Sunny Watercolor Cityscape : Find Your Perfect Autumn Palette

1. What is this class about ?: Imagine the warm lights passing through autumn leaves rustling in the wind. Does it inspire you? I personally can't resist taking the brush and painting a picture. And what if we could change its palette just like leaves during the fall? Hi everyone. I am Maria, a watercolor artist and instructor. Welcome to my new class, where you'll discover how to find your perfect autumn palette and how to fly it for painting, assignee, cityscape. Whatever your level is here, you will find doable and useful exercises. We will start by generating color palettes, and I'm already waiting for your results so we could share even more color combinations with each other. Next, I'll show you how simple tunnel modifications can make the picture even more shining. After that, we'll adapt this logic to apply one of our new pallets in the quick 15 min sketch. And of course, I'll show you a step-by-step process of a bigger watercolor creation. Paying attention to all the details and techniques. So after this class, you'll not only make three paintings and a color chart, but you also learn an approach that you will be able to use for any future painting. Join the class and enjoy watercolors. 2. Color Palettes Exercise: Welcome to our class. Let's start right away with the first exercise. For the first exercise, you will need a piece of paper. I will use cotton paper, but cellulose paper will also work. And I will use a small synthetic brush. You also need paper tape or you can just line up the paper was a pencil and ruler. And of course, just take your favorite ballots. You probably know that I very often use photographs as references for my watercolors. In the original picture, there are dark and light areas that will have different lightning and tone. And they are also different objects, so they will also have different colors. But what to do? I don't like the color scheme of the original photo. I could of course, try to use filters and color correction. Or we can actually make a creative process. I would do it. Sometimes I do colored tests like this to four new variations and learn this method myself during one of the online classes a few years ago. And I keep using it from time-to-time. So let's try to test different cargo skips. Next in this video, I will show you all 12 schemes I made. Of course, with the color formulas with which they are made. The first video will be at normal speed, so you can see the process as it is and the rest will be sped up. Let's get started. As the first exercise for you, I suggest you to do at least six variations of different palettes, or better yet, more. You'll sit at. The first few will be easy to find, and then you will have to sink a bit and look for new color combinations. Perhaps even take color that you rarely used or mix it in unusual blends. And the more variations you said to herself as a goal, the more complete effective they exercise booby. I want him and taking new colors, I'll just use the existing balance that I normally use. And you will see that you can get a huge number of variations based on the same colors. So here I have prepared 12 sections for this exercise. Please don't be lazy and make at least six different color schemes. Experiment, and don't forget to share them in the project section. That way you can help each other to find new beautiful color combinations. All right. 3. Commentary to the exercise: So less than what we have is our color tests. And I've already spent quite a time thinking about what colors I prefer, what pellet I prefer the most. So I'm honestly satisfied with the most of the colors schemes I created. Some of them are really unusual for myself, e.g. this one. And I really love it. It's a very, very nice dark autumn mood here, or this one is very like my balance with some bees and blues. Although it doesn't feel like this place at all. I really feel as autumn. So it will be there is tiled here, e.g. I. Also like the mood, but I don't think that it will work for this picture for me. So it's really very subjective thing and you will choose for yourself. Hopefully you will do this kind of a color chart and you will have this choice. And really spend some time thinking about it. What I'm adopting now, two options that I chose for myself is this one and this one. Well, no surprises, I guess also, I think it works for me because I added some contrast here in these pictures as well. So they really capture the mood and the lights already. And this is probably the why they take my attention. What about these pictures? Here? I love it because it's more red. It's less common for my personal palette. It's very warm as well. And I think it will be nice mood in this picture. This one also works well and I really loved the color, warm and cold contrast here. So this is why I'm adopting, but this seems pretty classy to me, so I don't really know what's picture to choose. What I think that I will go to this option and I will try it. And if it won't work, I will do something more, contrast in cold and warm colors. So we'll see. So what I'm going to do now is first I'm going to