Simple Street Scenes in Watercolor

1. Introduction: Hi, and welcome to simple street scenes in watercolor. In this class, I'll show you how to sketch and paint four different street scenes in a loose and impressionistic style. I run through all the techniques I'm using, such as wet and wet and wet and dry. And I'll show you how to simplify and sketch a street scene in pencil. I also have a whole bunch of preliminary exercises that will help you to figure out how to draw and paint buildings and other common subjects in a street scene. This class is aimed towards beginners with four full street scene demonstrations, which I'll help guide you through step-by-step. There are scans, drawing, and tracing templates included for each demonstration to help you transfer your drawing over quickly and easily. However, I do recommend that you follow along and draw with me in the demonstrations as this is going to improve your composition and drawing skills. In this class, I narrate my demonstrations in real-time and explain every technique I used in the context of the painting, such as layering into wet areas to paint skies, trees, and buildings. I'll share what materials you need and which ones are used and recommend. If you have some brushes, watercolor, paints, and paper, then you're set to go. So join me in this class and let's create some beautiful watercolor street scenes that you can be proud of. 2. Materials Required: So I want to talk a little bit about materials, what you're going to need for this course. So as you can see in front of me, I have got a couple of paintings from this class. And you find that a lot of the paper that I use, it tends to be either rough or medium textured paper. This stuff is medium textured paper, so it has a bit of a grain to it. So when you look at it from an angle, it's kinda hard to see here on the camera, but it's basically got a texture, it's got a rougher texture. I tend to use this type of paper because it creates more interesting brushstrokes. Especially when you're doing dry brush here with the paintbrush, skips over the paper like that. So you can see you can get this nice sporadic like effects. And also the colors tend to mix a lot more evenly on the paper, especially when using wet and wet techniques. So having a paper with some kind of texture, like cold press medium texture is fantastic. So this stuff is a 100% cotton paper as well. I do recommend getting some of that if you have the ability to get some of that because it's just going to make your wet-in-wet watercolor work a lot easier. However, if you've got cellulose or other types of watercolor paper, that's fine as well. Just remember that when you're layering, be careful not to add too much water because it can upset the previous layers. So anyway, those are the paints, sort of the paper that I'm using. Let's talk a bit about paints. So this here is the palette that I use and it's, it looks like it really needs a clean. But funny enough, I barely ever clean it and things tend to work out. Okay. As long as I keep the cool colors and warm colors separate. So as you can see, I've really arrange these from cool to warm to cool, or basically lighter to darker colors. So I've got a yellow hansa yellow medium here. I've got yellow ocher. I've got a power orange, power red. I've got a connected and orange here. I've got a bit of titanium, white. This is cerulean blue, lavender, a bit of teal, ultramarine blue. I've got a couple of earth and colors here. So burnt sienna and burnt umber. Here's a bit of green. And these are basically just purples and neutral tint. You don't need all of these colors as long as you have a yellow. And I recommend maybe a more subdued yellow like a yellow ocher. If you've got a red and you've got maybe a couple of blues such as the cerulean blue, which is grateful skylight colors. If you don't have that, you can just use an ultramarine blue and water it down and that will create a really light wash for the sky. But I think cerulean blue is probably more important to have than ultramarine blue is more important to have a cerulean blue because you're going to be able to mix a lot more colors and get those nice, juicy dark colors if you're using ultramarine. This color here, which is a bit of neutral tint that's really good for mixing together with any of the other colors to create a slightly darker mix. You can also use it straight by itself as well. And that just creates really, really dark contrasts in your sin. So if I were to recommend any paints, I just recommend you getting mainly your primary paints may be a bit of cerulean blue if you can. Neutral tint is also really good. It's a convenience kind of color. I also use a little bit of white gouache. This is what it looks like. It's basically an opaque watercolor. So I use that in the end to get in some highlights or sometimes mix it in with a bit of blue as well to create just some little splashes of blue here and there. Just show you an example of where I've used gouache. And for example, right here you can see all these little white, quick little white brush strokes here and there. They're actually used. I should put these in right at the end with some white gouache. It helps you recover some of those highlights rather than have to. While you're painting, focus too much on trying to, trying to cut around things. Here's another example with the other painting I have here, little splashes of blue here and there. They could indicate windows, bits and pieces here on the head and the shoulders of these figures to indicate light bouncing off those figures as well. So it really makes it quite easy to bring back a splash of light right at the end. I mean, here is, that's just the white of the paper. And I've just cut around using watercolors, but where it's not possible. Or maybe you just want to get in a more even wash. I tend to put in the white gouache. So I think it's important if you have some of that, it really brings your scene to life. And here are some of the paint brushes that I use now only use four brushes really in this scene, if not probably three brushes. I've got these brushes here. These are mop brushes. And mop brushes are basically brushes that have a larger belly. They hold a lot of paint. They, they, they basically wash brushes. So compared to this one here on the right, you can see it's kind of like a smaller belly. It's synthetic, doesn't pick up too much water. This is great for detailing. I use this one to put in things like figures, little bits of that gouache, some of the windows, details of the windows. But when you're talking about all these larger areas, these large areas of shadows, yellow on the buildings, sky, the ground. These brushes to the left of really important. So you want to look for a brush that's large enough. If you don't have a mop brush, you can use just a large brush and that will do the same thing. So you want to get a brush that's basically large enough for the beat of paper that you're working on. I'm using a 1 eighth sheet here. So usually this mop brush here, which is a three slash 0, I kept tends to cover most of these buildings very well. If I use this one, I'd probably get away with it, but it just takes a bit longer. And if I use this one, that probably can work as well, but I'm just going to be a bit more careful in terms of when I'm cutting around and things that we're going to really large brush. You do find that it's hard sometimes to detail those little bits and pieces when you're cutting around. Okay, so those are the brushes that you're going to need. Of course, there's other brushes, specialty brushes that you can get. But this one here is just an old brush that I, that I have and I use that I sort of whack it into the palette and sometimes I use that to create a textured tree shape. But you really don't need too many brushes. In fact, two brushes if you've got a large mop brush to cover most of those areas and then you've got a smaller round brush. You can really do a lot. 3. Exercise: Drawing: Alrighty. So I want to go through some basics of drawing a street scene. And I think this is gonna be very useful for you because often when we look at the street scenes, we just see so much complexity. And often when I started out trying to draw and paint these, just overwhelming. So I'm going to show you how to recognize simple shapes. And I'm just sort of break a seam down into these shapes so that it's less daunting for you to draw. So the first thing I do in a scene is I look at how to separate the sky from the Earth. In this particular scene, it's actually a little, it's quite a complex. You've got mountains in the background. Again, if we look at that scene, mountains touch roughly about midway. So if we see the road, the road sort of starts all the way back there. But there's a line almost cutting the scene halfway. And then you've got some mountains coming down like this. Okay? We will look at ways to draw the most simplest divisions and the simplest shapes. I start with the simplest divisions. And that for me is the horizon line or just where I can see separations between the, the background mountains and the road or the sky and the mountains, that sort of thing. So once you have that in, the rest of it is simpler, I'm going to show you another trick that I use. So if we look here at the scene, we have a whole kind of rows of these houses and buildings and shops and stuff like that. And if we look at this one here on the right-hand side, notice it's a box shape. If you just picture things as shapes, then you won't have to think of them as buildings. Look at how you can simplify it down so we know that it kinda comes out like this, okay, there's a bit of sky left there. So that's kinda like the side of that building. So that's like a rectangular shape like that. Just a rectangular shape coming down like that. There we go. We've got other shapes here. This is like another, we can pick out another rectangular shape here. And some other shops in front like this. But that's another rectangular shape. Notice the sun's coming from the left. So you're going to have darkness here on that side of the building. Alright? So everything that you draw, you look at the ways you can simplify it down. I mean, this is just, I'm doing the same thing here. Another another box could be a cereal box, doesn't matter. Okay? So we've got that in. We can just keep repeating essentially this process. You can of course, simplify it down and not include all of the buildings. Actually, this one should be a tiny bit taller maybe like here. It's okay. There. That's another building side of it like that. The kinda like cereal boxes, if you look at them, kinda like large cereal boxes next to each other. Okay. Then there's another one here side of that building like that. Okay? And then they just get smaller and the repeating shapes like that, they're just repeating shapes as they go into the distance and eventually disappear off into who knows what. In the background you've got these little trees and stuff like that all over the place. You've got the road that comes in here. You've got a car here as well near the front. Okay. And look at the car, look at how I simplify that down as well. The top of the car, like a rectangle, but it tapers in more at the top. The base of the card is, it's like a rectangle shape. The front of the car, the lights here. Okay. Kind of round shapes. The wheels, the tires, kind of like these little squares at the bottom that connect up. Okay. Can you guys see the side of the car as well there but it doesn't matter. Got this large shadow that just comes in to the side like that near these buildings. You've also got this curb that runs like that. Okay. Another kind of rectangular shape here you're looking at drawing the shapes, trying to draw the shapes. These poles are just some lines that go up and the poles gets smaller and smaller as you move into the distance. And they got these kind of circular Bowlby things on top like that. Okay, I'm going to simplify this down. I won't get this perspective is actually quite tricky on this one. But what we'll do is just make the cars in the background a little bit smaller, a little bit smaller. And have another car maybe over here as well. There. Let's make it look like there's a road that goes off into the distance. But I'm not going to go, not going to put too much emphasis on that. Good. So they have it. You've got a very simple street scene that you've drawn in roughly a few minutes. And you've got the basic elements here. You've got these buildings, they're just these boxes. Really. Remember a, a drawing. It's just a plan for your painting. It's not for you to get all the details in and spend all day struggling to work it out, just to give you a bit of a blueprint for your painting. But look at that. Even the cars shapes that just as rectangular shapes of the pack, circles for the bulbs. Let's have a look. What else? You could have bits of tree coming in from the side there. But it's mainly these rectangular bits of the buildings that I really want to draw your attention to. Okay, because at the end of the day, once you finish your painting, once you start painting, even these are the shapes that are really going to identify what's going on in your painting. And so it's important to make sure, especially these man-made, man-made shapes, objects. You roughly accurate with the shape. You a bit more rigid with some of these man-made shapes. Okay? But simple. 4. Exercise: Color and Tone: We're going to be talking a bit about color and also light and shadow. And these things are linked. And it's easier than you think. It is actually because when often we think of color, we think of millions of different colors. Which ones to use? Blues and browns and yellow, is it red? Is it light green? But the way I think of colors is simply in terms of whether that color is warm or whether that color is cool. So an example is in the scene. We have all this light and the light bounces off the sides of the buildings in the background. The sky, most of the light peers, okay, if it's not in the sky, appears to be warm, I want to say a warm, I mean, approximating more like the oranges, the yellows, the reds and the color spectrum. That's what we need to know. So you pick up the color and I'm going to just pick up bit of red, a bit of red and a bit of brown here. Okay. She's a smaller brush, be better. Brown. You can even use a bit of yellow stripe that in and just put in some of that color doesn't have to be perfect. It just has to be a warm color. I'm using all kinds of weird warm colors in here just to highlight the fact that it doesn't really matter. The most important thing to remember is the color consistency. We don't want to put too much of a concentration of paint in here. So all this paint I've laid in here, it's mostly just water, 80% water, 20 per cent paint, or even ten per cent paint really. Okay. I can just call that all in yellow. More yellow as I come down here, even more in here, more in here. Okay. Trying to do this quickly to just like this ONE there and you can see it even out into the background. It's very subtle, just yellow in the hills, that area there. It doesn't matter. It doesn't matter. Into the ground as well. We can put it in a bit of this yellow. And what you notice is also part of this ground is actually a little bit darker. You see it's kind of like a grayish color. So I'm dropping in a tiny bit of gray here. Okay. On top of the warmth. But most of it, I just want it to be yellow ish. Okay. And just work my way down here and have some of it just blend onto this, this gray at the end like that. Okay, simple. For the sky. We're looking at the sky as a cool color. And when talking about cool colors with Potomac colors that approximate the blue side of the color spectrum. Blue and purple, east side, even dark greens, blueish greens. Okay. But this is just a bit of cerulean blue, which is like a greenish blue. But it doesn't matter, it's a cool color. I could pick up and even a bit of this color here, which is ultramarine blue, and drop it in as long as it's light. It's light blue. By diluting it down a lot, we're going to be fine. Okay. So that's the first wash. And notice how we've gotten some of the, the warm colors here for the buildings, the background, even for the cars and the roads, bit of warmth, like a warm gray color in the sky. That's about the only cool color we've gotten. Maybe the ground has a slightly cooler tinge to it only because we've got some grayish blue color in there mixed in with some of this yellow. But most of it's just all the warmth. And the warmth here, especially in a daytime urban landscape, street scene like this, that basically represents the light, the light on the buildings. So it's important to keep it very light and it just looks funny at the moment, but that's because it's unfinished. We're not even halfway through the painting yet. So it's important at this stage to just let it dry, let it do its thing, and come back to it. 5. Exercise: Shadows: Now that we have the lighting, we're going to simplify this down and we're going to put in the shadows. Let's look at the scene. Where are the shadows? Well, refers you can look at the shadows and the buildings. We can sort of lumped shadows and darker areas together. But the darkness, the shadows on that side of the building. We've got the light hitting this side and then sort of casting a shadow on the right-hand side of the buildings. So all of these buildings have that sort of shadow pattern. You've got a big shadow here on the ground as well, covering that car. We've got these light poles and then are in shadow, but they're very dark. They even darker than the shadows here on the buildings. And then we've got some of these darker trees and stuff out in the back, some of the cars. Okay, so those are all the shadows. And first thing we're gonna do is just what we've gone through together. Identify them first. And then what we wanna do is pick up a color, dark color. Usually I use a cool color. And remember, cool color is something that approximates the blue, purple east side of the color spectrum. I want to mix up and not enough of this paint. So I don't have to keep going back to it. So I'm just really mixing a bit of purple, bit of black in here. Maybe some brown would be good. I've got some brown here that warms up that color so that it's a bit of a warmer gray mix. Just drop that in here. And again, I'm simplifying this down for you guys just to make sure we focus on what's important. And this is a shadow on that side of the building. Okay, there we go. That's all. One big shadow. There. We've even got ones here on this side of the building. Here. That one there. Maybe a bit here. Just cutting around. Okay. We've got a shadow here as well. Just putting this this morning. And remember we have to cut around those bits of lights on the buildings. We don't want to go over the top of those light areas of the buildings. You can see even some of these light poles and things like that. Sometimes you can just cut around them a touch as well. If you miss it, don't worry, you can always get it in with some gouache later. As we go into