings a really nice look. I want to make this consistent. Uh, running up the side of the building on this. Yeah. Okay. What else do we have? You know, there's a few bits and pieces for these other windows as well. This one here, that one there. The chimney chimneys need a little bit more, something on top like that. There we go. It's better. Even the top of the roof, these little bits of the tiles just implying the tiles. I will just detail a bit more here. I get a bit lazy doing these parts, but it's important to keep it consistent across the scenes. So I really want to just do it properly. See how things slowly start to come together Very slowly, but surely you can see just details emerge from all of this. But it's not even the start of it yet. We've got to put in the shadows a lot of details. But if you get the drawing right, the rest of it is honestly a piece of compared to the drawing. And I say that because even if you stuff up the painting that the drawing remains and gives everything structure. But having a look, what other areas can I potentially just get a bit of something? That dark window or something like that, there something there. This window might just want to get something like that in there. The boat is looking good. Do you want to see how I'm implying a bit of darkness behind the boat as well? This is just helping to bring it out more. Think there should be some few little lines here just indicate the sides of the boat. This section. The top part as well there. Okay. This mast as well looks great. Just trying to combine it on with a bit of that darkness. There's even a person, little figure here that's just walking. It's hard to see these figures that are just standing around like that. Here we are, some figures. I'm going over the top of them to help bring them forward to touch. Okay, make them come forwards a little. Let's have a look. What else could we potentially add on here? I'm thinking this is pretty decent for the drawing. Will probably add maybe some more details with the pen afterwards. Let's see how we go first with the painting. 7. Coastal Scene: First Wash: Okay, starting with the painting, let's go ahead and I will get in a mixture of this color, which is nacodone, gold and a bit of yellow ochre. Mainly just yellow ochre. You don't have Chacon. Yellow ochre is fine. I'm diluting this yellow ochre, about 90% water. And I'm going to paint the roof tops. Just all the roof tops because the rooftops are like a really nice yellow color. Okay. Like that nicely. Just paint that in. Now, the buildings are not exactly white, come to think of it, that they are like a slightly creamy white color. But I want to be careful with that and just make sure I don't overdo it by putting too much yellow in it. But let's go ahead and mix up. Now I've got the society a little bit of titanium white. Just mix a little bit of yellow, doesn't matter what it is. Just a really light wash of yellow, really light wash of yellow. And I'm putting lots and lots of water in there, is so much water. When you go over the buildings, you'll see that it's just a pale wash of yellow, of this naples yellow, creamy off white color. That's what we're looking for. Okay? It's something that you can just go over the entire building with. That's all you need to do. Don't think about it too much. Just color that building in, make sure it's that cream color. Look at that. It's just quick work. These windows and stuff at the doors at the bottom probably need a bit of something afterwards. But if you go to opaque, as you can see, it actually starts raising a bit of those lines. We have to be careful not to go too dark. A lot of water in here. Just so much water. 90% water. Even these ones to the left, there's too much paint in there. So I'm just going to lift a little bit of that paint to make it a touch lighter. Okay? Just drag the brush through and lift off like that. Same with these other ones here to the right. Look at that. Just bringing that color and introducing a little bit of that nice off white color through there. Okay, here we are. There we go. We got the pavement as well. The pavements even brighter. I don't even really want to touch that in a sense, but something like that, the boats are pretty much white, so I'll just leave them as is. Okay. But everything should look pretty pale as you can see here. There's really not a lot to go by right now. That's what we we don't want anything overwhelming at this stage, just light colors. I always start off with all the lighter yellow colors first because they're very easy to mix and accidentally turn green if you're not careful. Now moving down into the foreground, what you'll notice is that there are reflections of the buildings. I am going to imply a little bit of these running into the water. As you can see, just a little bit of this indication of the motion of this opaque white paint off, white paint running down. This will dry off actually, But in the meanwhile, I thought I might just put, let's put in a bit of brown for this house in the sense just something darker than the other ones. I want to keep it warm though. I'm