work a little bit on black and white version. Well, I'm not going to use black color. I'm going to save it here. So we will have a kind of a old style postcard. Because here if I take black and white picture, it looks nice, but for me several shadows are missing and I feel that we can actually work on, on Caravan is here as well. Even though I already worked with this picture in my Lightroom application to work with some contrast, et cetera. But I really feel that it can be beneficial for us to, to test it in monochrome version first and then to try to make a colorful one. 4. Sketch exercise : Drawings: So let's do a very quick drawing now. I really don't need too much for this. I only need to edit very simple sketch and take my B pencil. Here. I really want to do only a tonal sketch to see what it may give. So I don't really even need the marginal proportions here. Just to test. Here will be, yeah, Let's say it's more or less proportion will be the tree. I really want to make it going out of the picture. And our windows which are here. No, I don't really paint details. Here. There will be people. Your body's, I can already tried to draw them because I want to make some shadows. Casting, casting by those people. Here are rooftops of the streets. Don't forget about perspective here. So the first one and I will do right away the second one. So the roof here actually they are not equal. Just noticed. Cathy. This first window, second window. So it's a very quick sketch. I made it. So here will be people walking. Alright, the first plant, I'm not going to touch it. So let's try first the simple version. So I have a sepia color. I will put it here on my palette. I actually already have it here. I will take and I will prepare the color in this, in this place. 5. Monochrome Sketch : Part 1: I'm ready for the first test. I will do it here, and then here I will test my, my colorful version. Well, I really want to take to test this one, so I will see how it will work for the second option. And if it worked, I will maybe just take those colors for a bigger version or I will change some things so we will see. But first this, this picture, what I would recommend you to do for this exercise, to take a bigger brush that you would normally take a for this size of a sketch like this, you will be free from details and it will be easier for you to really just to try to see bigger spots, bigger watercolor fields, and just to work with them without thinking about lots of details. Of course, next, if you, if you prefer to work really detailed picture, feel free to do this. But I really recommend you to use this picture as an exercise to try to test, to get some information from your picture. What I'm doing now, I'm only working with setback color. It's the one by Vanguard, the very simple one. And let's see what do we have? We have the sky. Don't forget about your color paper. So we have our, our sky, we have some clouds. Of course they are on, on wet. You already know the technique. I hope. So. They are very soft, so normally they are on on wet, paint, them on wet. But this guy is night is not White, so we add some colors, some color to our clouds. This guy is quiet, clear anyway. Especially in this spot. I will prefer to keep it white because here we will have the lights going right. And then everything else is darker. The only roof here on the the cafe will be lighter. I actually already can cover everything here. Some color. So could wash right away some color from future sunlight. Maybe two leaves, a few highlights here on the ground. And the rooftop. It's not like white quiet light anyway. So there will be color. Here probably we will have a very, very nice highlights. First layer, I'm going to make it dry. Was a hairdryer to make it quicker. Alright, now it's a little bit drier so I can already paint on dry technique just not to have too much running, running color spots here and there. So what I'm going to do next is to, well, actually I need to determine all the elements. Then going to have in my picture to see how dark or how light they will be. So here is for my rooftop, there will be some details on it like that. Basically everything here is darker. Then the rooftops there. They actually will be even darker than my my coffee so I can actually do them later. Here we have some lighter spots. He details on the ground. What I would do is I would make, of course, the foreground a little bit darker here to have a perspective effect. And the last thing is we already have some light coming here and there. And I will remove it with my brush just to keep the lights going. Here and maybe here. And now, let's switch to the tree. Here you see around the tree we have some, we can see some leaves, but they are, they're very light. When we see everything yellow, it actually seems very light anyway because the yellow color is light. But what we need to notice for our future work is that here yellow and here this yellow, they are not the same tone. So here, this exercise will help you to understand actually that your leaves are a lighter and darker in some, in some areas. And like this, you will notice and will apply your color more