the back. Same deal. Look at that. Just darkening down that shadow with that same color. More here. There's even a large building that's just darker off in the distance. And a little trick I do sometimes as well, which just makes sure that color in the background is, is it's dark, but it gets almost slightly lighter off in the distance. That helps with the perspective of the scene. Okay, so we've got all this stuff in here. We've got this large shadow here in the foreground. It's very dark. And notice how I've mixed up so much paint before and it's really helped. It's really, really helped. Okay. So just kinda covers that car, leave bit of that windscreen maybe. And look at that, just this blanket of darkness going all the way across and casting that shadow here in the foreground like that. Okay, Good. Underneath the cars, look at that. You've even got a bit of shadow underneath the cause they're just like this. They're the wheels just joining up like that. And you can even make some up, make some other cars app or something, bits and pieces there. Okay. You can start putting in the darkness on these poles, little poles that just run down. Okay. Just remember they're pretty dark as well and they get smaller as you go into the background. Simple, simplified pose. Little shadows running to that right-hand side of the poles as well. Not much, but just a quick little thing like that. Okay. The ground is also a little bit darker. I can just add in a bit of extra darkness in there. Okay. It's good to have a lookout in the back. Some more cars or what have you here in the distance. Just I'm just making this up. Some cars here in the distance they get smaller. And then we've got trees which are kinda this subdued green. And I'm just picking up a bit of this darker green and just dropping that in and look at that concentration of paint. It's really a lot of paint compared to water. So compared to what we were doing before and the sides of the buildings and what have you. This is just This is just really dark. And this is something you really have to have to remember. Because you need to have both the light and dark sections of your painting. And I'm in here because that's what creates that sense of depth. Because if you're missing out on some of that darkness, it's just going to look the whole paintings just going to look quite pale. So I can go ahead and start also putting in some literal. It's here on the sides of the buildings. For example. We might have some of these little windows here. It's a little dry brush. Dry brush is just when you pick up bit of paint dried on a, on a paper towel or something, and then use it to create these little marks on the paper. These are just basically indications of windows and stuff. I'm really doing this quickly normally I'd spent a little bit more time on it. But look at that just a few brush strokes and you can already start to indicate windows on these buildings. Start to stick out and then look more like buildings now that you drop in that darkness in there. Even the door frames, all kinds of things in here. You can just kind of indicate even on top of the building, sometimes you might get bits of bits and pieces like these. Little details and separations on this building. There's something up the top there under the roof. Look at that. Have a bit of fun and experiment around with this. Just darken off the bottom of that car bit more and also this one dark enough, that bottom bit of the car That's shadow there. Okay. Okay. This perspective of the road to running through like that. Okay. So you can see just this and it's very simplified, very simplified. But what we've gone through is we've got all the light colors in, which are basically the warm colors. A little bit of coolness for the sky, but mainly just warmth using a lot of water mixed in with paint. And that's the key there using only ten per cent paint so that it preserves that light. Let it dry and go over the top with that second wash. That second wash is for all the shadows and all the dark areas. Sometimes you use a third wash. I do often use a third wash, which is not really a wash, but just finishing touches, adding in some of these little bits of darkness and finishing touches, details, little bits of lights on top of cars and stuff like that. Okay. But if you remember colors in terms of just warm and cool colors, you don't have to worry much about exactly what color you are using. As a beginner, I think it's easier to actually focus on fewer colors. I always recommend people to stick with about three to six colors when you're starting out. Because it can get overwhelming. And I think the most important thing is to focus on tone. Because if you focus on tone, and that's how you're able to get this sense of depth, this sense of perspective in your scene, this light and the dark. Okay, even if you use one color. 6. Exercise: Figures: I always start off by drawing the heads. And if you see here, I'm starting off with a longer, almost a rectangular shaped, oval type shape for the head. I always draw that head in. And what I do from here is that I start putting in the body. So you've got the body here. In this particular case, I'm just getting in a rectangular, almost a rectangular shape here for the body, I've made the bottom a little bit larger. And what you can do, you can start putting in maybe some sleeves here and a couple of arms coming down like this. A couple of hands like this. Very, very simple. I'm not really putting in much detail here, but you can see I've started out with a bit of a general shape for the head as a rectangular slash. Ovalis shape. Come in there with a rectangular shape for the torso, the body, the arms. Just put them in there and then the hands I've just put in a kind of a circular shape. Then I've ended up putting a point at the end of that circular shape to indicate the hands. Now for the legs, I just kinda put them in almost as if they are these triangular shapes like this. Just two triangles coming down. And for this particular scene, it could be a person walking towards us. So there could be walking away. Where you put the hair as well, makes a difference if you've got the hair all the way towards the back, made a bit of a ponytail, something that person may look like they're walking into the distance rather than towards us. So I think the hair placement is important. You can make that figure look like they're walking either direction. Also, you might have a situation where there could be carrying a bag or something like that under the arms. So you can indicate something like that as well. And that person looks more like they're walking into the scene. And of course, maybe a little shadow here on the ground, I think is always a good, little good idea. So really simple figure there are, I guess walking into the distance. And what I'm gonna do now is have a figure walking maybe to the left. So the, you notice with this figure here standing up right now when you've got people that are walking or even running to the left or running to the right. You notice what happens is at the head of that figure would tilt slightly in the direction that they're walking or running. So for example, you might have a figure that is walking towards the left. And I'll start with the head. You've got the head on a bit of a slant like that. And I'm gonna go in and just get in the shoulder like that. Maybe that's the bag back and then maybe this person's got a backpack or something like this, just holding onto a backpack there. And let's have a look. We can just get in that channel general sort of body shape like this, the torso. And I usually make the bottom a little bit larger. And then what we can do is that I can just put in a leg that runs almost, almost forwards from where the head, the head is. So you can see here these triangular, almost this triangular shape as well. Okay? So one leg going forwards, then we can get one leg going backwards like this. Okay. So in that sense, it looks like that person is sort of moving through the same. Sometimes you might have the arm out to the side there. You can even make it look like they're holding onto something like a phone or who knows, having a look at a phone or you can have the other arm in here as well. Okay. Look like they're doing something. But there we go. Another figure sort of walk into the left, put in a little bit of hair for that figure as well. Like that. Same thing goes if you're drawing a figure, walk into that right-hand side, just like that. You got to lay coming out the front, maybe a leg going out the back. Oops. Leg going out the back like that. Okay. Walking in that sort of right direction though this figure looks like they're walking into the scene and going towards the right. So really the position of the heads really quite important. You can even have a person that's standing on this side and just kinda waiting, perhaps just standing here. I use just joined the legs together, just like that. And whether you want to put in an arm or something, just maybe two figures here just standing and talking to each other. This is also a good little demonstration of that the heads are tilted slightly towards each other. As people talk to each other, their heads tend to tilt in the direction of who they're talking to. But you can tell that they're also just standing upright. It's a kind of a side view of that person. So those are a few little things you can do. I also look at how I can just detail the figure's a little bit find ways that I can make them look a bit more interesting or what have you, for example, I might have a figure that's just walking, just standing up, right? Like this. Let's put a coat on this figure. Something like that. This can be just a big coat or Or what have you shade that side of it in a bit like that. There could even be what have we got here? Maybe some darkness in the, in the legs as well. Put in a little bit of extra here for this figure. So there's a lot of things that you can do. Put in a bag coming over to the left. And these little things like that, it actually helps to differentiate the figures so that when you're painting, figures are putting them in, they don't all look the same. I think having some type of variation is really important. Another thing that you might want to know is how to draw groups of figures. So here's an example. I start putting in their heads first, just like this, it could be a group of people. And we'll start adding in some bodies like this. And notice what we're doing is that we're getting this kind of overlapping effect, okay? With the figures just overlap with each other. Like this. I have another one here in the back, like that as well. Okay. So it kinda looks like a group of people may be walking into a scene. I'm walking away from us or even towards us. Okay. Again, depending on how you start placing all these little details, the hair, maybe this person could have a hat or something like that as well. But I always put the head in first and then draw the bodies and purposely overlap them with each other. That way you don't have to draw over the top of other bits of pin when you're drawing those figures in, you can plan around and then drawing the body of another figure behind one in the front just makes it so much easier. So these are the main poses and one thing you want to remember as well is the further the tilt of the head. So you can have figure that head's tilted like this. That could be a figure that's really running. You've got the leg just out here, another leg out there. Maybe you've got an arm out the back. This person is just bolting into the scene. The further apart the legs and also the further the tilt of the head, it just gives the impression of a faster movement. Whereas this one, that person just looks like they're walking into a scene taking the time. This May 1 be running towards the bus stop or something like that. Okay. So I have one other thing to show you, and that is just a little demonstration of the proportions of a figure. Now, one of the things to keep in mind is when you're drawing a figure, you have to make sure that the proportions are correct. So you can't have the head too large, the body too large. I mean, everyone comes in different shapes and sizes. And there are a lot of exceptions to this rule. But as long as you follow this general get it within this proportion, you're gonna be fine. So what I do is I look at that head and I fit that hedge should fit 7.5 times 28 times in the body. So 12345, 678. So eight times into the body. That just ensures that you've got the proper proportions for your figures. And another thing you want to keep in mind is that adults and children have slightly different proportions of children will always have a larger kind of head in relation to their bodies. So you can sort of draw a larger figure with a larger head like that. Maybe they go to a school bag or something on here. Like a school boy or something like that. Just walking into the scene. Larger head and shorter body in comparison to the head. So that's one thing you want to keep in mind. If you say drink an adult with a child or something like that, walking into a scene. You want to get those proportions correct rather than having a smaller version of this adult here. Because it's just going to look like maybe a smaller person next to another adult rather than a child. So a few things to keep in mind, but certainly just focus definitely on practicing some of these drawings beforehand. 7. Exercise: Painting Figures: A fun little exercise you can practice with figures. So what I do is I just pick up any kind of pain. I've got a bit of leftover purple and just leftover stuff here on the palette. It doesn't matter. I'm just using something a bit darker. And I'll go in with the paintbrush and just start putting in a few little blobs of paint. And these are just meant to be heads of figures. Okay, so all I'm doing is just kind of almost randomly dropping in a few of these shapes like that. Then what you can do from here is turn them into peoples. So this person, I could just put in a body, a person here and maybe just have them standing upright like that. Okay. Maybe I'm there, I'm there. This person here. I could put in kind of like they're walking into a scene. Okay. I'm just trying to get in an indication of some figures. Just 11 little brushstroke like this, or few little brushstrokes. This could be another figure just sort of standing up, a bit of a shadow running to the left as well. Practicing those shadows at the same time is a good idea. Don't have to put them all in the same direction as well. So this one here looks like that figure maybe walking into the disk or running to the right-hand side and put a leg in front like this, then a leg in the back like that with the knees. That person looks like they're running. We can just sort of scribble in a shadow here in the front, like that. Okay. Let's have a look. More figures. I've got another one here with a smaller head. What could, what could this one be doing? This one could maybe be just standing upright again in this one could be standing on the side like that. Here we can put another figure here and just almost get like a situation or seeing where these two figures may be talking about something of a commotion going on there. Another one, maybe a figure walking towards that left hand, left at the scene. Like that. Another one here. Let's practice one, kind of walking towards the right-hand side of the scene there. Let's have a look. Have a practice run, and not worry about the exact proportions, everything like that. But try to get the poses of these figures in, in different ways. And I also like to at times find a reference photo and reference photo of just maybe some figures or some people walking in a busy streets, streets scene or scenario. And then just use, use that as a general reference and, and go for it. Just put in a few, few little details of some figures. And that way you can really get a lot of practicing. So then when you're actually doing your painting and you're putting in the figures, you're not wondering, you've had to do them exactly. You've got some indication of what the figures look like and how to place them so that you're not trying to figure it out along the way. So you can even try to get into a crowd of people, just start putting in a few more people here in the background, some smaller ones as well. Just off in the distance, going off on their way like that. And your little legs or something as you go into the distance, I find that you don't need to worry too much about the legs. But as you can see, all these figures all lined up. All these different poses doesn't take much time at all. But you have gotten so much practicing. Okay? And I do this all the time. I'm experimenting with different poses. This person might be holding some kind of tool or a rake or something like that. Let's have a look. Person walking. Okay. Person walking to the right. I'm coming out outstretched. Another person here maybe walking to the left again, arm outstretched. And let's get that leg in and squeeze the back leg there. Okay. The more you do this, the more confident you are going to feel once you get into your painting and putting in figures. 