not really worried about matching it exactly to the reference, but just having some look at that. You've been dropped in some darker paint in there to make it look like maybe the buildings age. There's a bit of granulation running through it. Look at that, it gives it some character. Makes it look a bit more interesting. There we have it just a bit more of that darker brown paint just drop through as well. It's just a brown ochre that I'm using. Something like that doesn't make a huge difference. But what that means is now I can bring a little bit of that down into the water area, like the reflection of it. Just to double down a little bit, I'm just mixing up some other color with it. So. A touch there. Okay, here again, just with some of these reflects light and also the reflection of the boat. The sail here as well needs to be in there. I'm just leaving a bit of white now. While this is drying and doing its thing for a bit, I'm going to go straight into the sky. I'm going to grab some su blue. More water, lots of water in there. Su blue, I want this to be quite thick. The good thing about cerulean blue is that it's such a light color that even if you mix, even if you just add a drop of water in there, it's still going to stay the same color anyway. The same value. Okay, I'm just wanting to get in a nice wash. Okay? Nice quick wash, all the same color. A flat wash, all the way through that sky. Okay. All the way through like that. Simple, without much effort. Don't overthink it. Just go ahead and make sure you cut around those rooftops as well. You want that blue to go in. If it mixes a little bit to the roof tops, it's no big deal. But if it goes all the way in, yeah, it's not going to look too good. There we are, Flatten out this wash a little bit. For some reason the blue sling blue that I use has bubbles up and makes these interesting patterns and stuff which I don't quite like. There are things that you can do like adding clouds as well. I like to add in a lot of a little bit of darkness at the top of the scene like that. A little bit of darker blue. It helps, it just helps to give the sky a little bit more depth. There are people you can just grab, for example, a bit of gray or something off the palette. And you can put in a cloud like that, just drop it in. You have a little cloud that don't want to overdo it. Something like that. Little cloud there, little one here. It's not in the reference but just showing you what you can do while the paper is still wet. We don't want to overdo it as well. Okay, good. Let's have a look. What else can we do now? Bit of green. Touch a green here for this bush to the left. I will have to darken it more later on, but this will do for now just to get in that background wash. Okay. Now moving down to the bottom part of the scene, this is where I want to work very carefully to get in some of these reflections of the buildings. Okay. What we'll do is pick up a bit of sullan blue, ultramarine blue. Mix them both together to get a slightly darker blue mix. Okay. What I'm going to do is I'm just going to go in, Let's just test it there first. It's not dark enough. Maybe here it's gone too far up. I don't want that to happen. Always have one of these little paper towels with you, save your life from time to time. As you saw just then, we can just drop this in and see happens because I want it to mix in a bit with this yellowy mix of paint. See how it's just combining a little bit in areas, but in other areas it's sharp really. At the moment, a lot of it's quite sharp. But I want to get this indication of indication of these reflections running through. This is, this is going to be a great way to do it. I have to keep trying to get it too dark as well. Okay, what do we have? We've got pits running down there. It's really quite simplified compared to the reference. You got the reflection of the boat as well underneath the boat. You've got some darkness here. That bit of darkness here underneath this one as well. You've got a bit of darkness for that boat of it starts to. Um, starts to lighten up a bit. Okay? Starts to lighten up a bit. The reflections of the doors, like the darker doorways and stuff like that. I'll probably have to go in with a bit of guash afterwards. Again, actually something like that. Just making sure that we've got a bit of the buildings reflected underneath. I guess that's the main story here. That's okay back here. Let's just again, bit of the bit of this water that you swap over to the little mop brush there. There's reflection in the door, I guess, and the rest of it is just kind of like reflections of the boats, the boat above. There's little bits that cut over and join up the lighter spots as well. But remember, yeah, leave some of that reflection here underneath that's looking pretty decent, I think. Now, what I want to do is work on this shadow. You see that it's shadows running across the scene and a few different places on the building, for example. Okay, I want to do it probably with a smaller flat brush. Say say flat brush because it's just going to give me that nice, crisp edge for the