correctly in your bigger work. Here it's lighter, almost transparent color. The further from the sun we go, the darker it will become. You see, using the bigger brush helps me to avoid excess details. Here I can have some branches. The tree itself also will be lighter in the light area and darker and darker one. I'm doing those leaves there very schematically, I don't really follow now the drawing of the tree. Just to test the idea, you know how it will work in general for the further color values right here, it's a little bit wet. I want to really touch this area at the moment. Light, dark. This is the only thing I had to, to capture in this in this sketch. Of course, if I want, I can do some lights. If my paper's still wet. I can try to remove the color and to make a light effect, but really don't think about it a lot. Even the fact of using different color values will help you to create a nice contrast and the light effect in the end. What do you need to do for that only to take more pigment. It's not even about the color yet. It's only about the color value and tone. 6. Monochrome Sketch : Part 2: Okay, We can go back to the, to this building here. We will have some health windows, some very dark details. Comas, black details here. Well, here in the background is printing because of the because the color was still wet in this place. It's funny because it's even created a light effect. And what we need is to see some details here and there maybe they will be really dark. In this point. Some shadows here. Very dark. And trends of the cafe. There is actually a person here. There's a shadow. So the idea of this exercise is to test color values to see what you need is a color. So here we have people going. Actually can be darker. I feel the trunk of a tree is darker here because there is no really light next to it. And why do you can do this to try some shadows coming from people. Cannot forget it shouldn't be really dark. The way to entering the gushy. Once we have dark shadows, we will have the light effect. Yeah. Then there will be some details. I'm asking myself if this building shouldn't be a little bit darker as well, or if it feels okay Here and there will be something darker. Maybe. See some buildings. 3d is something very technical. But it helps to feel better the picture. So I'm pretty happy about the tunnel. Tunnel proportions here. Maybe the only thing I would make the background a little bit darker. Of course, it's not their precise as a drawing. But I think you see the idea, right? So this is how I'm going to, to work with this picture here. Maybe there will be also some shadows. So now I see more or less how it will work for me. And I can try to transfer now those color values into colors. Let's draw our picture first. I hope that you can see that this version is a little bit more highlighted comparing to this one. It's just because I added more light spots on the ground and maybe my highlights here are a little bit more intense than in the original picture. We will see how it will work depending on our color scheme. So now it's time to maybe to try. Finally one in this place. 7. Color Sketch : First Layer: So let's try now the second version. And this time I'd really like to try this color scheme. I actually use quite a lot of different colors and we will see how they will work together, applied with different color values. Which is very interesting because here, here I don't really have colors of dark tone on the tree or on the building here. So only some shadows in this part. So I'd really like to see how it will work for, for different color values. So let's go. I propose the same, the same approach, no pressure here, it's just a test. So I will prepare my palette. I will clean up a little bit like this. And here we go. I'll begin with this guy. This guy was royal blue and drop-off. Payne's gray, if I remember well, and let's add a drop of orange for having some highlights. Also can make the sky a little bit warmer closer to the sun. So here. Why do we need this second sketch is to test colors before we will begin the, the bigger painting, that's it. So if you feel that you're already ready for that, you can do it without the sketch. But this is small one. It will take just some time from you, like 10 min or so. And then you will be able to You will know if you like it or not. And like this, it will be easier for you to create a better picture later. Like to be sure that your color choices okay, and you can confidently paints your maintain. So I will add now a little bit of Oreo line for the background. Remember we had some. And then light for light for my roof. For the cafe is actually orange and a drop of red, if I remember, well, I wanted to make it very light. So let's add more water into it. Then we can go up with the same red because there's a light reflection from like sand goes here. And then we have the light coming through. Make sure they have some sun came from my window as well. Now, let's take again the same colors. Blue and a drop of Payne's gray mixed with this orange and red today. I used for the bottom part, I will take one turmeric, just like we did here in this part. You see, okay. Here. Make it lighter in some places between people that can make it lighter. Future shadows. And we drive. 