8. Exercise: One Color Painting: We're going to do, I'm just going to get this whole building in. Actually start off, we'll make a rectangle on the page like this. I don't go to the edges, prefer a framed effect. And then I'm just gonna go and put in where the ground is roughly here, where the people are walking. Okay. Few figures here. Look at that. Just a bunch of figures walking in the scene. And simplify these figures down. Look at that I just put in a head which is kind of oblong shape, body like a rectangular or can be sort of upside down. Triangle as well. We've got just people walking around. It doesn't make a big difference. I just want to get in a few figures and people walking in here. Here is the rooftop of this building like that. This stuff in the background as well, this large shape, it doesn't matter. And of course, the bottom of that building, we've got some windows here, a large tree here as well. You can see it just comes out of the scene and casts a shadow on that building. Shadow here on the ground looks like there's a shadow running from right to left. Okay. Let's simplify this down. I'm going to use in 11 or two mop brushes and just a bit of, I'll just use a bit of purple. Okay, so let's get in a really light wash of purple first, lighter than that. It's really, really light to indicate the light on this building. Okay. Yeah. I'm going to cut around these figures are like that too. Okay. When using a dark color, it makes a big difference because you can actually get in a larger range of tones. This is a great exercise to just practice how light and dark you're mixing your paints. There's so many variables in watercolor. Let's just that building in the back end. Okay? The ground, on the other hand is a bit darker. A bit more purple. Okay, let's drop in a tiny bit more purple in the ground, little bit more, just to make sure that the ground is darker than the buildings so that it comes out a little bit darker like that. Here we have it. Let's just move this across. There's still a lot of light on the ground, so we don't want to make it too dark. But I'm just trying to make it a little darker than the and the buildings. It's going to help to make it come out more. Come more to the foreground. The sky here, I mean, you can almost just leave that white. It's just so bright up there. You can't really tell what is going on. It's just all you can, but it's a sky. The tree here. It is almost as dark as the ground. So I'm just adding in a bit of this purple, bit more color, a bit more of that purple in here. It's actually quite dark in some areas. You can see just this left side of it. Here. It's quite dark. I knew that this casting some shadows on the buildings here. I'm just going to get that soft shadow into that tree like that. There's even some over here, just the soft shadows there. And in the background we've got all this dark, darkness here, really, really dark in the background. So I'm going to just get that in. Okay, this is dark building or whatever here. The point here is not to get anything accurately in, is just to identify the tones using one color. Right? There we go. Good. You can look at the figures now, see some of them completely white shirt that they're wearing and some of them are, have a darker sort of clothing on. So that one there, look at that. Some of the clothing of these figures is as dark as, as the shadows cast by the trees. So recognizing that and putting some of them in like that, like that. Okay. I'm gonna give this a quick dry. What we'll do now is start picking up a darker bits and indicating perhaps a bit of shadow here. Look at that. It's just a bit of darkness underneath the top of the roof. This building. I've noticed that the darkness and the background has disappeared a fair bit. So I can go ahead and indicate that again. And this kinda cuts around the rooftop of that building. It's all just one color. Remember that? Just one color? Okay. Um, this this tree it comes, you've got the, the the trunk here. It comes down. Then we've got some branches and things that come off, and it's all just quite dark. Okay. You've got some of these leaves here on the right-hand side that are a little lighter, more transparent. Hey, so I can just put in a bit more transparent color on that side. But for that left side, because that's just really, really dark. And that's being cast onto this building here. This shadow shape. We kinda gotten a bit of it before, just a softer shadow, but we have to redo that. Okay. Notice that how dark that trunk is, that tree? Same here. I'm using very little water in this mix. It's mostly paint. Okay. Mostly paint. You can go in and start doing things like indicating the windows on the buildings. So tiny bits of these windows here. Okay. That just indicates some little parts of the windows. It's OK. Also quite dark. Okay. There's even like a some kind of balcony or something here that's casting a shadow underneath that. Another thing here, doorways and stuff. I'm not looking really for much form, just looking at the tones and just trying to highlight this. The figures, the legs of the figures. You can just start putting some of them in here. I can go darker. Some of them are gonna be lighter, Of course. Okay. Here we go. Some figures in a bit of that shadow maybe running this way for the figures into the scene. Moving in like that. Then we've got maybe a little darker shadow here in the foreground here. Moving forwards. Okay. Cutting around these figures a touch as well, does help to draw out the heads and some details on them. Like this. Just a little trick. There you have it. Very quick little sketch. But you can do these in about five minutes for a whole variety of scenes practices one color, and get a basic understanding of what areas are light, which areas are dark in your painting? 9. City Street: Light: So busy street scene. We've got some figures here, mostly cars or I don't think I'm going to put too many figures in. Here we go. But firstly, what we'll do is look at the area right at the back. When I, when I do the drawing, I always try to find the easiest areas to draw first. And in this particular case, I'm looking at where the separation of the sky and those heels are, where the hills are and then the the start of the road right at the back and I'd say it's about Jason, little bit more than a third of the way down from the top of the page. So what I'll do is I'll just start drawing in a bit of a line like this. Okay. Going across there that give me a rough line because I'm still thinking I want to change it up or not. Okay, in pretty the next easiest thing to do is to get this road in and say that we did left-side in first and then come in like this, roughly coming in. And it gets a bit more complicated as we come into the front because it's like a footpath and what have you. But we've got this side as well. We can see it coming all the way and then it just comes out to that right-hand side there, as you can see. It actually goes a little bit smaller, the back like that. But it's all the way at the back. Now, I want to put in some general car shapes here. So there's one here is little windscreen of that car. The back of the costs are, and then we've got the front of that car there. We'll sort of showing from this side there we've got another car here as well. Okay. Like this, just looking at it as a box shape. Okay? If you look at this cars and reduce them down to these basic shapes, they become a little easier to draw. Okay, so that's one car in the front. Okay. And that's the windscreen there at the back here. That's kinda the back of it. In other we'll hear me get another wheel here. Underneath. Here's another one. Windscreen, the back like this. Okay. So they just kind of a joined up a little. Let me just tidy this one also a touch. Okay, just make it a bit more so that it faces, looks like it's kinda facing forward a bit more and that can be the back of it there. Okay. I'll get in this one as well here. And again, it's kind of got a windscreen that's jutting out the back like this. And you've got a couple of round little circles there just to indicate the wheels and they have it, you've got a car, another car. Their costs Would a shape good side of that car as well. Okay. This one is kind of bothering me, but I just wanted to redo it to make it look a tiny, teeny bit more car like and just get the wheels in again. And just get this in. There we go. That's a bit better. Kinda like that. The most important thing I'd say is just this windscreen at the back. It just, it really indicates which way the cars facing. So it's quite crucial to have that in there. Okay. And let's have a look here with this color here, right in the foreground. You can see it sort of driving into the scene. It's quiet. It's closer than these other cars, but it's also roughly the same height. I mean, it's actually further up like this. So I can just get in the windscreen of that car, the bottom of the car like that. And I'm just putting the wheels here and just a couple of lines and other wheel here. And this can just be a car traveling into the front of the scene. Okay. Let's get another one here, just at the back there. Okay. This is kind of like another section of that road. It looks like it's sticking out in a bit of a crossing here. Just coming in front here so I can kinda crossing in the background like that. And this car, some of these are cars, it just kind of lined up and parked parked to the side of the road like this and simplify them down. Just get these little rectangular shapes just to indicate the windshields in there. I'm gonna get this one in here. There's like another car and it's around here. And notice how that windscreen is a little bit higher than this one as well. And bring that down that boxy shape. And I want to get it to combine a touch as well. I think that he's got a bit of the side of that car in here. Okay, good. Box here. Just extend that out to touch like that. And remember a lot of this stuff. We will actually change around afterwards. So I, I tend to just get it in very loosely. And that way I do have some wiggle room to shift things around later. One of the things to remember to keep those cards at the back, smaller. So as we move into the distance, That's one thing that you'll notice. Everything just gets smaller and smaller until they just kinda become little boxes off in the distance. And of course you might have some that are taller and stuff like that for vans. People movers and stuff like that. There's even a car just sort of looks like it's parked on the side or something like that. It's just a shape really at this stage is little rectangles and then you've got other cars here and they sorted just go all the way up into the distance. Okay. Look at that Just all the way up. You can barely see what is going on and it's a tiny little ones here in the back. Okay. So it kinda looks like it's receding into the distance. That's really what you wanna do here. And let's have a look. Maybe I'll just put it in another car here, actually. Just parked. Maybe at this side they are something like that. You have a car here that we have just a little bit further back there, but hiding behind this other car. Okay, good. We've got the foot path here and it does come in a little bit, this little section of the foot path like that. Kinda almost the opposite side of that part leading into the road. And all kinds of things in here. I just want to simplify this down. There's a little lamp Blanton, something here and just get that coming down like this. Okay. What else do we have here? It's I'm just really going to try to make this as dark as I can. But again, there's these little kind of like the front front of the housing and what have you here just coming out on that side, There's a sign here, little sign jutting out there is it looks like there's a roof top of some building here and the distance is a lot of shrubs and stuff like that in here as well. It's it's not a huge deal, okay? The main thing is that we just get in a bit of darkness here on the left-hand side. Just indicate that having a look here. Now, these buildings, what we need to figure out is the buildings that have all these blue shades here, these little shop France, I want to find out where it ends and in relation to the paper that we're repainting on, it's roughly in the center of the page. Okay. So you get all these kind of buildings and you've got immerse like one here. Then you've got another one here. And of course we do need to figure out roughly where it is. On the horizon line. It's roughly the building, this first building here where you can see this little shade. Over on this side. It actually starts chest where the mountains meet the road. So I'll just draw in some basic mountains here in the bucket will make things a little easier. Okay? It's a big building here as well, just behind, almost blocking the way. So have a look. Just get smaller like this. Oops, there. And always remember that you don't need to get things in exactly as the reference photos suggests. You have artistic license to change things around to your liking. I'm really big building here. So important to get this one in. It's all the way out in the back. But it's a form such an integral part of the scene. You can see just come all the way like that. Okay. Good. Yeah, that's another building here. But I was in the middle of just drawing this the side of this building here. Okay. I'm just looking trying to just look at how I can reduce it down to basic shapes. That's a little triangle there on the roof. The shop fronts like a rectangular thing. These little shades are these kind of trapezoid trapezoid like shapes here. Can they kinda come off on an angle like that? So you can see, I'm not even really paying too much attention to the accuracy. Okay. Just to make sure that there's just a few of them in here. Okay. I mean, there's even a little traffic sign here to yellow traffic sign. Might be fun to put in. Great. And of course you've got the foot path that just runs through the scene around here. Oops, I've gone over that car, but footpath and we have some of you, some people walking here in the distance. Very small figures off in the distance. Near these little shades. Maybe go just the beauty of that underneath it, like there, there we go. And of course now we have to start putting in the tops of these buildings. And again, looking at chest indicating indicating not needing to put in too much details. Here, That's just a box. That's just a box here. Just thinking of it as them as shapes. Let's put in another box here running like a hat with a couple of triangular shapes on top like this. Okay. Something like that. Now the triangular shaped like this. And then a box area here at the bottom. What do we have here? We've got maybe largest building with these funny little top areas there, some windows here. Okay. That's it really, I mean, there's not all that much else to really put in for those sharps. Or I might just do a tiny bit of shading there to get in part of this part of that, the side of the shop like that. Of course, we've got some of these trees and things here in the background as well. Okay? But apart from that, I think this is good to go. So I'm gonna get my palette. But the palette here. Okay? And what we're gonna do, we are going to start off by mixing up a yellowy color. Okay? So I already have some yellow ocher actually around here. And I do think yellow ocher would be good to use. Nitrous yellow wrinkled up, perhaps a bit of some more vibrant yellow like this one here, Hansa yellow, yellow ocher. Okay. So just look, I'm just deciding to go into that back area and it's very light. It's mostly water, 80 to 90% water. If not more, just putting in some of those mountain areas like really nice and just, just really nice and soft. And as we go into the buildings, notice as well, I'm also getting some of that yellow and dropping it in to the buildings. Remember the light source is coming from that left hand side. So having some of this warmth in here is gonna be really helpful. And I do like to mix it up as well. So you notice, like I'll pick up a bit of I'll pick up with a yellow ocher, then dropping a touch of dropping a touch of other color in there as well. Okay. And that's actually just a bit of burnt sienna. Okay. It doesn't matter. All that matters is that you've got a bit of color in their warm color for the sky. Before I forget, I'm gonna put in some cerulean blue. A light wash of cerulean blue. It's almost all water. Just enough to give it to activate the paint and get you that nice wash. And some of it's going into the mountains. Yes, I know. But don't worry, just let it all mixed together. Okay. You're just carrying that all the way through? Some of it goes into the buildings. Not a problem. Okay. Just a little nice little thing like that and it will mix has me go down to the buildings. I think I'll mix a bit of a little bit of cerulean blue with ultramarine blue. To try and get in perhaps some of these shades. Of course, I'm going to just drop it in. That top part there of that warmth is probably going to mix in a touch, but let's not worry about that. As long as we've got an indication of some blue, there will be. Okay. Okay. As I come down the page, more of this yellow, Let's drop in some of this yellow. You can also cut around the cars if you want to indicate basically indicate just meatball lights on those cars. So I'll just drop in a bit of yellow here. Maybe you can darken down the back of that car like that. Okay. Really? I'm actually just cut around them. I think we can do better actually if I leave leave it white and then adding some more color later. Okay, good. Those mountains at the backup, a little bit saturated, so I'm just dropping in a tiny bit more yellow ocher back there, and perhaps back here as well into the distance dropping a bit of that yellow, I will actually add some green in later too. But for the time being, I'm just going to put in a light wash of yellow all over this area. Of course, some of these cars just leave white. You don't need to color them all in. Okay. Just a little bit of why certain areas so that it just looks like the light's catching onto some of those areas. I'll leave that light as well here. Moving around here, just a bit of darkness. Some more whitish color here. I'm just dropping in this color. It's called buff titanium. And it's just the off-white color that we can mix in with some others. I just want to create a bit more variation so that the roads got a grayish color to it. Case, it's really just a grayish, cool grayish color. Picking up whatever paint I have on the palette, mixing with this, with this white. And if you've just got your primaries, mix your primaries together and it will do the same thing. Create this nice gray. Okay? So we've got a good opportunity here to go in and put in some trees and stuff like that. So wet-in-wet sort of trees. So I've got a small round brush. This one's a number eight round brush. And I can just go in and drop in a bit of this green, picked up bit of this green, It's undersea green and go through and just dropping a bit of that. In areas where you know that there's some trees because that area is should still be damp. Um, and we're barely getting a softer sort of feeling of these trees in areas. I don't want to do all of them because I want some of them to be sharp. But this is also a really good time to do these things while you can. Okay? They kind of software indications of trees that you want to leave in. And they kinda pushes these, pushes them back a lot more because of how soft they they actually look. And as we get closer, I just tend to dark and down and darken it down a little bit more. Okay. Good. Now let's have a look at the cars. I think I might drop in some some colors for the cars, just basic stuff. That's a bit of gray here. I thought I'd put a bit of gray in there. I like this one. Actually, it's got it's got a lot of white in it and got a lot of white in it, which I think is interesting, makes it look like there's light. But I do want to darken that one. Perhaps getting a bit of red or something on this one here, just a touch of red. Touch of red. We've got this car here that might be also a bit of color, just darkness. There's even one here. Maybe putting a bit of orange or something like that for that car. One here like that. Okay. Let's have a look. What else can we do around here? Bit of orange, just putting a bit of wet and wet orange to rewet some of these areas. Okay, good. Cerulean in here just to get in some more of that blue. We've missed out on some of the cerulean. Just not, not cerulean, but just the softer, lighter blues in here for the shades. Okay, so I think that's pretty good. For the first wash. I'm gonna give it a quick dry. 10. City Street: Shadows: Now, the next stage is basically just working on the dark areas. So I'm getting a sense of shadow in, and I think the most important thing is to get in a large mid value that runs through the entire scene. So we've kind of looking at these background trees there and picking up a bit of