shadow. Before I do, actually, I want to get some little bit of color in for the boats. I've just forgotten. But there should be some blue in there on the boats as well. Just like reflected up white into the boats like this here as well. What's this up here as well? Okay, just join that on bit with the water and come back to that later. You tend to find this I tend to find this anywhere that I just tend to miss out on some spots. Like even here, the pavement, walkway. And you have to come back and do it again. Let's mix up a shadow color, salasly grayish color. But I want to add in a bit of purple, touch of purple. Many purples, really? I've got five different purples here. It's not a big deal. I want to mix up a fair bit of it and also a bit of neutral tint on the side and a bit of brown in there as well, just to give it a slightly down look. Now, a bit of a test. Let's go on to the edge of this one comes the angle of the shadow comes in like this. It just reminds me before I forget to get in a little bit of light blue for the windows. Whatever it could be t it could be anything. Just a coolness into some of the white areas here because it reflects the sky. Okay. Just a little bit of something. This is like a lavender, lilac color. I just want to use something different in here. Okay? Because once you actually, once you get the shadow in, it can be difficult to bring it back, Even the doorways and stuff like that. Here you notice that some of them have this nice a bit of a cooler color in them. It works well given that the scene has a lot of yellows in it, the houses have a lot of yellows in it. For example, this doorway, there's like a bit of brown here. I need to put some of this stuff in as well. Just a bit reddish brown to indicate that. Okay. If I want to preserve that part of the scene. I do like that actually. It's quite nice. Okay, let's go ahead. This shadow that's dried and I've realized that's probably a bit too dark. That wash a little bit seems to have made too much of a difference. But let's, this is the tricky part. You're going to need to make this a bit darker and anticipate how it will dry. Okay, so where does this end? This end right here. Stop it there. And then carry this shadow shape on here like that. Okay? Carry that onto this side and see how I'm just getting in these little, the shadow of the tiles even of the rooftop. Okay. Okay, Bit more purple maybe in there just to change it up a bit. Maybe maybe brown perhaps could help as well. Okay, that's pretty dark shadow, but I'm thinking it will probably dry lighter. And if it doesn't, doesn't matter. Anyway, it's still quite a nice high contrast shadow that we can go by. Okay, now again, following this pattern of the shadows running downwards, okay, From the top left down to the bottom right hand corner. Okay. You've got this door under shadow as well. Let's have a look here. There is another, you know, shadow running like this on this building and just underneath the tops like this as well. Yeah, sharp shadows. You do get also one here underneath this bit of the window like that, that these little tiny parts there. This section here also has a shadow that just runs like this, look at that just melts into the door area as well. Okay, try to get a bit of this shadow onto the window as well, leaving a bit of that blue carried across now to this building in the center. And you'll notice that the shadow of this one is actually considerably darker than the rest, but I am not going to make it too much. I don't want there to be just a superstar contrast just enough, but something like that. Okay, this window, well let's have a look. This area needs to be darker in here. Do as well like that bit of shadow for this building here as well. Like this. I just want to lighten, lighten and make some inconsistencies in the shadow as well. Okay? All the shadows underneath these windows in here as well. Behind the boat there, hopefully bringing out the details of the boat, a little bit of this last building to the right. We need to make this darkness there. And then across the top and down like this. Okay, there we have it. Good. Just connect this as well, this shadow for the chimney, that these chimneys as well, maybe a bit of a dry off. 8. Coastal Scene: Second Wash: Okay, now that everything has dried, I want to go ahead and put in some really dark finishing touches to this scene. And what I'm going to do is probably pick up some neutral tint. Really just pure neutral tint with a bit of water added to it. And what we can do is we can find the areas of our painting, find the areas of complete darkness and emphasize them a bit more. For example, this window here, I can just go in and just touch, just dry off that brush a little bit. Touch that on like this to get in a bit of a tiny bit of detail for that window. I'm using the edge of that brush, it creates a nice crisp line. And we're talking about really the darkest elements of our painting. And remember to dry your brush off while you're doing this and use the edges of the brush as well. I also just be mindful not to overdo it, but just things like