8. Color Sketch : Details: You already know the whole set of colors. So if you see that the color has become more red, then I use the red that we already added. I sat with a translucent leaves of the tree around the sun. You remember, it should be lighter and warmer in color. Depending on the shape of the tip of your brush, the leaves may turn out different than so before I started this part practice on a separate sheet of paper. Make prints of your brush and see what kind of marks it leaves. Here I've added Payne's gray to make the color even darker. The trunk of the tree should be also dark enough. So I'm increasing the contrast here. And then I switch back to translucent paint. And then let's add some more contrast to the background. Here. I'm not really interested in the technique itself, but more in what tone and color my watercolor response will be. I led a little more translucent yellow to an Hayes, the glow effect. Now it's time for the darker details. Remember in the monochrome sketch, they were almost black. So don't forget to mix the paints thicker. I'm removing the color in some places to create the effect of some beams and shadows on the street. Of course, I only can make it while the paper is still wet in this place. Switching now again to almost black or very dark and dense color. And even for such dark spots, you can still change the color. I'll take it more red in some places. Of course, I only add colors that I already used for this picture to keep the color harmony. Let's continue with shadows now. Posteriors creates such a nice conscious here. I increase the contrast in some places. Adding details at the same time. If you final touch, and we're almost done here. If you want, you can paint a tree on the background. I really love to see how this picture is becoming shiny. So actually that's it for this second sketch. So now it's your turn to create your two tries or maybe even more, don't forget to share them in the project section, maybe even in picture, so we can discuss them altogether and see you in a big project. Next. Good luck. 9. Main Project : Drawing: So let's begin as this time drawing itself. All the rules of perspective, how to construct the image is not our main topic. I decided to go easy way and I just transferred my printed photograph to my watercolor paper using a light table. So you can do same as well, is if you feel that you really want to have a precise drawing without, without putting a lot of effort into the drawing process. Or you also can make your drawing on your drawing paper if you want to exercise your drawing skills and then transfer your drawing to WaterGuard paper. Why I recommend to do it in a separate paper? Because by erasing a lot you can damage the paper surface. So to avoid it, you can do a transfer even after making a transfer drawing. Of course, if you feel confident with your drawing skills, go for it and make a drawing by your hand directly on watercolor paper. You can find a photograph of my stanza in glass materials. So feel free to use it as your guidance for drawing. Don't forget the drawing we need just to help us to create watercolor, but not for drawing itself. 10. Main Project : Commentary: So let's begin painting. And after all this color tests and simple drawings, sample paintings, I decided finally to make it simple and just to do a original color scheme that we have on our photograph, I think it will be easier for you to be guided by the information from this photograph and to create your watercolor picture using the colors that you already have here. Of course, if you already found your favorite color palettes during all this sample exercises, of course, feel free to use it. And in this case, I recommend you to use the black and white printed or digital picture as a reference. But for me, I guess this will be my reference. And I will also try to create a little bit more light in these environments, as I had in my sample paintings from the previous exercise. So let's begin. 11. Main Project : First layer - Light: You can see the list of all the materials I'm going to use in this class. Of course, feel free to replace those supplies with materials of your favorite brands. Just think about quality of paper. This time I'm going to use cotton paper, 300 g density. This will allow me to work in nuclear technique commonly in several zones of my painting. Alright, let's begin. I will try to do it one or less in the same manner. Like a quick sketch, but a bigger format. So I'm going to use bigger brushes as well, especially for the beginning. And I'm going also to try to reproduce, to follow several technical effects that we can find in this, in this picture. So first of all, I'm going to moisten them the background where the sky will be because our clouds are very soft, which means for me in watercolor language, painting on wet. So this is what I'm going to do. I'm going to moisten those surfaces. That will be lights. Yeah, Let's moisten everything on top of the painting. You can also spend more time by preparing the paper surface