this undersea green again, I've got a bit of gray that I'm mixing in with it. I've got a bit of leftover green of another color in there as well, and that I can use to just drop in over here behind this building. Okay. And you can see it's kind of a sharper. Yeah. And maybe just a few little bits and pieces dry brushed like that. On here. You can see it here as well. Little bits of tree just behind, behind that building. And the great thing about these little bits and pieces, they help to actually shape, shape the building, okay? It has to be pretty dark because it is actually one of the darkest areas of the page of the paper. The painting, sorry, these little trees here at the back. So I'm just trying to get in a touch of these these trees around around the background area like that. It's gone into the roof too much like that. Some of them may be a little bit darker. Like this. You've also got just a bit softer green in the background as well, so we don't need to worry about all of that. But that's cutting around these buildings and of course the sum here as well on that left-hand side. So I'll just start putting in a few little indications of darker green in areas okay. Onto this side and just feather your brush left and right and keep it keep the brush fairly dry too. Okay. Just enough paint on there so that I can indicate some of these trees and the great thing about round brushes, because they're already, the shape of these trees is, and they're kind of round or roundish. And there's not a whole lot you need to do here. Just dab it in places here and there. And you're good to go. So here's another one and you got, of course, the software bits as well. So there's not too much you need to worry about. Okay, Let's get in, just getting the edge of this building and touch and just emphasize perhaps a bit of darkness here on this side of that building. Okay, good. Got a bit of darker color here. It's just a darker purplish color. What I'll do is I'm actually going to mix up a bit of that purple with some of this brown, okay, if you've got any of these brown here, could be raw umber, bit of purple and raw umber here. Just want to darken that right-hand side of the building here. On this side like that. Okay? And this is going to create a sense of shadow. Here. I'm using a lot of darker paint and it's mostly probably about 60% paint and 40 per cent water. Okay. Just leaving that in so much just indicating the side of that building. Of course, running that down. I'm cutting around this building in the front side as well. Just want to leave a bit of that in there. Okay. Good. You can see on the top of the building as well, there is some bits and pieces that we can dark and offer touch. There's even like a flag or something up here, but I will probably do it late. I don't want to don't want to complicate things. The main thing though is just get this sharp edge there so that the side of the building shows through. Let's pick up the same color and I'm gonna do it in areas here as well on this side of this building. Okay, You got this larger building and then you can see the roof, top of it there is, it's got a bit of light on it. But actually underneath here you've got just darker areas very similar, like on the other building, that right-hand side of that building. Just a bit of darkness there. Okay. These bits of darkness we can use to cut around the cars and stuff here. At the bottom, like that. Here. They're here. Let's have a look. And this is another kind of building and you can see actually that it extends all the way towards the back. It's actually a bit taller like around here. Oops. Maybe it was just extended offer, extended up a little. And use that to cut around this. Top of the building. They're just a negatively painted shape to make these buildings stand out. And interestingly, again, you've got a bit of shadow here. We just want to darken this down. This little part of the building, just using that same round brush. Okay, Good. I like that. Of course, this is all going to be part of the facade of a building. The left side of this part here. So we can just start drawing in a little bit. And I say draw because really using a brush to draw. But basically, I mean, you're heading in two indications of windows and stuff like that. And I tried to if I can do this at the same time, I try to do it because it saves you time. And in your mind, you start building a picture of what's there. So it helps and it keeps you it does keep you going. So if you notice I just dropping a little bit of paint in there as well. Let's have a look over on this side, this marginal shadows here, it's a lot of just light on these buildings and you're using water mixed into the leftover grayish paint here and a bit of the this is just a bit of brown paint, mostly just a watered down mix. And you're using this, just adding a few little sporadic strokes here and there. That just shaping the windows. Okay. I mean, look at that just simple stuff. We're not trying to put in any complex details at all. I just grab a bit of paint, dry off that brush and just wipe down like that. And there you go. You've got windows here. You can do it here, you can do it over the top here, indicate like the tops of these buildings as well. It can be a bit of something there. Just connect them up a little. There. Good. In-between these buildings and what have you, you can see there's actually tiny little separations. Whether you've got bits of darkness that come through, just forms a bit of a shadow or something like that underneath the shades. And this is what I am trying to exploit, just getting a little bit of that shadow in-between the shades, a case like that. That's kind of show a slight separation. Okay. As you can see, as we move downwards, I'm just going to put in a bit of darkness at the bottom of the shades. So I'm like lease here. Underneath there. That's a car actually in there. It doesn't matter there. Okay. Yeah. Okay. It's a little bit of shadow on those buildings underneath, but not a huge, huge deal from great. I think this is looking decent so far. So I'm going to start working a bit on the cars. Since we are around this area. And you can always do things as well, just separate the buildings. Or if you find that you've got a little bit of something, a little bit of detail or something that you might want to emphasize. Don't be afraid to go in there and give it a go and just drawing a line here. Here are there. To just add some more details and little areas. I think this is a great opportunity, a great time to do it. Okay. But as I was talking about the, the cars here you can see the wheels are really dark, so I'm gonna be using like a neutral tint, purplish color in here. It really doesn't matter what color you use as long as it's dark. You can see that's just as kind of you. They're connected up at the bottom. The wind screen there, which is darker as well. Darker windscreen at the back. That the rest of the car is pretty light. Just underneath the car. There's just some darkness like that. Okay. Let's have a look. I just want to create the same impression for this one. The back of the car like that, very basic. This one here you can see it's just a bit of darkness here at the back of the car. And then you've got the wheels. You've got the wheels. Of course, the windscreen and stuff does take up a bit of something here as well. Okay. Just I'm just indicating it. Okay. And let's have a look. Say these cars here, look at that. This, this is a bit of darker shadow here, the front of that car that I'll just try to paint in, not just that, but we've got a windscreen here as well. We can get in a bit of that. Darker windscreen there. Okay. The points of the brush of the round brush makes it so much easier. So it's always important to use the right brush. Smaller points like this. There we go. And a bit of that darkness and running underneath the car. I'm just going to connect the wheels to the actual bumper a bit, leave a bit of white underneath the car as well and just a touch of it running to the right-hand side like that. Just kind of as a as a as a shadow. Join that up a little bit like that. Okay, Let's do the same for the other cars. It's not anything special in terms of the color of the shadow or I'm just doing It's trying to get a dark shadow in in areas of this car while leaving. In some of that previous wash. Here, we've got we've got a windscreen as well for this truck. And so the definition to just define that windscreen a little bit more, really bring out a sense of that trucks or you can also leave a bit of light in the left hand side of the windscreen to help indicate bit of light bouncing off or something like that. That's also doable. They're just getting the wheels like that. Often with watercolors, it's what you leave out as well that creates the sense of what's going on. So you have to make sure that you're not obliterating all the previous washes. There's a lovely details in there. And I'm just finding ways to create these shapes of the cars in the distance as well. Not only that, like the indication of the wheels perhaps at the bottom is almost more important, just this little sense of the wheels, they're casting bit of shadow to the right-hand side. Like that. Cup is another car here. Then I can just put in the wind screen there as well, that it doesn't take much to indicate a car. Very little really. Right? Let's continue on with this wheel for this one, just the shadow. Shadow for that one as well. Like that. Good. Let's get the wheels in for this one there. Because that basic stuff, I'm not even really bothering too much with the redefining everything. Just look at it as boxes and remember to leave the left side of it little bit highlighted. Of course, we've got some people here. Why not? Just put in a couple of people here in the background? And again, that little shadow coming, coming through can just leave them. Lights have been have lights on them like that. That's fine. As well. Putting an arm or something like that. This was another car that I had put in here like that and I thought I'd just getting some of that. Again, this shadow that runs to the right hand side for the cars really makes brings everything together. Okay. So you kinda just drawing these little, tiny little boxes, they go into the distance and you can barely see them. Okay. Maybe go to person here, small person or someone just crossing the road. Oops. Leg was too far out, doesn't matter. Maybe go just a little person crossing that road going inside. Let's have a look. What else can we do over on this side, I think we can start putting in a bit of color, a little bit of darkness also here. One of the things that I need to do is getting a shadow on the ground. So you can see there's actually actually shut a large shadow shape for the buildings that are running from the left-hand side. So this bit of darkness here that you can see me adding in is to indicate that that shadow of the buildings. Okay. And it just kinda runs in unison to all the shadows of the cars and stuff like that as well. Okay. So that's all I wanna do is just do it once and leave it here. I don't want to go back into it and started mucking around and what have you, but this is what I'm gonna do, just drawn it on and leave a bit of yellow or white in there as well. That helps too. That helps to create a sense of light running through there. Okay? A lot of the stuff in the background really is just indicative stuff. There's not really much going on here. I can put in a bit of green or really just go without it. There's not too much. It's going to make a difference. They would have thought I soften it down a touch like that. Okay. And tests. We're getting there, we're almost nearing the end of this painting. What I'd like to do at this point is pick out little bits and pieces I want to portray. For instance, this footpath, I thought, a little bit of paint running down the page like these. Some little guiding lines, even running through the road would be nice. Even if they indicated like the tire marks of cars or stuff like that, just little scratchy bits and pieces on the road indicates some little details. Okay. I'm picking out just dark parts. For example, there are these little which you call them tiny little light lamps on the road. They kind of just running up like this. Let me just see if I can get one in. I wanted to just dry brush it in, but it's picking up too much paint. And it's, what's the importance of using a nice Tau is so crucial. Having a little towel on the side to dry your brush so you can adjust how much water goes onto the brush. A little. And you'll see later why I'm doing this. I'm going to use a bit of gouache to put in some highlights and things like that. Okay. I'm just having a look just to make sure I got all my darks in all the darks that I need to be in there, then I want to be in there that are just they're in there. Okay. That's the main thing that I'm trying to do. Okay. Good. Okay. So time to play around with some white wash. And I actually have some white gouache mixed in with a touch of yellow. And I'm just clean that off a little bit of white gouache with some yellow. And that just warms it up a touch for me, but it still preserves that opaque kind of feeling that the gouache has. You can do things like that. Just dropping in, in areas that you think would look better. You could bring out parts of the building that you weren't able to get in earlier or you kinda gone over the top of accidentally. And then just touching a little bit of those highlights. And just suddenly you've recovered bits in pieces. You got a little something here on the side of that building. I'm not really that of course these light, these lamps might do better if I put a bit of this on top to indicate the tops of the lamps. Simple little indication. I don't want to do too much in there. Little bit of that gouache water. Okay. I'll put one here in module that I'm getting another bit of it later. Okay, then you can see here just dropping in a little bit of that, indicate those. Let's have a look maybe on the cars we could do with the some highlights. Okay, so we'll get into some white highlights. I've just picked up some fresh wash. Let's have a look maybe a bit on the car here like this. You can see in the top of the roof of that car just dropping a little bit like that. Even here, you can drop in a video on top of that car. Here. Here, just recover so much. Just recovering a touch of that light on the sides of the car, really straightened things up and touch. What do we, what else have we got here? We've also got some bits of whites on the buildings that why not, we can just start putting in a little bit of that, getting in touch with that. I don't usually go too far into to get it all back. Just a touch and indication because what we did, we had gone over and we did a big wash over the top of everything before. So obviously we've lost touch the white of those buildings. And this can help bring a little bit of it back or just a bit of an indication of it. Even on the window frames and stuff like that, indicating bits and pieces there. Okay. Okay. Now the triangular shape layer here, here, underneath you like that. Now the triangular shape on top of that building, the end here, some lines near the top of these shades, you can see actually how they have bits of white in the buildings like that. Okay? Try not to overdo it. Okay, Let's see what else can we do here? Might be like a little flag or something like that. On top of that, you can see just like little touches of this flag that run up like that, that building, something like that. Okay. Some of the windows also for those the sides of the building. Okay. Maybe let's put in some birds to finish this one off, just a few little birds and I'll pick up. You notice how I've actually done accidentally splattered some paint in areas and I turn those splatters into birds. Works a charm and covers them up. They look for when they look good. Okay, just kind of put them all over the place and fantastic. And I'll call this one finished. 11. Quiet Street: Light: So we're gonna be doing this interesting scene here with this dark sky or from the background. I thought this was interesting because it's something different from how the usual sky looks in most of these streets scenes. And I wanted to show you how to get in a bit more extra contrast. I really like just the darkness, that sort of looming dark clouds in the background. I think that's really going to bring out the light. And we can emphasize that more in the painting. So it's always good to try new things. And I think this is a really good opportunity for you to give this a go. So let's go ahead and we're going to first put in the horizon line. So we're just looking right at the back and seeing where about the buildings sort of touched the ground at the back, I'd say it's about here. Maybe a quarter of the way through the page. I'd say a quarter of the way through the page. So I'm just marking out a very quick line like this. And notice I'm not really committing to any any dark lines or anything like that. Just a quick line like this. Okay? And what we can do as well is start getting in little bit of structure of these buildings. Now we've got this large building in and we've caught like the side of it just comes in here like that and comes almost all the way up to here, is a bit of actual goes up to here. Can you can, of course change it up a touch if you want. That's the side of that building. It kinda comes around there and then you can see the edge of it like this. It's just a box. To think of it as a box on its edge. Sides, just like that side of that box-like structure, I suppose if you want to call it that, I just tend to label things by shapes and that makes it a lot easier. Draw, okay? If you start looking at it too closely like an actual building, you can sometimes get confused by all the details here and there. I don't know if I'll change this one as well just to make it a bit more squarish looking here on that side, just to get rid of maybe the top part of it I'm going to see later. But I'm tending towards that actually just to simplify this building down a touch. You can see the sides of the buildings. The building here has these windows like this. Just a little bit like that. You can even see there's a sign just sticking out the side of that building like here. It's just a square rectangle like structure like this. As we get down to the bottom, the base of the building, you notice just a few these poles or what have you as well support beams. I'm going to decide whereabouts. We want this building to finish off. I think I'm going to finish it off roughly here. Leave a bit of room at the bottom. Okay. This is going to go in to the scene like that, but this is the bottom, the base of that building here. Okay. Just something like that. And I think that's going to look good enough. Okay, and let's have a look. We've also got some other buildings here in the distance. Smaller ones like that one here you can just see it just comes down like this. Just forms. Not the sort of building right behind there. Okay. It's kind of dark and