detailing, little detailing of the door. Look at that. See how there's like tiny bits of bits and pieces in the door that I can just draw out that thing. I mean, it makes a huge difference to the finished product because at the end of the day, we've eliminated a lot of detail from this scene. We need to bring another dimension of it back. And I think for me anyway, what always helps is that last finishing touch, you've got all these really dark colors, okay? All the colors, the rest of the colors pop out better of other finishing touches as well. Not just this, but through some of those afterwards. But see, look at these little section here up on the roof tops. See, I'm just flicking that brush in and catching a bit of the paint on areas of, on some of the roof tiles like that. Okay? In the things well, this chimney top as well, that just fitting around a little bit here and there and getting in a few little darker spots. Okay. This brush is actually a bit too thick to imply tiny, small, little details, but it makes it look a bit more interesting in my opinion. If I start getting in with a teeny little brush, I find that you can at times work the think a larger brush like this, surprisingly does the trick. What do you call these little stones that are coming out the sides of the wall or whatever as well. And see how I can just imply that with a few quick little brush strokes, drawing is so important and that's what it is. Essentially, when you're painting drawing, you're making marks on the page, whether you're using a pen or whether you're using a brush. Both both very translatable skills. Okay, got that first house. A little bit of something in there. I want to put in like some darkness here to the left, little tree or whatever. A bit of green and a bit of neutral tint. Okay. Just to out the house more. Okay, Just carving out that house a little bit to the right. I mean, get really dark in some spots as well, but let some of that green or whatever just peek through. Don't color it all in. That's one biggest thing you got to remember with water color. You got to leave, you're going to leave out those lighter colors. If you don't leave them out, you end up making everything look the same, flat, boring color. These little bricks going to be the end of me. But notice how there's little shadows underneath the bricks. Let's just do that. Let's just put underneath each of these bricks there teeny little shadow on the bottom and on the right hand side. Let's just in, just entertain this for a bit. Okay that. What's going on with these ones? Yeah. Same sort of deal underneath that, these little details. They only look good when the rest of the when the rest a scene, the bigger picture stuff has been taken care of. A bit of that same grayish color, aren't they? But I don't want them to stick out too much. Just a little bit of color in there and you're good to go. Okay. You can just leave that previous wash in for some of them as well. Don't color them all in the same, same color. Okay, got that little round brush and I've got the little round brush now. Little round with this, a little bit detailing. See the windows and this thing here, and the top part of that building there. And in here, putting that in a bit more, there's tiny little details that you can just start to put in that doorway, that darkness underneath the doorway. Whoops, It's no good. I've gone too far up doorway. Just reshape it a bit of reshaping as well. That's why you don't spend too much time on the drawing. You make it accurate and what have you. But a lot of this stuff is done afterwards as well. As you can see, look what do we do? This one, just a bit of darkness again in the window, window frames underneath here, there should be some extra darkness. U, I want to just get a grayish color running through the center. Oops, that's way too dark. It's not helping. Something like that. There we are just a grayish color running underneath in there. There's something about using this flat brush when I'm getting in these sharper details. For some reason. At some reason it just looks better than when I use the round brush. A little round brush and I think it's because I'm just not, I'm just not getting obsessed with all the little details like you just touch and go like this and it ends up working again. These little rocks and things coming out the side of this. Just doing the same little detailing as you would anyhow. A lot of darkness actually in this area of the door. Just to emphasize that, a bit more like that. There we are. What else do we have in here? Just darken some of this edge as well. Just at the end of the day, you are trying to create the highest level of contrast in some spots like this area here, we've got those trees behind. That. Extra contrast is going to make that light pop out. Same with these blue bits of light on the windows. Little bits of darkness on the windows and stuff like that. It does make a huge difference later on. Okay, good. Now, in the water, I've noticed that there's some areas that are actually darker. They have not implied that yet, so I'm going to pick up a bit