if you prefer. But my goal for the first layer will be just to add light everywhere. And I will begin with my Skype. For this, I will take first some colors. I will pretty moisten my pellets. I see some yellow, orange, and blue in the sky. This is what I'm going to to try to reproduce. So let's begin with orange and maybe drop off Naples yellow or something like that. This guy is not the main subject of this painting, so I don't spend a lot of time trying to paint clouds or something like that. If you want to have more color, don't forget that's drying your watercolor will be lighter. And also, I need to keep white areas. White. Switch directly to the blue. I'm using royal blue for that. Everything is on wet. You can play more with color, with cloud shape if you want. But as I said for me, it's not at all The main thing in this painting. I keep in mind the fact that drying my watercolor will lose by brands. So we continue. I will right away put some color to the background here as well. To begin this yellow story in the bottom of the painting. Here I will completely term because now it's still wet and I am wanting to run too much. Of course I keep whitespace here in the center, in the place where the light will be. And now I will switch my switch to the smaller brush, the one we just clean. Now we'll take some yellow to put this slide to my future cafe. And mixing two yellows for that. Here I have another yellow and also I want to make it run. And we'll get to this upper part to the building because we have sort of a reflection on the wall because lights goes to, from the sun goes to this roof and it reflects to this to this wall and it will have some yellow undertone. We continue putting lights everywhere. There will be some lights and highlights. I'm not sure if I'm going to put them now or if I'm going to use them. White gouache. In the end just to highlight them. Here we will have called color of the road. We'll just make sure that my yellow still shining here. Once you let the color flow to this yellow bar. And we're going down for the street here, for the cafe as well. Here we have some orange. You see those menus and different like chairs inside. They can be they can have a little bit of a warm color in it. Even though the light and the shadow that I'm going to put over it, I will make probably more cold. And I will keep with yellow for the, for the road. This person will also be dark, actually in the end. Now I will let it dry the first layer two and later. Meat tones. 12. Main Project : Second Layer - Background: So now my first layer is almost dry. I say almost because it's a little bit called myTag, but it means it's just some liquid state in the paper, but normally it's almost flat. So it means that I can work on and in dry technique on my paper. So I will switch the brush to something more pointed as a pointed tip. And I will begin adding Midtones to the painting. I think I will start first with the buildings that are in the background. I will use the mix of colors I already used to keep the harmony of the painting. Always keep a piece of paper for color tests to see what I have. And I will begin adding my mid tones. Here. I'm working with quite wet brush. So it allows me to create a nice backgrounds which will look as a entire watercolor spots. And right away a little bit of a yellow for my feature tree. Because you see here we have some leaves that goes into this background. So why not to try starting adding them to this place? I will mix both yellows I have. For this purpose. I take them more or less transparent. The main purpose of this, the main role of this background is to create the contrast for my roof. For this yellow spot. It's fine that I switched again to this pressure anyway. As this ball is quiet, wet still, I can connect everything into one spot. Basically it logically will be to make it colder. The further eat from us. Also called her background will be even more contrasted to this yellow. Try to measure some buildings or, or so. Yeah, Also drop-off yellows for for the trees in the background. Somehow I got them lighter and darker, lighter than the saids, but it should be the fault wall is normally a little bit lighter than the rooftops so I can work on it like that. I'm asking myself if I shouldn't add a drop of blue somewhere. To emphasize this yellow story. Basically, I want, I'm not going to draw to paint any cars. Same for people first, I guess I will just cover that voice that was the color. Let's move on. Click here for this edge, I can make it a little bit warmer. I also can work this place already. Any once again, some yellow to the feature tree here. Mixing as usual both yellows. What else I can do at this stage is to try to add some sunbeams. I think this could be nice to do here, e.g. I need to make this effect while the paper is still wet in this place. Here it won't be white because they are already was a embed grounds. Here. It's still too wet to begin with. Maybe here in this place. I guess. After every touch I need to wash and squeezing my brush. Once again. Here, there will be also the leaves of the tree. Some freshmen, my brushes isn't clean, so this is why I