there's, well, its interesting thing, kinda dark in this section. I'm good. And not only that, we've got another building behind it there. And you can see just the top of that, the top of the building sort of go up and then come down like that. And of course, just continue down like this. It just gets a lot smaller until you can barely see really what is going off there in the distance. I'm just making bits and pieces up. Now. There is a traffic light here, and I want to put in little indication of that here. The pole, which I think it comes all the way down somewhere here. It's hard to see exactly, but just in front of this building in the foreground. Something like that. Don't worry too much about all the details. Just try to get in the big shapes. I think that's the most important thing. Well, let the painting, the brush do most of this detailing later. So we have got some cars here in the distance. Let's put in a car shape here. Over in the distance like that. There'll be, That's a car. We might have another one over here. On the right-hand side. This is the footpath and you'll notice that it kinda comes in. And then it goes all the way as you as we go in. It goes all the way towards the back here. So that's like a just a little. Indication of a footpath, as you can see. Then we're just going to have to get in this other side here now there is a road or something. Again, the footpath here like that, just marking out that side of the foot path. All these buildings are gonna be interesting. I want to just separate it round about halfway like this so that we've got about halfway between that car here and here. So about half the distance. Just draw a line. And the reason why I'm doing that. So I just want to separate out these buildings here in the foreground because I know there's some, a couple of white buildings here. And I do want to, um, get the mean. But I also want to make sure I leave some room for the smaller buildings on the other side. So this is the kind of, I mean, that's like a little shade or something of a shop. Not only that, we've got these trees here, like a general shape of a tree. So I'm just penciling that in over here as well. That's going to be a shade of that shop like that. That's darkness back there. Okay? Simplify this down. Of course. Simplify that down. Look here, there's a box-like shape for another building like there. And I'm gonna get rid of some of those tube looking shapes next to it. Just simplify this down a touch like this. There's a tree here. More buildings in the background as well. Like that. There's even another one over here that you can get in. Look at that just that's just the side of that building and then it goes behind like that. There. You've got another building, another one over here, get that side of it in just the indication like that. Of course there's some more bits and pieces and they'll just simplify this one down too. Another one here. Okay, so look at that. And then we've got a whole set of buildings. Now, I'm just going to put in this truck in the foreground. That's just getting the wind screen first. I always, I always do that first, the windscreen, it makes things easier. Then we'll get the front of the car in like that. The side of the car. Let's get in that window like that. This is a truck actually getting the side of that truck and the wheels. Some of the wheels like that. One of the wheels here in the front there. It's all just darkness underneath now that we need to indicate. Okay. I'm just paying a bit more attention to this truck because it's just closer. And when things are closer, you just need to give it a bit more little bit more detailing. Okay. Maybe you can widen these wheels a bit more like that. That's better. So there could be something out in the back, doesn't matter. These wheels actually going touching the ground a bit more forwards like this. That's good. You know, of course, the shadow is going to be cost over on the right-hand side, a touch like this. I'm also going to maybe add in a few figures. Person standing here at the lights. Maybe the better cross the road or something like that. And maybe someone here just crossing the road of some sort. It was maybe they're walking forwards or whatever you just trying to see what else we can do. Probably get an another one just leaning over like this with one foot forward, one behind, so that it looks a bit more in motion. This one here can just have the person walking as well near the footpath. And I think that should be good. I don't want to put any more stuffing. So let's go ahead and get started on this painting. I'm going to lean this a little packet of pins. So there's just a slight slope now on the paper so that the paint runs down the page. And I'm going to be picking up firstly, bunch of warm or paint. Okay. So kinda like a bit of yellow ocher. Most of it, I think I'll keep it as yellow ocher in there. Okay. And this one here, and I could just mixing a bit of burnt sienna as well. Like that, just warm colors. That's all you want back. They're warm. Not too saturated as well. Okay. And, um, so just maybe cutting around some of these cars or touch as well so I can one preserve the highlights and maybe getting some new colors on it later. Different colors of brown here for these shades, for these buildings like that. Good. Remember at this stage we're not detailing, readjust, putting in some real basic colors. To give it a quick wash. They're all just mainly water. When you're looking at the paints, if you look at how I'm mixing this up, most of it is just water. Okay? 80 to 90% water, ten per cent paint goes into this mix. Okay. Move this down that top of this building. It's getting a bit of that. Something on top of that roof are there, for example. There we go. There's another another one. Traffic light, I'll just color in as well. Okay. But I'll leave the figures and maybe the legs you can get away with coloring in okay, little bit of green on this tree. Like a greenish looking tree shape there. Put more yellow in it like this. Because this actually goes all the way up like that into the sky. Good. If I get a bit of just neutral color here, the base as well, just a little bit of a gray or something so that I can just merge some of this stuff downwards. And as I hit the road, I'm going to just warm it up again. This is just yellow ocher, that same yellow ocher that I've used in the buildings. I'm just finishing up and dragging some of this down. Okay, I get that. Some of this car would be good with a bit of that warmth on the left-hand side of it. We go okay. Area k. So I am going to start working a little bit on the sky now. So just picking up a little bit of, I'm going to use, I'm going to use a combination of purple and cerulean blue. Interesting mix. I think this cerulean blue gives it a nice sort of granulating color, but then the purple, dark and just also add a touch of granulation in there. So I'm going to drop some of that in. Let's have a look. How does that look? And I'm also not trying to I'm trying to wait for it to dry a little bit in some of those areas. But then what you can do is just leave some white as well. So on the edge of buildings and stuff kinda like what I'm doing there. You can see a little bit of that white there. Okay. It's mostly just cerulean. And I'm just going to come across and blend and let some bits of it kind of merge. Another thing that I can do is just also lift off a touch of paint. If I feel like I've lost some of that light, look at that, I've just lifted a bit off on the edge of that building just like that. Okay, with a tissue. Simple. Okay. Some more cerulean. Let's have a look. What else do we have up here? Just, it's all just very, very light up the top. So if I just add in almost like water up the top and make this blend that downwards. And as we go down, I'll just add some more purple and a bit of cerulean. I think they should do the trick. Okay, just cut around some of these buildings here like that and just merge all that color so that we've got kind of a soft edge there where it turns. It gets all darker down in the base here. Okay, But again, up in the top with leaving that lighter and that light up there is so important. It's so tempting for me to actually go in there and try to do something in bits. In some places it's okay, like here, here, just to create some other software clouds in there, but I don't want to ruin it by going over all of that area and getting rid of that beautiful soft mix. And as you can see, what I'm doing here is just feathering in some more little, just little bits of purple at the base. A little bit of purple at the base. Here. Sometimes the more haphazard you are with this, the Petr, it actually turns out looking, just fiddling around this area because I do want it to be in a somewhat dark in this background area. Create more of that glue meanness. Okay. That's probably too dark but that's okay. Just soften that down to touch. Okay. So I'm done with that area of the sky. I'm quite happy with how that looks. Really. What we need to do now is just let it dry. And the people, we can also start putting in a little bit of color. And I'll just drop in a bit of like cool color here for these, these figures. Because I like having some corners around where we've got warm areas. Okay. So that's it for that first wash. And like I was saying, if you are thinking that you need a bit of that light on the side of those buildings. Just do this sort of thing and lift off a bit of paint, you can end up with that sort of effect. Okay. I'll give it a try. 12. Quiet Street: Shadows: The fun bit, we're going to start putting in some shadows now. And the one I really like to start off with is this gigantic shatter that just runs from the left to right side of the page. And I'm going to be using purple. Maybe a bit of brown mixed in with that purple to dull it down a touch. And the consistency of this paint, I'd say it's about 50% paint and 50% water. So it's a lot darker in terms of the concentration. Another thing that I am thinking of doing is just emphasizing that should be okay. Actually, I'm going to just get in this hole shadow here. I initially thought I'd leave a bit of that of that building lighter. But I decided to just get the whole thing in one color. It's gonna be less of a hassle. Just drop in that color that you've mixed up. And this has to be kinda dark, bit more purple in there. Interesting thing is like you have to make it darker, but at the same time, I think having a bit of that previous Washoe through really create some interest. Die. At times I just intentionally leave out areas of that yellow in the background. As you can see. You can see me doing here. That can help serve to indicate bits and pieces there like shops. Look just this section here. Being very careful. But what I'm trying to do is indicate a bit of light, maybe cutting across the edge of that section. Right there. Okay. To touch a light or something. This could be just something on top of that building. Sometimes you can just make things up. And even here with this traffic pole, you can even turn this to like a clock tower or something in the background, but I'm not gonna do that. I'm just going to bring this down and remember to soften and make sure that it's not too dark at the back as well. Of course, we've got a little bit of this tree, this green, greenie looking area here with the tree. So I'm just going to drop in a little bit of this green, okay, like that. Okay, It's actually a fair bit of green in here at the back here behind the buildings and whatever you as well. Okay. I'm just trying to find a large shape that I can connect everything up in the background. Not just that, but also look at these buildings and think to myself, okay, well, I can get in a bit of light here, just getting that to stick out and creating a sharp edge here. And there we have it. We've got a bit of lights on that edge of the building like that. That part of the building that could be some, another building with some light coming off. The rooftop is just going to be perhaps a bit darker. Like this. Can just get an, a shrink more sharpness on that roof. Here. We've got same old story just this side of the building. That's gonna be darker like that. Okay. Let me just do that. Here. Side of that building, like this. Side of this building here. I think that this part of the building actually has some trio or whatever here. It's interesting. Little tree. Let's just joining on. So I'm just going to soften that off a bit and create some erratic looking shapes for the leaves, hoping, hoping that it just blends in with the sky a bit as well. Okay, good. We've got these buildings here at the bottom, and I think having a little bit of darkness here as well, It's gonna be good just at the base of the buildings here. And this also helped to cut around, helped me sort of cut around these fingers, touch as well. Okay. Good. I kinda lost a bit of this building here. I was meant to leave this white, but what we can do is just forget about that and go over the top of it. Just put in these kind of windows like this. Coming over the top of that building here. Here like that. Let's have a look. This is like a kind of a tree so we can get in some branches and what have you in there as well? Just soften that down. So I've got a bit of darkness in there and a few little branches and stuff maybe coming off the top of that top of this tree. I'm going to flick in a bit of water where I can to soften it down. Okay. Good. Okay. I'm going to get in this large shadow that's going to run to the right-hand side. I'm gonna actually pick this up with a larger mop brush, going with some purple purplish color and a bit of black mixed in there. Just a bit more water, 50 per cent paint, 50% water. And we're going to do that all in one go. Okay, There we go. Just on the side you can see the shadow coming in like this. Here. Comes all the way in from the page and in front of that car even stops like it goes all the way over there actually. Like that. Like a large shadow shape. You're going to get some of it just cut over that car even like that. Okay. Shadow here over the top of that figure. Moving all the way towards the back. And again, just cutting around those figures and some of these cars as well. Okay. Still really large shadow shape on the ground. It's mostly just purple and a bit of black mixed in there, but you can use anything you want as long as it's dark and it's a cooler color. Okay. Let's see if I can just get in some little, maybe some quick through guiding lines through the scene like this. Some little perspective lines running around. It does help give the painting a sense of depth. Something like softer shadows here as well. You can see just like I'm strange little softer shadows. Okay. Good. I'm gonna give this a real quick dry now. Finishing touches, Let's put in all the really dark bits. And I'm just using neutral tint and a bit of purple mixing that up on the side. Let's have a look here for the car, for example, I think just having a bit more of the wheels in and I'm a bit more of that shadow underneath the car as well is going to help you just finding little things to detail. Okay, for the car where there could be some sharpness here and there. Just indicate them. Okay. Good. Underneath the car. Some darkness to indicate the shadow and the shadow running towards the right right-hand side as well. Okay. Good. Underneath some of the buildings, you can just drop in a little bit of extra darkness in some, some spots underneath the shades as well here. And k like that, darken and offer touch. I'm just trying to indicate this shade popping out here as well. We do have these figures in the foreground as well that we need to get in. I'm going to start putting on just on dry brush strokes for the buildings. So tiny bits of indications for the Windows and what I do, I just pick up that paint straight off the palette, dry it on a bit of tau, and then go ahead and do this sort of thing where you just drew, either use the brush to just add in a few little. If bits and pieces like this, just really subtle indications of what's there. I just think that this is just drawing that you're using a brush. Tiny bits actually make up, make up a good part of the painting. That's sort of the largest contrast in here anyway. So Here we go. More in there. There's also this traffic light. No, why not just get this traffic light in as well while we're here? And the pole just coming down to the ground like this into the foreground somewhere there might be a little shadow on that coming to that right-hand side as well. Just a soft shadow coupled the figures, the legs. I'm going to try to indicate more like that. Same with these ones. Darker, darker lines to indicate the legs. Must as dark as you can get it. And then some shadow running to the right, kinda similar to this car as well. Okay. These little cars in the back-end as well, I'm going to just mark off the bottom of them like that little bit of darkness and then the wheels connect the wheels up like this. A little bit of a shadow running to the right as well. Okay. Some more little finishing touches for these buildings. Again, just dry brushing on some indications of windows and stuff like that here. While keeping that light on the actual buildings themselves, it really helps. Okay, good. You're kind of thinking, where could we add in a bit more, little bit more contrast and stuff like that? Try to find areas. Look at this. There's even like a pole here that I've forgotten about. We can adjust. We can try to get this fudge light pole when it's just like having all the way down like this this scene. And you can see it just go all the way up kinda like this. And like that. That's a light pole. Like this. There could be another one over behind here as well, just behind the traffic light. And I'm just trying to make that one up like that. Okay. I have a smaller one. I'm just again, just trying to outline some of this footpath and stuff as well and perspective in the scene like that. Okay. Alright. Like putting a few little birds in the sky. Often distances, well, why not? And it's just adding a few here and there. To help. Hopefully just bring it together a bit. We go, There's the few at the top as well. I really like that sort of way. It changes from light and then goes to a dark, dark area down the bottom. You've also got some of these tree branches again, just some dry brush stuff that you can kind of indicate, like branches and stuff running through there. Without overdoing it like that. You can see the branches coming off this main trunk here and just coming downwards there, for instance. Bit more dark green in here. Something like that. Just a little bit of detail. Just like that really helps. Okay. I wanted to use some gouache to get some kind of I'm hoping to get a bit of like bluish or cool color on these figures. So cerulean and white gouache. It'd be a bit pour the back of that figure, join onto the legs. This one here, kind of bluish. Can I pick up another brush? And let's put on some dinner and maybe a bit of, a bit of red in here, bit of red and white quash. On this figure. That right-hand side of that figure like that. Just joined that on a bit with the blue. I think that looks a bit better that way. There's more interesting. More kind of like a white highlights on the edge here. Let me see if I can do that. The lighter color like this. There will do it for this one as well. This one, this figure here. And it's hard because it's almost, we've almost lost these figures, but as you can see, we've actually managed to bring them back into the picture. Okay, little dabs of color to make them really start to pop out again. Maybe read for the faces. Okay. So when I'm looking here and see there's some highlights I can bring out on the buildings as well, just touches of touches of highlights, I suppose. The buildings or even on the car windscreen like that. These wind screens, I can just start to put it a little bit of that Guassian to make them stick out a bit. Okay. Good. Warm this up a bit. Maybe pickup bit of this yellow tiny bit of this yellowy color. And I want to put some of this into the pavement here. Just this indicates the sidewalk area to see. Maybe you just pick up this lighter yellow. Here. There we go. Okay. Splashes of color here and there. Soften that down a bit. This side of the car, that left side. Maybe this will indicates some warmth as well on the car, just to touch that yellow on the left-hand side. Put in a bit more detail on this tree, just a few little branches going up like that. Sharper sort of brushstrokes running through that shape. Hair on the figures. Some brown something. And I'll call that one finished. 