of ultramarine blue. Mix that in with neutral tint. Okay, let's go for it here. Look at that. That's pretty dark. Okay, the boat as well, but it kind of like blends out a little bit as well. It's not just just a bit of extra darkness underneath the boat. Underneath this one, is this part of the foot path here we I've got to be so careful. I'm not eliminating that light though. That's why I'm playing it safe here. Feather out a little bit as well. Why not just feather that out a little bit? Here in the base as well is actually more darkness in this section. This extra layer, I'm hoping is going to bring out a bit more depth in the water. Bring it forward, give it more strength, especially near the front where I desperately think it desperately needs a bit more going on there. But also you've got things like door frame, that's like casting a reflection in the water because it's so it's quite dark there in the background you see little things like in there. Just a bit of a reflection. But I want to just make it very subtle. Too much going on. Just like that, it makes sense. But at the same time it's, it's not all over the place, removing all the light. Because I'm going to have to bring back a little bit of that light with some gush. I have to do it. It's just what I end up doing at the end of all my paintings. Of course, you can't forget this big bush out in the back there casting a bit of reflection downwards, this one as well. You can probably not at all in the same style before, but sometimes I just grab the rush and just pull that down. And you can get a reflection as well that looks good. It's important that the reflections make sense that they are indicating an object in the background to do. But when done well, it emphasizes, it really brings a lot of detail and depth in your painting. I think I'll have to actually bring back a bit of in a moment that looks decent for now. Let's have a look. What can we do? There's actually, there's a little bit of gray like here in the sidewalk. It just goes behind the boat. Even like that areas here as well that good Right now we're just putting on the final little finishing touches of everything The boat itself I'm wanting to put on. Just thinking, should I leave this white? The mast. I think I'll leave the, I think I'll leave the mast white. I was going to color it brown or something like that, but I'll leave it white and bring some of it back with some guash. But what you do get is a bit of, we call it something going up there. It's not a huge deal because we can actually just skip over parts of the paper. Like that looks a little bit better. It's almost like the sun, the lights just catching on to touch. Yeah, it looks better. Good. A little bit of color for the figures and bits and pieces, like a bit of orange maybe for this person's shirt. This is your opportunity, I guess, bring a bit of color into the faces of the figures. I'll just put on a bit of red, the faces. That tends to help just identify where they are, but it's not necessary. This one could be just some blue color. This one here could do with just thinking this lavender, that it's nice lavender. This person too on the boat. Bit of lavender color the feet, legs. Just color that. Walking along probably should do a little indication of a shadow or something as well. Underneath them there, a little bit of a tiny bit of his shadow. Nothing too serious. Okay, good. All right. So let's, let's bring back some light. Like I was mentioned before, really likes to just touch things. Touch things up. And that's really after you've done, like I said, a little fidgety stuff like this where you're flicking around and just putting in a bit of darker details. Okay. You can always do more of this afterwards as well with the pen. It's not like you have to just get it all done straight away. Okay, Now I'll just use some fresh squash. White squash. Really squeeze it out, palette like that. Now use this in two ways. Straight from the tube or you can use it mixed with a bit of yellow. Do both. Firstly, I will pick up just the white itself because once I mix that yellow, it's just going to change to an off white color. Do everything I can first with the white, pure white color. It needs a little bit of water to activate. By the way, mix in a touch, a little bit of water in there. Okay, and we have a look, what do we have? Well, we've got this boat, we've lost some of that white, so let's bring it back. Bring some of that white back on the boat. You've got to do this in such a way that you've got to be careful that you're not overdoing it. Okay, that's this mast I'm going to bring up. I said I was going to do it in white before you've got connecting it as well. Okay, good, good. This boat here. Yeah, it's looking pretty good already, but I just have lost the top of the white bit on the top here. It's so easy just to bring it back with a bit of white. Okay. Rather than ruin a good wash. I like to just do this, okay? Where they're a bit of light, where they're walking, can have things like on the windows, like a little touch of these little sparkles just appear. The edges of