have I don't have whites. I will leave it like this without any excess detail. I'm asking myself if I don't want to add something to rooftops and took a drop of Payne's gray for that. 13. Main Project : Second Layer - Building: Let's move on to, let's move to our building. Finally. Take the same colors, yellow, orange, drop of blue, which are marine blue. Don't be afraid of a little bit dirty colors. You will see that you actually need such dirty color to create the contrast for your white ones. White and clean ones. And I will begin maybe was a little bit colder for the roof. And then I will move on to two, the volume part with lighter and warmer tint. Same story. I will take it quiet, wet to have time to adjust the color, to maybe add some color details. While it's still wet. Here. Remember, I wanted to add more yellow. So why not to keep this logic? Now to make this part of the building even more yellow. And continue in the same way to Create. Now, here I will wait until it's dry to add more details. And I will add that First details to my cafe. I remember that I wanted to add some menus and details. A bit too late. The waiter entering start adding darker color right away. And I will move on directly to the bottom parts, to the road. Another that seems quite a lot of work at the same time, but you can split it into different parts if you feel so. So do firstly the cafe and then add a shadow here. If it's, if it feels more comfortable for you. Now I'm going to make the very foreground a little bit darker. A little bit time minutes, of course. And remember about the shadows. While the paper is still wet. It's almost dry brush. I'm going to do the first layer of shadows for my pupil. Here. For the tree as well. Make it first word too late to add some darker central parts. You will see my brush is still quite wet. I'm always using napkins to control the amount of water on my brush. Notice that closer to your objects, shadows will be more precise and more smooth further from the figures. Masking this off. It shouldn't be a little bit colder here. Maybe we're not. There will be other shadows in the background. Further roads, cars there. And I was tired from ten to remember that we had a building. So I still can add some details, e.g. some color highlights. It's really time for some for some details on wet if you want to know so that we like period in the future. I also could add maybe a few details for the foreground. And I'm asking myself if I shouldn't do more details here or to work on my background. Can be darker shadow. The paper is still wet so I can use this chance to to work on it. And you also remember that will be much drier and much later once it's dry, excuse me. And I wanted as well to add shadows to the window right away. Remember here we have what's up with that? And with lighter colored, still quiet, dry because paper here is dry. Hi, I'm adding some details, not trying to draw them very precisely. I just need an impression that something is some architectural elements, windows, etc. Are there? Just to have an impression that yeah, there's a building has something, some structure and elements. Alright. What else? I can also make this man a little bit darker as it will be later in much darker shadow. You will see. For the next step, next two steps I left. We need to create our tree and darker shadows. I think it's alright so far. Light blue elements here and there. Let's see. Later what we will have maybe some structure, some texture to our streets. This now looks too dark, but I hope it will be lighter later once it's dry. So let's try it with a hairdryer, right? I didn't drive too much because I only interested now in this, in this part and this will be a dryer soon, so I will have time to work at this spot. At first. 14. Main Project : Tree: One of my favorite tools for painting trees is such calligraphy, Chinese brush. I'm going to use it that this time as well. You can take whatever you prefer. I like it because it's very precise and it gives very spontaneous spots. So it helps to create natural chaotic or shapes without bigger for it. So let's begin. I will just do plenty, plenty of such random movements to set up those, those leaves here. And there will be more yellow and more transparence closer to the sun. And of course, we will have some yellow in the upper parts. But we also need to make those leaves darker in the upper parts of the tree. I'm going this time to draw every element here. If you feel so, of course, spend your time doing all those prints. You, you can actually do something like this. And to try to create the texture of the tree if you really like it, I will do it in more simple way. So I'm just painting sort of a random tree. If I had the sun ray coming sour, I need to keep this area lights. And we'll work quickly to keep all those sports wet and to have a chance to, to create all the shadows and the light effects on the tree. I'll say tree trunk is here. At this point I start to introduce to add burnt sienna to the mix. Because we can have very dark yellow without adding anything. And we can go either into warm colors or to add other colors, but like blue, even blue can be added. But in this case, we will have the color more muted. And I starts with very vibrant dance. Feel free to stand up, to make a step back, to have a distal to your work to see if anything is needed to be added. Now I'm starting to add blue color to this warm mix is becoming more neutral and darker. Which helps me to create shadow effect on the tree. I will take liner, brush these or they can do this job. And I will now will make branches. First one is the same color. You've even lighter in some places that are closer to the sun and with darker color. Here on top. Notice that your branches, they are not laying on top of the leaves. They really go somewhere in-between of those who those leaves. Let's move lower. Maintenance, tree trunk. Johnson can be much darker here. Black. You see we're now starting, ending super dark shadows. So I'm switching to the Payne's gray. Maybe with a drop of the rest of this brown that I have. I'm using now, almost dry brush. You see how it leaves? Leaves the brush strokes. They bring immediately the contrast as well to our painting. Window details. So very contrasted should maybe make it a little bit darker. First. Let's move on to details. Here. Let's add some vertical, horizontal elements, imagining that the cafe and such details that maybe inside a waiter. 15. Main Project : People: So now it's time to finish the painting. Let's do final details and last final touches. I think that I'd like to finish the tree, maybe to add a few more leaves here. To feel more this space and also cheer to make the shape of the tree a little bit more natural. So once I have this tree trunk done, it feels like the tree is now not very symmetrical. So I would like to to maybe fix this impression a little bit. And also a few details here and there. To reinforce the effect on delight. Feel free to stand up to get your painting from the distance. I will add a few leaves here and there. If there are some names, I will remove the paint just to keep the effect of obliques and you keep the shape of the tree going. Alright. I think I like it like that. Let's move on and, and few more details. First of all, we need to paint people. So let's do this. Dr shadows. So I will take a darker color, but I'm not sure if I should make them very dark though. So maybe a few details. Them can be like here. There are some details on the clothes and maybe this can be something interesting to paint. I have a shadow here, so normally I needed person to be done. What else I will do is I will paint the face. You know, that people looking at us normally we paint them with red faces. Like this. We have an impression that there is a person walking here and looking at us like that. I'll do a few more darker details. There is another person walking here. Let's keep doing the same way. I will probably take something, maybe I'm asking myself, it should be warmer or colder. Is a figure probably. Something natural would be nice. Quiet, dark anyway. We have this finger here. And I will add He's fence as well. I wanted to be little bit more dry gesture, maybe a little bit darker in the upper parts. And same for the face. I'll do it. Well, Fred, I mean, my orange color. Normally it should be around as a face. Be afraid to do some corrections. It's totally okay. We have the last figure here. I'll try not to do too dark. This time this person is looking another direction so she will walk away from us. Let a few details for the shadows. Because now as figures are more defined, I would be happy to see better. Remember I told you that the shadows, they are more defined closer to the object. Like that. It's probably add a few dark details. The road, maybe this man feels a little bit too dark to me. I'll probably try to change a little bit the color. 16. Main Project : More Contrast: So let's go back now to Chile details for the building. There are some things that I would like to add, maybe two, to have a more, more shadow here. Like this. I will have the impression of detail for the window without painting them too many. No size suggesting that this part can be a little darker. Now I wanted to make this less reasonable to, to contrasted for, for such a detailed. I feel. Also here we have sort of a shadow. Really liked to make it look more real. Leaning more shadows here. I think it looks more natural like that. Some darker details here and there. Now of course, the most tricky part is to stop at the right moment. I want to satisfy their color and contrast drops. 17. Main Project : Cold Color Accents: Now to really conclude this story, I'd like to add a few color accents here and there, and also some, some white details as well. So let's do this. I'll take first, yeah, I'll take my liner brush. So what I can do is to try to find a few places where I could add some I'm colored details, e.g. here on this Windows we can find some something like bluish color, like something called here, here and there. There are some cold details. And I guess I will take some royal blue very, very densely to put a few random details here and there I will take it also quiet. I'm using my liner brush and I will take it quite dry as well to have really like dry effect of details. Something like that. Imagine that there's a text can be solved. Here is well detailed summary cafe. You know, the person. 