13. San Francisco: Light: Okay, So this is an interesting thing that I've found off San Francisco. And what I like about it is that there's this corner store right here that has a nice shade that's in the sun. You can see the shadow pattern underneath the buildings, even on the right-hand side here. But essentially you've got the light that is coming over roughly from the right hand side or right and above. You could even could even say that it's coming almost directly from above. But based on the shadows are some of the figures to the left. You can definitely see the shadow is running a little bit towards the left. But yeah, I would say it's, I guess above to the right-hand side. So you can definitely see the patterns of the shadows, especially for the buildings on the right hand side, all completely in darkness. Something to keep in mind from the start. One of the observations I always make is the shadow patterns, because that's going to really make a difference later when you're planning out your painting. I always try to keep that in mind and have that fresh consideration early on. So anyway, let's get to the drawing and there's so much going on here. Well, one of the things we have to do is find a way to simplify all of this. What I want to try first is just put in a line roughly where the bottom of the buildings finish and where the cars roughly touched the road. So if we look at where all the buildings are finished, we can roughly say, it's about here in the middle of the page, but it's almost like at the 1 third mark. Okay. But the 1 third or just above 1 third and all the areas. So I'm going to use this pencil here and just get that in like this. And the roughly sketch that in like that. And what I wanna do is look at probably some of the easiest bits and pieces to put in here. And I think I always like to start off with some of the close of buildings, figures, cars and stuff like that. I think what I'll do is actually coming with this larger building on the left. So coming down a bit like this, we've got a bit of the shade that just runs out like this. Then you can see it. Bottom of that shade roughly around here. There is a figure standing over on this side just appearing in to that shop there. So I'm going to pop that figure in right there. You can even feel a couple, couple of figures over on this side, just standing by the road, waiting to cross cross the road. So I'll put a couple of those in there. You can even see a traffic light or something like that here. So simplified down like that. Just look at ways to simplify things. It's just a rectangle on top of a stick like that. We've got a larger light. And you can see this light coming all the way up, all the way up over here. And of course a bit of this pattern sort of curvature there. And then we've got an oblong shaped like this. That's all you need for the light, something like that. We've also got a lot of shrubs and there's a large tree here on that side. There's some kind of I'm not sure what that is, but there's some type of building a building or some type of truck there. I don't think I'll put that in and I'm just going to put in a person perhaps just walking over to the left. Always remember you don't have to put everything exactly as, as, as. So the reference photo, you can always change things around to your liking. And that's the bottom of that building there. You can see behind that building there's some darkness in bits and pieces. We've also got these trees here. You see that just little trees off in the distance. And this is all going to be painted in, planning to paint it all in one go. So you see these people just, just about ready to cross the road. I just prefer to put the edge of the road in here like that, something like that there. We can extend this building down a little bit further like this. Okay, good. Let's put it in a few cars. And again, we can just change things up, don't have to get the cars and exactly. But there's this larger kinda I don't know what it is for driver, something off in the background and it's getting the side of it like that's a pretty large car. And then we've got this one in the front and I'm gonna see if I can get the general windscreen. The wind screens are important like that here at the back of that car. And then we've got a couple of wheels, one here, one here, bottom of the car here. The front of it is just a box. Just think of it as a box on, on wheels like that. There we go. Simplified version of a car. But it's definitely a car. Some sought. Of course, I think I might have to just detail this a bit more afterwards. But that should do the trick. Bottom of this car here as well. You can see there's a couple of lights. Couple of lights here. Bottom, another wheel here. Now the wheel here, like that and another wheel at the bagging enormous. Just see that there's this kind of shadow pattern underneath the car as well. So you can see that just directly underneath joining the wheels together. So I thought I'd draw a little bit of that in. Let's have a look at this car, the windscreen. And again, I'm just going to reinforce that windscreen. A little bit more boxy shape of the car. There is a truck here. Look at that. It's just a truck all the way in the distance like that. It's just a box. Just look at it as a box like that. Underneath you got a bit of darkness. Okay. I'm just going to add a little bit of darkness underneath there. All this stuff you've got to remember this is trees and all kinds of things here that looks like there's a statue or something here. Just simplify and put something there. Okay, that's just gonna be some negative space. Of course we have some trees running down the road that you can see here. This leading up the trunks of these trees, kinda just leading up into the, into the other trees here. There might be some off in the distance there as well. So just scribbling in a few bits and pieces, they're getting a little bit of the row. Let's put in this these little white lines heading down the road and this is something that I probably would just lift out with some clean water. I dry brush, something like that. Let's have a look here. There's a car just over on the right-hand side and putting some detailing there for that car backend of that car. There. Look at that. We've got a bit of the bumper there as well. Then we've got the facade of that car and then the front of that car there. And there's a wheel. Now, the wheel here, underneath there, and then we've got a wheel here. There we go. And it's a bit of a car-like shape driving into the scene, of course. And again, just a little shadow underneath that card joining the wheels. The shadow underneath the car is really important. It helps to anchor it to the ground. And that's all you need to really do. Okay? Now these buildings are going to be a little tricky and I'm trying to find a way to sort of indicate them. Indicate that rather than draw every little bit of detail in. So there's one over here. You can see if we simplify it down it so much just like a boxy shape intersects with this. This truck can see a bit of it Come here. There's another bit of the building here on the right, this triangular shape there. Then just comes up. You've got this larger row of shops. I might just make it little downward slope there. There's a triangular, sort of a bit like this here, here, here. And of course, this larger building on the right-hand side that sticks out a whole bunch like this. And there's a bit of space at the top as well, but not a huge deal. I'm just getting in a bit of bits, bits and pieces here of it. There's a front facade of that building. I'm not a lot of this stuff is going to be in darkness. There you can, here you can see, look these shades here is like so here's the shades. And bottom part of that shade as well Like that. Okay. This May 1 actually be further up. Just change the location of that. Maybe around here. That's better. Makes more sense. Okay, bit of a shade. Again, I'm just taking bits and pieces of those buildings rather than trying to copy it exactly. These little shoulders finding little shapes. And what I'm seeing here is just these little shades of the stores here and how they catch the light. So super important, I believe anyway, is super important to make sure that you get in some of this stuff. Because that's going to help to define these little shops in the background. Okay? The rest of it's not a huge deal. It's all gonna be pretty dark there anyway, so I don't see too much of an issue there, but here you've got these buildings in the background, these distances like bits and pieces of a building like that, just simply sketch in the top parts of it. I'm not fast, really. Little facade or something like that. Okay, good. And of course, all around these buildings, we've got these trees. This is going to be fun because I will be able to get these in quite soft. In the distance. Okay, good. Great, great, great. And just having a look to see if there's anything else you want to add in. I think that's it. I think we'll get started with the painting. Okay, so we're gonna go ahead and get in some colors now. And the first thing we'll start off with ease all the warmer colors, the yellows, especially I'd say go for those first before we get any of the greens because they can easily turned into green if you're not careful. So this is just a bit of yellow ocher and the paint that I'm using is a yellow ocher plus some buff titanium. Most of it is just water. So I'm just using essentially some what you would call it, a little bit of little bit of that paint. And probably ten per cent of the paint, 10% of paint, and the rest of it is just water, leaving a bit of space there because I've realized there's actually a window there that I forgot to draw in. But I can just cut around it with that paint, leave it white and we can put in some little blue, reflective blue or something like that in the later. But for the time being, that's okay. I'm just gonna drop in this color. Therefore, the side of this building, we're going to move our way down. There's a bit of turquoise see color here for this shade. I'm going to just drop that in. All this is just wet and wet. Remember, we don't really care about the details or anything yet, just really just trying to get in some little colors. Now, the figures are important to cut around. To notice I'm not touching them at all, I'm just cutting around them. I'm getting a bit of this, this cooler color down the base. And especially here because you're going to find that this is all going to be shadow here and the distance. Okay, good. Let's have a look at the buildings on the right. While we're obviously still in the yellowy, picking up the yellows, I'm going to just drop in some of this yellow up here. Okay, Just a little bit there. Let's have a look at this part of the building is a little bit of yellow on the top. Like that. Coming over to the side there. You can use different saturations. So you can pick up like a more saturated yellow, like a lemon yellow and drop that in if you'd like. I'm using pretty desaturated colors. So mostly, I would say just muted yellow is like a yellow ocher. That kinda thing. Bit of this buff titanium, which is a great just a neutral, warm, warm color, but it's still pretty neutral. Just makes things look a bit premia I'm going to go down. I just cut around that little bit. And we're in this sort of section where we can drop in. Notice I'm also cutting around the cars, by the way, don't don't touch the cars just yet. But over here I'm just going to go pick up a bit of blue or turquoise, something like that just to light cool color. Dropping that in here for the shades of these buildings. Okay, just a quick letting that melting and carry this down. I'm just going to stop putting in a bit of warmth at the base, bit of yellow in the base like this, and k cut around. I'm going to also start working on the sky. Now this area is still wet. You can remember all this, all this stuff here is still pretty wet, so I just want to leave that to dry a little bit, but I think we should be able to get the sky and now just some cerulean blue over here. I'm just gonna grab just a weakest cerulean blue, mostly just water in here and then look at that. I'm just going to drop that in around the buildings and stuff and it doesn't really bleed in because that's a dry it off a bit before. Just carry this along. Like that. Scruff that around a bit, okay? And some of it will blend in with the buildings, but don't worry at all. Okay, Well, one is just a really light blue in the sky. We'll let that do its thing, dry off, do its thing. What I wanna do is we'll start working on these trees off in the distance. And I'm going with some little bit of this color called undersea green, granulating green. And I'm mixing it with some Hansa yellow to create a bit of a lighter greenish color. And I really want to keep it light if possible. So notice how I'm just dropping in a bit of this here and there. But here in the background as well. And letting it seep into the sky a little bit more green there. The distance might be able to pick up some of these yellows and just start dropping in some of that yellow as well here near the base. Okay. Kind of signifying some sunlight off in the distance. Okay. And just look at that. I'm just cutting around these cars. I don't need to really do anything with them yet. Okay. I'm going to bring down this yellow into the foreground part of it. Over here, but I'm also going to mix in some neutral tint, which is just kind of grayish color. Because I do want to make sure that this road is a little more grayish in color, but I do want it to still be warm. So having the neutral tint plus a bit of the yellow, the yellow ocher really does help. I'm going to switch to a larger brush here. Okay, Let's bring this all the way down. Okay? This might help also to have your paper on a slight slides. So I'm just going to lift up the paper a bit, put it, put something underneath that, a ten degrees slot so that it comes down. What's the water moves downwards, helps the paper just dry more consistently. Bring that along. Connect this all up. You can see. Just connect it all up. Alright. I'm keeping it fairly light. Okay? Yes. Good. At this stage, we, again, there's not much detail to be seen here. We haven't added any of the shadows, much of the trees or anything like that. So all that will come later. We can of course start doing stuff like this. Putting in a bit of darker green in the trees and stuff here in the distance. Some wet on, wet in wet technique. Little bit of that. Don't want to overdo it. Something like that. There is also a tree to the left-hand side. I think that I should stumble a bit of paint in there like that. Okay. Good. This leaves the road because I know I did talk a bit about before lifting up some of this paint. If I can get in a bit of that, just lift off a bit of that with the paintbrush. Just dry it off my brush and drag the brush across the surface to try to lift off a bit of this paint. Very subtle. You just, you just use a dry off the brush and just lift like that. Drag that brush through the area that's got paint and it will leave the slightly slightly lighter area. I might have to redo this afterwards or adding a bit of gouache, but, um, it looks fine. While I'm here now the cause is still in there. I'm going to drop in some blue for this car, just a beautiful cerulean around the edges, defining the color, a bit of color on this car, like the blue there. I'll leave this one white. I'll leave that one wide, this one here. I can probably just putting a bit of darkness in there. Like this. Darken that down a touch. Okay. But I'll leave the right-hand side. There's a little bit of white in there to do its thing. Okay, good. So none of this stuff here, which I don't want it to be too light. I'm just going to get rid of some of that. Like that. Okay. More green and stuff off here and the distance wet in wet, soft sort of wet and wet brush strokes while the paint is still wet. And you can just have a bit of fun. And scramble that brush around to create these soft leafy effects. Okay. It's very hard to do afterwards. So you best do it now. Okay. And I'll give this really quick dry. 14. San Francisco: Shadows: Alrighty, So the time has come to start putting in a little bit of detail. And when I say detail, I'm talking about all the shadows, details of the figures, the trees, things like that. But it also means getting in the, basically all the darker tones. And we're looking here, there's a lot of darkness in here in the back of that truck. Even there's we can start off there and start underneath the buildings. I think what I'll do is actually start right over here. I like these buildings to the left-hand side. And I want to get in some of the blue, this nice bit of blue inside the Windows. I'll just see if I can indicate a little bit of this. The windows in here. Okay. I'm trying to pick up a darker blue enough we can mix it on the bit of neutral tint as well, too dark in that off, That's, that will be ideal. Okay. Just the four sort of rectangular window like thing O's and then we've got the frame on the Edge as well. So I can just pick up a bit of this other color than whatever it is. And I'm just sort of stumbled around to create this draw the frame of that window. Okay, there we go. We've got now underneath the building a little bit of shadow and darkness that we can bring out. Having shadows on here is gonna be super-important. The host of the direction, if you look at the, the, the buildings, they're these little longest line work across the buildings. I'll pick up