window frames and things like that, you get on top of the figures as well. You see this person just walking, will have a bit of light in the shoulders and like the head of this person in the back, the head of this person as well. Just touch and go in areas and running out of water here, just going to really wet that a little bit. But as you can see, that just brings back this beautiful sparkle into things. When you need it, you've got to figure out where to balance it off as well, like how much is too much. It's easy to answer that once you've gone too far. But when you're doing what I'm doing at the moment, it all feels good until it starts becoming overwhelming. Just do what I'm doing with light touches on top of areas that you think might catch a bit of light. I'm saying just on top of the windows and edges of the buildings and stuff like that, you might get a little bit of that sparkle. Now, the water, this is where I need to play around a bit with this squash and start to bring back a touch of that water. For some parts like here for instance, there's some more of this reflection of the boat. You see that reflection of that boat is white. There needs to be some extra white in here. Not just that, but for the mast as well. You noticed I changed the color of that mast to white. You're going to have this reflection of the mast running down into the, running down. And same with this part of the boat. There's like a bit of white on the top there, so I have to get that reflection of it in the water. Okay, just a loose reflection. It's nothing too serious, but yeah, just feather it out. Feather it out a little bit bit more water. Actually, you can see how if you're not careful, it starts turning to yellow, which is fine. But I've tried to save a lot of that white bits down here. Need to do too much is some reflection up there as well. You might have a sparkle, little bits of sparkle on the water like that. Why not sparkle here and there? Once you're done with all this white, I'm beginning to think we are, we can really start to think about were there any other reflections I want to put in there now. A bit of yellow in the gas. Just going to dry this off a little bit. Let's just have a look at something. For example, this section here maybe like a downward building. A little bit of that background building just reflected in the water. I'm going to just rub that a little bit with my hand to subdue it. A touch not too obvious, but you can bring back a little bit of the reflection of the building in the background. Okay. Again, you've got to do this very sparingly. It's so easy to go overboard and end up with a mess, an absolute mess. And you'll be, you won't be very happy with it. I think this is probably the best way to go side to side strokes as I'm doing here, To just indicate a little reflection that's coming through the top, indicating the building above, even here. Just join that on like that, nicely sparingly, just using these brush strokes. Incredibly sparingly, because it's so easy to overdo it. Done, right? It is a lifesaver. It takes your water colors to another level because it's very hard to bring back white light colors in water color. It's almost impossible really. But with, gosh, you can do that. Not only that, it gives it a different feel, more substantial fuel in a way I don't know how to explain it. Look at that is coming together, I think. Okay, What else do we have to do? A little bit of this board there, a little bits of the boat details. But apart from that, we're looking quite good at the moment. This boat also has some little bits of things running around the side, details, a bit of quash on the roof top areas as well, just indicating like a bit of light being captured as well on the edges. This is what I like doing, just emphasizing some of this stuff and changing it up a bit from the reference. Oh, there's like a, you know, like a little line, not done that very well, but where the boat connects up with the area but it doesn't matter. Should just be like one quick little line like that. But I might probably just forego that for now. You can just soften areas as well. A bit of water on the brush and just like rub the paper and you can soften edges like this. So some parts, this is great because you can bring back a soft feeling in the water. It almost appears that like there are some softer waves or softer reflections in the water. Having both of them together looks fantastic. Yeah, just basically a bit of clean water in a bit of tissue paper like this. I just want to soften part of this as well. There's too much light and stuff going on in there. Touch of that, Okay. Even here, we can bring back a bit of something. Yeah, here it's always good to split up these darker sections of it and have some light running through or something like that. Okay. Anything you want to do to kind of light, if you want to lighten up a section, just drop a bit of water into it like I'm doing here. Just lift off with the brush with a bit of paper, you instantly get a little bit of delight. A little bit of delight, much. Okay, and I'll call this one finished.