18. Main Project : Final Touches: Well, I would like maybe to add, by the way, the head to this person and maybe a few details for the road, for the background somewhere there. Because there are some lines here on the background. You see there are edges the road, but I don't paint everything. So of course, if you feel so you can really try to draw everything you see. But for me it's not the purpose. And here I took the color very, very transparent. So while, once it's dry, it won't be this. Present. A few more splatter. I can do it with some color. It can be also nice because now we're switching to warn details. I will also add some red the details. Again, I'm using this orange color. Let's add few warm details here and there. They're just random details, some color accents that bring some life to, to the painting. I guess I will add as well a few more details here next to windows. They're very white ones. The balance of details, it's really your personal thing. If you feel that you want to make them more detailed, to have to paint every, every, every thing that you see. Feel free to do this, but also you will need to find the moment where to stop. So I really recommend you to put all the detailing stuff to the end of the paintings. So asking myself if it's enough for this part, they want to make it a little bit too dark and not to Jack little bit darker because he is actually more in the shadow seat. I will keep it like that. 19. Main Project : Highlights: The very last thing, I'm taking white gouache. I have this one in the tube. And this I will take you directly to my brush and just make sure that it's clean. I will take it very, very densely from the tube like that. What I can do is to add a few highlights here and there. Here. The point is to, not to make too much, just find the places where it can be really highlighted. So e.g. I. Can see something here. I can see something here on the corner, maybe all people and like some details here and there on the road. So that's it. So I will try to adjust to add a few more details to emphasize the light of the painting. And they're really just a very light gestures. I don't do much. So once I touch it, I keep it. I don't really draw. I gave every detail. Just to, just to touch. Here. I put some shadows, some whites on the on people's head and shoulders because this is the light and so logical and there will be some, they could be some highlights here. Now we have more lights on people and I really liked the effect. So what I can do is just to add a few more light spots maybe here and there. Just some highlights. I can add some highlights in the tree. If you feel that you miss something, you didn't put the light where you want it. You can really try to fix it with white gouache, but don't leave too much for this tool because it's only for details because you need to have it really opec, which means that it should be very, very dense and thick. So you really can't, you see like how dry it is. You really can't paint larger areas with it well, unless you want to make this effect visible. But this will be another, another thing. The last, the very, very last thing that I'm going to do, they will take the rest of the gouache that stayed on my, on my brush and I will add a drop of something that's stayed here. They have not white but lights, some white color. And I will do letters here. Not going to write them all as they are. But you see I'm not painting them, writing them white because here they are in the shadow. Those letters, even though we understand that they are whites, they are not white in the painting because this part is in the shadow. I also could add few, few lighter details if I want to take a fee, some lines details for Windows. But here, this may last. And I really want to finish this work. And I think I did good job here. I hope it was clear. Normally this is how I work with such plots. It's very quick work. And the main thing here was to capture the light. And I think it worked well. Now it's dry it and remove masking tape and just checking now if everything is dry. I think it's the case or maybe some white dots are still a little bit well, because the color was there, very dense here, so it's time to remove the masking tape. Oldest pleasant moment. 20. Conclusion: So here's our results. The last thing that I would do, I will take an eraser and I will try to get rid of this line, pencil line and the white area. Yeah, Now I'm happy. So this is our painting. I hope you enjoyed this step-by-step part as well as our exercise section, I will be waiting your color charts and sketches, as well as this big painting in the project section. And of course, don't forget to share them on Instagram. Here's the hashtag for that. If you have any questions, don't hesitate to ask them in commentaries. I hope this class was useful for you and you enjoyed it. Please feel free to write me feedback saying what you like the most in this class. I'm looking forward to seeing your son is cityscapes. See you in the next class. Bye bye.