a bit of color, just have been neutral tint or whatever, and just draw a few lines across the building. I don't want that to be too obvious. I made that too dark, but that's okay. I can just make the other ones like this. This is just going to help to indicate, I believe the side of that building. We've even got like another part of the building here that I've forgotten to draw in. It's kind of like a dark a bit there that I can just indicate like this. Okay. Rest of it is just the bit of this straw, the side of it and kinda like that. Okay. Let's pick up a round brush. I've got a number six round brush and I've got a number four round brush and I think underneath will go in with the number four, sorry, the number six round brush and getting some of this kind of cooler color running underneath here. And the money that you do have these like leaves, these kind of darker leaf structures underneath here, just kinda casting a shadow on top of the of the shade. And I can just indicate the tree. Where is this? I've got this mangled sort of round brush. I use every now and then, and I can just do this, getting a few bits of this scruffy tree leaves and things here to indicate trees. Large tree here to the left for example. And then underneath here. Let's just put in some darkness here in there. Okay? And remember, we've got these figures here that we got to cut around. Look at that this is just a figure. They're walking and I'm going to just cut around the legs a bit like this. And there's even one here. Click there. And we've got a leg here on the left-hand side like that. Okay. I'm just really trying to emphasize that shadow behind. I might put it in a bit of orange or something in here as well. I do like to make sure that there's some good mix of colors in here. It's not just one shade of darkness, really, few different shades there, there. Look at that. It's here. Right? Just dab a bit of color underneath the figures here, just to touch off that, touched off a video that cover like that. I'm going to be dark over there. There's darkness underneath these shades. You can see here. Just neutral tint really in that section. There. What's this? This is just all bits and pieces of a tree trunks or what have you. In that section. There's another tree or something like that. These two figures just standing by the by the road like that. Okay. Good. Go ahead. Continue on. These trees. I can just get in a bit of scumbling around there as well for the trees, bits of darkness and the background. I'm using a few different greens, but I'm essentially using dry brush technique and some greens to scramble the brush around to get in some of this dry marks to indicate some trees off into the distance. That, um, I'm actually going to darken it a little bit around here, around the shades so that I can bring out that shape more on top of that area just to be there. We'd have dark darkness around that section. Okay. Let's go and work on this side now I think I've worked on that side a bit much. It's good. I'm gonna pick up some purpley color. Some purpley color, maybe blue in there as well. Okay. Purple and maybe some of these brown there too. Okay, unless juicy color. Let's have a look here. This the start just roughly here, there's a rooftop and you know that there's actually light forming on that left that right-hand side of that roof. So I'm going to just cut around that. There's also some little bits of light in the building. They're like almost like it's passing through. It's weird. I'm going to go ahead and get that in this part of that building as well. Look at that. It's pretty dark and just get it all in with one shape, one large shape like that. More neutral tint and more purple like that. Coming down. Okay, great. You've got maybe a little shadow or something on top of that shade like that. What is this? This is also a bit of darkness in there. I always like to leave a bit of light on on the buildings as well. The darker here at the base. But that bit of the shade does appear lighter over here. So I'll just leave that good tree growing up through there. Actually, I might have to just bring in a bit of gouache later for that. But you can see that a lot of this stuff here is just pretty light at the at the where the intersection with the road actually starts in outline where that road is roughly, something like that. Work and the others just again, just a little bit of darkness in here. At the base around the shades There. There. That just that. Okay. Good. Just stop putting in a bit of color here on these buildings. Okay. Darkness there. Good. There's also some trees in front. Lighter sort of trees images to scramble that brush around a touch over here as well to see if I'm getting an indication of a tree there on the road. Okay, good. Cutting around these shades are probably the one of the most important things. They just leave some lights in there. Some interest. This part of that building is all in the light, I believe this side of that building. And then you've got some darkness here on that left-hand side. So I'm going to really emphasize that darkness underneath there. Okay. And not only that, there's a little bit of these spots on the roof there that are darker there in the background. You have also just little darker indications of things in the background. They're these little statues or whatever they are. I'm just leaving a bit of that wash that previous wash behind cutting around it. And I'm indicating some trees or what have you just overall off in the distance. I have to water it down a bit. I just didn't want it to be too dark. Trees or something off here. Okay. Good. Bit of darkness in the truck. Just put in something like that. And underneath as well. Let me switch to a smaller brush, small round brush. We've got these wheels here that mark out the base of the cars. And what I wanna do is just join them up a bit. Create a bit of shadow on the ground like this. Join up, join up the wheels to touch. And then maybe bring this shadow a little bit towards the left. Okay, good. The wind screen, I'm just going to darken part of this windscreen like that, bring it out to touch. And also the left side of that car, I think I will just perhaps watered down a little bit. Okay. Good. I'm Dan, the base of the car. Just a little bit of line work like that. Okay. Let's have a look. What can we do here for these cars, I think can just some little bits of line work in there as well. The wind screens and dark and offer that windscreen attached like that. In a bit of that back-end of the car. Then we've got the wheels, just a few little bits like that, connect them up underneath. Okay. Good bit more here for this car in the distance there. Another thing I want to do is just darken the left-hand side of that car bit. Okay, Just color there. Okay. Recolor bit of color there on that left-hand side of that car as well. Okay. Right. Good. Um, few bits and pieces in the ground. I think I'll just see if I can draw some little lines, directional lines going into the scene like this. Okay? Here we go. Just a few little directional bits and pieces. Be some colors for the figures. Now, let's put in a bit of this. I'm gonna be lavender color there for that one. This one I can put in a bit of blue. How about the figures over here that's giving a bit of a warmer color, yellowy color for that one, and leave it as that. Okay. Let's try to see if there's anything else that I can do with these cars. I think we are pretty good good to go with the cars. I just am seeing if there's anything, especially with these buildings, if there's anything else that I can indicate very subtly. But I don't think there really is much to do here. It's just finding ways that we can emphasize some line work here and there to indicate windows or like frames of the buildings. As you can see here, very, very subtle lines. I think if you start to you start to go into it too much. I'm an area might begin to look over work, so I just tend to touch and go in some spots. Okay? Alright, I'm going to dry this off and put in some of the final, final little finishing touches. A little bit of dry brush, and I'm using some really dark paint here to see if I can just draw out a few little windows and things in the buildings car like what I was doing before. But I'm just another layer of it in some spots. And you notice just a little dab here and there maybe here, dropping a few bits and pieces there. Let's have a look. The bottom's, the bottom of these cars, I think is something I really wanted to emphasize. If I can just straighten out some of the wheels a bit, connect them on a bit better. I think that will read nicer. I like that. This one here, they might just be a bit of darkness in there. Okay. The figures just putting the legs of that one like that. And this one here. Maybe a bit of shadow underneath these figures as well, like that. Okay. Let's get that leg in. Another leg there. This one here kind of walking to the left. Okay. Good. Straighten up this car bit. This is too little bits of detail in that car. Windscreen there and the backup thought I'll just outline that at touch there as well. Okay. Good. Truck. Maybe some darkness underneath here as well. Darkness. Good. I want to I want to add in a bit of gouache for these trees. So I'm just over the top of everything. I'm just picking up bit of yellowy gouache, bit of white gouache mix with the yellow. And also see if I can drop in a touch of brown as well. Darken that down a touch and let's have a look, see if I can maybe get something running through here. That's good. I don't want it I don't want to overdo it, but just maybe something like that. Okay. So it looks a bit of a tree or something running through a bit more wash bit more of that white. Just like these branch is really coming through the buildings. As you can see. Pretty subtle. But they help, I think just break up the darkness on the buildings and touch. Okay. Of course, there's a little bit over here as well. More whites, a little bit lighter. There, maybe something here. Okay. Here just a tree. Bottom of the tree like that. You can even mix it with a bit of green or something to create some sort of greeny, light greeny kind of a tree coming through in the background. Don't want to overdo it. My juicer, just be careful. Soft little bits of tree and stuff. Maybe I might add a couple of figures in the front as well. Let's proceed. I can put one in here. Just walking towards us. Closer. There. Couple of lakes. One here, one here. Oops. That's a bit of a shadow underneath. Then maybe another one here. Together. Legs. Just walking into the scene. Bit of darkness here. And then on that cost, do you just get a really light colored bit of gouache to add in some final touches. Just on the top of that car or what have you here? Here? I'm even on the figures. Just a touch of light or something. The shoulders. Okay. Some birds might just turn one of these blue, touch. It, just put a bit of this cerulean in that figure as well. Change it up a bit. Okay, and that's finished. 15. Switzerland: Light: We're gonna be doing a painting of this street scene. This is a street somewhere in Switzerland. And you can see there's a figure illuminated here in the foreground. There's a slight slope going upwards and I'm thinking I might add maybe some cars in there, but it's a pretty simple sort of landscape. Now a lot of these buildings look quite complicated, but we're going to just try to get them all in one big sort of shape. Also notice the shadows. You'll find that there's a large shadow shape running from the right to left hand side, just casting a shadow on those buildings to the left as well. So It's really a strong opposition here in terms of contrast, light and dark. So first thing I'm gonna do, I'm just going to just draw in the area of where the buildings right at the back touch the ground. Let's say it's roughly about here. About here. And that's maybe a third of the way up the page. Third of the way of the page. I'm going to start with probably the most simple bit first and there is some type of I don't know what it is, but some type of fence or something here. Like a gate or something. Okay. You can see just simplifying this down. You can see another part of it here like that. And it doesn't matter, you don't have to get it in exactly, but just this kind of stuff. Too little square is shapes on top and the side of that fence coming in like that. You can see also there is a kind of war. He, I don't know what it is. It's a, it's an interesting looking toward a structure that sort of gets a bit wider as you go down. Bits and pieces. At the top there's some type of tree or mosque or something like that. Growing firms are something like growing down the side there. And here in the back we've got this building and I want to start the building of roughly here and now it's not really, it's not even near the middle of the page. It's if you look at the middle of the page is about here and then you've got a whole bunch of space. You've got an even these buildings, we could probably get in this building here. And just simplify that as one big shape like that. A whole row of buildings. Just like that. Just to get the basic shape of it in first. Now this this know what it is, this little house, something like that. Here. I'm just going to start drawing it in this rooftop like this, okay? The bottom part, rectangular here at the base. These bit larger, these bits of what have you, trees and stuff like that. I'll get this one in the back to kinda triangular. Again, this sort of triangular shape here at the back. There's actually bits of trees going over it. And then you can have it coming down like an angle called a sharper angle like that. Let me just increase. That's building a little c on these buildings as well. We can just take small indications of what we want to add in here. That's like a little rooftop. There are these triangular bits as well. Look at that. You can just indicate bits of the roof like this. These little triangular shaped bits on top. Kind of ornamental. Suppose, start getting a little bigger like this one looks a little bit bigger. And notice how Raphael with the drawing as well. I'm not trying to get in all the exact details, just a few little bits and pieces like that. Okay. Well, the thing with these buildings is that they're all separated out. You can see this one here. Especially at the back. They become a lot smaller. And not only that, you've got these trees that come up in front of them as well. See, kind of just got to draw me in. This is gonna be interesting for later, just the general shape of them like that. Let's have a look here. This is another kind of segment here on that building. We've got another segment here, maybe for this building, another one here. And the rest of them, I'm just going to simplify down. I don't want to spend all day drawing the mean. Okay. Oops. Like this. Just straighten up this line. Touching. You always wanted to look at the angles in which the, the lines come through and you just notice this one comes kind of angle like this. Okay, here we go. We go. I think for these other buildings, they're quiet. I'm just going to simplify them down. I don't want to get in too much details or what have you in there. I'll figure it out along the way. Another tree indication of a tree. We've got to figure here, I'm going to just put in the head of that figure. Kind of a guy that's walking along, carrying one foot going forwards like that and then the other one all the way back. It could even be walking towards us. But he's got that bag just slung over his shoulder like this. And you can see the shirt and then the coming out in the fat kind of like his back of his arm here for that fella. And, um, you know, you can also start putting in things like a car, like there's not a car in there, but I want to put one in there because I think it will just create a bit more interest. Just the back of a car, maybe driving forwards off in the distance like that. Simple. Here's to look at the shape of it. Trapezoid like shape. Suppose. Okay, just a box, the box app in there. Now might even want to get another figure up here. And because we're kind of going on an incline, you will notice the figures in front. We'll have the head slightly above. That's another person. Maybe they're just walking into the distance like that. You could even have a person like walking across the road, just someone that's a bit closer like this. And have maybe they've got a sling and another bag. This down the side, they're facing forwards, the other arm coming out like that as well. Maybe this person's wearing a jacket or something and then other leg just coming forward like this. And the other leg I'm going towards the back, slightly bent, kinda looking like he he's walking through the scene. Okay. Good. I'm just having a look. What else can we do here? We might, I might just put in another car. Why not just getting another one here? Like that? There we go. That's a car that's a chiral from the distance. Notice the ones the cars off into the back, especially they just look a little bit further up. Kinda like the people, the heads just increasing. By doing that, you get this sense of, again, this sense of decreasing, not decreasing but incline. So let's have a look. I sort of trying to get in the side of the car here as well. Maybe see more of like the side view of that car. Like that. There is, we're closer to the foreground. A little bit of a side view, not too obvious, something like that. I think that's a good enough drawing for the most part. I just want to put in a few more windows and stuff like that here. Let's have a look at this rooftop. Now, some of these houses you notice there's these little separations between the floors and stuff as well that can help if he had kinda draw some of that in. Kinda helps with the perspective. Okay, good. So let's go ahead and get started on the painting. This is a little bit of buff titanium. And look at how light it is. Because I've put in so much water, 90 per cent water, ten per cent paint. I'm going to start putting a little bit in for those some of these buildings here like that one. Okay, That's a kind of a milky white sort of color to that building. You can leave, you can leave this one mostly white, the one on the right hand side. We can just color in like what I'm doing. Just like to have a bit of that milky color running through it. And this one to the left as well. Notice. And I just mixing a bit of whatever leftover paint I have in the palette at times. And this is kind of like some gray that I've found on the palette. It doesn't matter what it is. I just wanted to sort of add in a little bit of color in there. Okay. As we go through, you'll notice some of the buildings maybe have a warmer color. They may have like an orangey color or something. So. That's your opportunity to be creative and just adding a little bit of that warmth in there. Okay? And don't really worry about whether it mixes in with the other buildings are not. Just go ahead and continue on because remember this wash that we're doing right now, it's basically just a very, very light wash of color. I'm doing the same thing here, just trying to get in a bit of this is just a tiny bit of burnt umber, or you can use a bit of burnt sienna as well. Here for these buildings. Top of the buildings I like quite light actually, so I'll just put in mostly water up there. Like that. Mostly water down that side. Again, it's just all warm colors or even just white, white or warmish colors doesn't really matter. Okay, but a bit of this orange wouldn't have one hertz, so just tiny bit of that kind of warmer color in there. That's good. Just a bit there in the corner. Again, this sort of brick wall or whatever it is here on the right-hand side. It's got a grayish color and I'm just going to put in some of these gray to start with something like that. Through here. It's kinda like, again, more of this brownish color. It's just a bit of tiny little bit of burnt sienna. I can leave some white highlights as well. That would be nice. Okay. Just trying to outline this sense of a a fence or something here on that right-hand side and keeping it pretty light as well. I'm going to move downwards and just bring a light wash of color into the foreground. Just carrying this down, I've got a bit of orange, a bit of this grayish color. The whole idea is just to bring bring some of this down the page that's too warm. That's okay. I'll just dilute it down with some gray in there. Alright, Just like that. Okay. Cut around these figures and cars and stuff like that. I just wanted to get this sense of warmth on the ground and join them on jointed onto the buildings bit so that it always just part of that single, single wash in top of these buildings as well. I think what would be good is just a tiny bit of this brownish color or something warm up the top there. But I'll leave some highlights as well. Okay. Let's bring in a bit of green, tiny bit of this green here, this is undersea green. I'm just going to drop a bit of that in like this and carried around. Okay, I've got a few other bits of green in here as well. Whoops. There's some leftover remnants. Other greens. And now just go feather some of this in just a few bits and little strokes like that. Maybe up the top here as well. I'm using very dark greens and some of this area. There's also, you will notice that some of these elements of these trees here, like there isn't, this is kinda tree here. And I want to get into some softer shapes. So that's what I'm trying to do here, just like dropping a bit of green, hope that melts in nicely. Some more yellow, I'm going to mix in a bit of yellow with this green to get a lighter green color like that for this tree. Okay, coming in front of fuel, these ones in the back and not vibrant NAFLD just too dark. I can drop in a bit more like that. Okay. Good. I'll just start putting a bit of coloring for the cars now and I'm just picking up some, some turquoise see color, maybe blue in here, just dropping some cooler color in there. Because I think just having some kind of contrast between you, just a little bit of contrast between the, you know, the, the warmth and the ground. So we've got to now just a bit more of a cornice just from the cars. Sometimes it mixes too much. So I what I did was I just lift off a bit of paint like that in the sky. I'm going to drop in some of these teal color, a bit of lavender, perhaps just something different, a little bit of lavender. I tend to use cerulean blue, but any kind of cool color would be great. And I'm trying to use it pretty. Not as dark as I can. I mean, cerulean or any of these colors are pretty light anyway. But what I'm trying to do here is get the buildings to stand out against the sky a bit more. And notice how I leave a little bit of white on the edge of the buildings as well. That's intentional so that it leaves the edge, sharp edge on those buildings. Even up here in the corner, I might just leave that white. Okay. So the sky is actually at the moment darker than the buildings and it's causing the buildings pop out a negative shape. You start to see appearing. One thing we haven't done is just add a tiny bit of color for the figures. Let me just grab myself a smaller, smaller mop brush. A little bit of color for the figures, I think. Let's have a go with this one here. Maybe some red, pink color, light wash. That's all you need, something like that. Just have it melt into the ground. Okay, Let's have a look at this one. What can we do for this, this person? Maybe you can go with a little bit of a warmer color first, I'm actually thinking to get in maybe just a dark suit or something, but I'll keep them warmer. This one here, I reckon I'll just go with a bit of this cooler color like that. Okay, fantastic. So now we just let things dry and come back to the second wash. 16. Switzerland: Shadows: Greetings, dry it off very nicely now. And the final stage here is really just a pudding or the shadows and try to look for large, large shadow shapes that we can join on together. The thing that sticks out to me the most is just this big shadow here on the ground. Some of it's going to, of course go on top of these cars were often kind of imagine it and then hit the buildings on the left. So I'm going to be using a small mop brush. I'll mix up a kind of shadow color. And I do have a bit of this interesting purple black color here. Just purple mixed with a bit of lunar Mars Black, whatever you call it. It's kinda like a granulating purpley black color. I do have some of these greens as well, which I think will be good because especially for this part here, notice there's a kind of watch, what you call it one of these little shrubs or something like that coming down the side of this building. Notice it's making creating a negative shape like that and I'm just cutting around some of that white as well when to leave some of that in. Okay. I think that just want to get a bit of this roughness in here to indicate I might mix in a bit of this other green and some yellow as well, just to make it lighter, it looks a little bit too dark in some areas. So just a bit of this, and then I'll carry a bit of it into the sky here as well. Okay. All of it just a little bit to get in extra contrast. Sometimes he's old brushes are fantastic. As you can see, it just allows you to create more of these erratic looking shapes, which are great for drawing in trees and stuff like that. I'll pick up a little bit of this purple paint, tiny bit of that and see if I can just draw into that building a bit like this. Just a tiny little. This is some brown as well, but a brownie color. And they're just tiny bits of this brick work or whatever coming across. And notice how I kinda skip across some areas as well. I just want to make it quite loose. Okay. Fine. Like a few ones that just sort of cut through or something like that. And sometimes that the more you try to make them look like bricks, the less they do so little bit like that, that does the trick is some type of thing here. It's like a gym, call it a poll or something. Notice the paint I'm using as well, it's darker. I'm using less water, using more paint as we go through here. Okay, bit of this darker sort of mix. Because of course, you're going to get more shadows running through this area. You've got the light source coming from the right and then you've got this fence around looking fence or what have you just running through and look at that. I'm just picking up that paint and putting it through there. Leaving a bit of that previous wash on of course, but not too much. And running through here you can see also there is a shadow. I'm going to put a bit of warmth in there. It's kinda like a brownie. It's got a bit of brown and maybe I'm mixing some purple or something with it. Okay. Brown and a bit of purple because I still want to, I still want the shadow to be warm. Okay. Interesting thing as well is that there are these little windows on here that are blue colored. I don't think we'll be able to really get much of that in. Just wanna get this darkness in that building here in the background. Cotton around the figures. Don't feel like you also have to get in coloring all that previous wash. You can leave a lot of it. These tiny little bit specks of what of light as you can see here. Here we go. This little bit here near the roof that's darker. And then you've got the kind of indications of like stuff on the roof here, this like, I don't know, little bits and pieces like that. And then directly behind it, you've of course got the other building. So you're using that building actually to cut around and form the hedge, as you can see here, of this building in the front. So it's a lot of a lot of cutting around work that's for sure. That okay. They're just going to bring this down here. Just like that. Good. Darkness will be more darkness in here. Okay? I'm good across the ground now, I'm going to use that purplish color actually to get in a large kind of shadow, a very dark shadow across the ground. This shadow is going to come all the way from the right here, mixing with the fence. And you can see it. You will see it here on the ground. Okay. So just this purply color mixing into this fence. And of course, casting a shadow here. And you can see even the figures, the legs at the figures joining onto this shadow as well. And a little bit of that shadow of that figure. And the legs joining on as well. See if we can just get in a little bit more of this darkness. Cutting around these figures as well is pretty important. So look at that, just leaving that little bit of light on them. Super, really important. Okay, So coming across now, this car, I think we'll just have to kind of get it in, get the shadow on top of that car, but I'll leave part of it like that exposed. Good. Look, how far do we want the shadow to go? I think we will just get it all the way to where roughly this car is. They're cutting around this person walking all the way here, run through like that on top of kinda like the cutting over that car a touch. And then you've got the shadow forming on the building. So I'm just using this same purplish color to create a shadow shape that's just joining on. I'm just joining on. And not only that you can see other bits of that purple is shadow just sort of come through there. This building as well here. It's just all one big shape. You try to, try to find those. You'll find that large shadow shape and join it all up together. And I find that really brings the painting together. That's what I'm trying to do here. Okay, There's some darkness here. So I'm just going to put it a little bit of darkness in there. Sometimes on the roof you get a little bit of darkness in here, in there to look underneath some areas like that. That maybe here, little bit of shadow here in that building, too. Little bit more paint in these shadow here on the ground. I think it's just too light. In some spots. I like that. Good. Correct. That fence at touch. And also outline the tops of these areas of the fence you're on the right as well. Okay. Good. I'm going to switch to a smaller brush now, just a number for number six round brush that does the trick. This, I'm going to have to do this figure, the shadow of this figure here. Like that. Cost across the ground there. Okay. This car here as well. You're going to have to just get in the wheels like that. Be the shadow underneath the car there. Maybe to that left-hand side. There's a little bit of a shadow. We want to have that kind of cost onto the ground like that. They're soft and that off a bit. Leave that bit of wind screen lit up. If I can just use these to cut around the years, it kinda gotten rid of that car. But there's a bit of a highlight there. I'll get in the wheels and stuff like that later of that car or may just disappear off. But this car is important, this one here in the front or really want to create, um, yeah, just a bit of a negative the painted shape in here. I'm getting a bit of that shadow as well on that building all the way to the left. There. Where is it? Oops, there we go. Good. Fantastic. So really just looking for bits and pieces that we want to add in. And I think to myself, Well, let's get a bit of darker paint. And I want to say darker paint, I'd say about 50 per cent paint, 50 per cent water. From here on you can just like pick out some little bits and pieces like a window you might think to yourself would look good there or you might just dab in a bit there, for example. Does help to use a bit more of a thicker paint as well. Okay, just a tiny bit because it creates more contrast. And remember a lot of this stuff, a lot of this paint is gonna be pretty wet still. Certainly going to be pretty wet still. So you got to be careful with where you applied. It's going to spread a fair bit underneath the tops of these buildings. I thought bit of darkness, extra darkness. It will be good, especially because it's so it's still damp and there's still that you can get away with it. You can just hopefully let it melt in there and do its thing. Okay. So it's very dark paint side of that building. Just using this darker paints, almost pure paint to indicate some doors and windows and that kinda thing on these buildings all the way into the distance. Like that. Just dropping a bit of paint here and there. The thing you don't want to do is just to put in too much paint. But there's a doorway here and this is a strategically placed as well so that I bring out the lights on this figure here in the foreground. That figure there. It's a bit of extra darkness, maybe a bit more. Another doorway or something there. Knowing other one here, again, helping to bring out that car. Alright. Darkness, extra bits of darkness in here. Combined with the light, it's going to help windows look at that just a few little strokes of Windows or something like that. They're not much at all, just a tiny bit. And I haven't forgotten about those trees. The trees I'm going to do in this funny, messed up looking brush. Just darker green. If you have to mix it in with some neutral tint or some darker paint that will just have to do that. I'm associated with these trees over here. They make us seriously darker. Again, I don't want to overdo it. So if I have a few little scruffy branches and stuff like that coming off the side, that's good enough. I don't because the buildings look quite nice there in the sunlight. And I don't wanna, I don't wanna get rid of them by going too crazy with the, with the trees. Maybe a bit over here. Some darker bits that overlap. Perhaps, especially over this side. Some little bits of offshoots or something here as well. This one here we don't have to worry about all too much because it's still in the sunlight. So I can just imagine it. Imagine a tree here. Okay. It will lose sort of tree shape like that. And then go over the windows again. Just put in some little windows shapes. And notice how I'm holding the brush all the way at the end. Very dark sort of paint. And it becomes almost like this dry brush technique here. Okay. Games out these little triangular bits on top of the buildings, just outlining them. A little dry brushing some of them on. Not to abuse. A little few lines like that, even if it gets too much, just dab it off or something. I'm good. A little bit of detail over the top of other details. There's kind of like some shadow here on that building. Just bring that down more here. Good. Some windows shaped like that. Just a bit more, slightly more detailed perhaps. As we're closer. Okay. Good. More darker around the head of this figure like here. Create extra contrast. I'll give this a quick dry, some final finishing touches to bring it all together. One of the things I might just do is just indicates this. Some of the cars like that car here and the distance like just a bit of the wheels connecting on like that. This one here. Okay. Just a little little indication that. So let's have a look. Another thing you can do is start to put details on the people. So the bag of this person here, you can start the painting like that. Define what's going on a bit more. You can put in a bit of darkness for this person's jacket. Or if you want to make that person wear a jacket or something like that. Could put in a bit of blue here for the shirt, bit of teal maybe like that. And the legs. Not really much else you need to put in there. Maybe for the arms that I'll just get some red. The red is really good to put near the heads. And it just signaling that they are figures in here. I don't know what it is about the red, but it just really helps. You can use whatever skin tones you'd like really, but I'm usually just use red. There we go. Rid of that bag. The legs, of course, just be more of that shadowing on that on the legs to draw it more forwards a bit. Okay. Maybe some red for the tail lights of this car like this. Otherwise, I'm pretty happy with how it looks like that just right. Food around a bit. Some of the detailing here. This could be mirrors or something like that. And some final highlights of course, and a bit of white gouache does the trick is always just grab some straight from the tube. Clean off that brush, touch first. Bit of white gouache from the tube. And, um, oops. Some of this in the head of some of these figures, something like that. And then kinda like the shoulders on the right-hand side as well. That does help. Maybe part of the leg or something. You can just indicate like this. Even the tops of these little poles and things, wouldn't the areas they do sometimes catch a bit of light. You can just emphasize a touch like that helps to create this sense of light running in from that right-hand side. This one's gonna be more important as a bit of light there on the head and the shoulder. Like that. Maybe these shoulders, well, good, good. Bag. Here we go. Just maybe touch a gouache here on top of these cars. Like just little, bit little highlight for that car. I don't want to overdo it. Sometimes you might put in little bits of, I tend to mix in a bit of gouache with blue. And I'm putting a little splashes of this coolness, this cool sort of gouache color running through in some areas at the back and they sometimes helped indicate like windows and things like that we'd lost before. And I don't want to overdo it as well. But just a few here and there I think would be good. And having that run through this warmth or this warmth, it actually it really kinda balances it out. Okay, and I'll call that finished. 17. Class Project: Your class project is to sketch and paint a watercolor street scene. This can be a saint featured in one of the class demonstration videos, or based on one of your own photographs or scenes you observed outside. You can also refer to the scanned drawing and tracing templates attached, which will allow you to trace the templates if you choose to do so. I recommend drawing each scene. Freehand. Drawing is an important step in improving your painting skills. This provides you with an opportunity to compose and plan your painting. Complete your drawing lightly and loosely in pencil so that it won't show through in the final painting. This is especially important for background details such as buildings. Once you've finished the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting.