Urban Landscape Essentials: Melbourne (Queen Victoria Market)

1. Introduction: Welcome. In this class, we'll be painting an urban landscape of Melbourne's Queen Victoria market in watercolor, learning how to capture urban landscapes in a quick, fun, and loose manner is an essential skill that every artist should learn to master. Watercolor is the perfect medium that allows you to produce spontaneous and expressive paintings on the go. Urban landscapes can be confusing to paint with so much going on and an overload of detail, we can often get lost in our painting. In this class, I'll show you how to paint any urban landscape easily by using layering techniques and understanding light and shadow planning is crucial. I'll show you how to simplify buildings, cars, figures, and shadows into basic shapes. Getting those large components in accurately beforehand is essential for your painting to make sense. Join me in this class. You'll see just how easy it is to create this amazing scene in no time at all. 2. Materials Required: So before we get started with this class, I want to talk a bit about the materials that I'm using over here. I'm using a bit of 100% cotton watercolor paper. This is medium texture. I normally use medium, or rough texture for landscapes, urban landscapes. And I find that's a lot easier to use because if you're doing these wet in wet techniques, where you're dropping in paint such as these clouds, even in the buildings back there, the paint just spreads a lot more easily. And you're able to get these nice granulated and interesting variations in the paint. Usually, when you're using hot press paper or paper that's completely smooth, these effects are a little bit more difficult to get and the paper dries too quickly for you to be able to add in these little variants. So if you're not able to get 100% cotton paper, have a look around and find yourself some textured watercolor paper. Even if it's cellulose paper, that's going to be fine as well. The cellulose paper does dry quite quickly, so that's why I recommend using 100% cotton paper if you have that available. All right, so here are a bunch of brushes that I'm using in this painting. These are some watercolor mop brushes. They're great for getting in large areas such as the sky here, the ground, even the buildings. Just getting large washes, even shadows and things like that. They're fantastic. And you know, picking one that's large enough to pick up a lot of paint, get in that large area without having to continually just go back to your palette. But still be able to cut around shapes is really important. So something like this might be too large. Okay, I might use that perhaps in the sky, in the ground, but I don't think I'd use that in the building or in the car or anything like that because it'd just be too big. So you'd have to pick one of these ones. So these here are synthetic brushes. This is a round brush. Number six round brush and this is a little flat brush. These are great for detailing. I use them to paint in, you know, like figures, cars, shadows, details in the buildings, trees, buildings in the background, things like that. They don't pick up much paint and for that reason, you can actually control what you're doing a lot better. So the paint doesn't just sort of mix and cause big blooms and things like that because they have a sharper tip and they're also a little bit more rigid. They are more suited for detailing these two brushes. And these brushes combined together, you get the full range of brush strokes that you need for this painting in terms of colors, you can see here, I've got a whole bunch of colors, but you're not going to need a lot of them really. You're only going to need a few of them for this class. In the sky here, I've got a bit of cerulean blue and I've actually dropped in a tiny bit of purple into the sky as well. It's a pre mixed purple that I have in the ground. There's another purplish color here as well. There's a bit of black and purple and almost a grayish color just that I mixed up here with grays, You can mix up your primaries if you've got a blue. So maybe like a thalo blue or an ultramarine blue. Mix that with a yellow and a red, you'll get a nice gray color. So you'll notice a lot of the darker areas in my scene, they're either purplish in hue or they're actually black. The premixed colors that I have here have got a bit of lunar black and a little bit of neutral tint. These are just convenient colors. Now, if you have your three primary colors, you don't need them, but I have them anyway. Just makes it easy for me so I don't have to continually mix up different colors. You notice here on that side of the building, it's a lot more vibrant compared to the left hand side. That's because I've used a bit of lemon yellow, which is, yeah, definitely a lot more vibrant. Then you've got some more of this other yellow in the front and the sides, which kind of this color here. This is a yellow ochre, so it's more of a subdued and earth and sort of yellow granulates a bit more so you don't want all the painting to look too bright and gaudy. So that's why I do alternate and yeah, between using more saturated yellows and desaturated yellows as well. So that's about it in terms of colors. I mean, you would say there's a tiny bit of a brown or a purplish color that I've used for some of the shadows there. Again, a bit more of that, cerulean blue. But apart from that, that's it. This is a tube of white quash that also use in opaque water color. It's fantastic for getting in little highlights as you can see on the building on the figures, little highlights. And you can mix it in with any other paint. So here I've actually got it mixed in with a bit of yellow, bit of yellow ochre. Or either Hansa yellow or yellow ochre. Probably yellow ochre. And you can use that to get in some nice little opaque high lights on areas of the painting. It gives that extra kick at the end. So that's about it. 3. Drawing: All right, so in this particular scene, I'm going to be modifying this reference photo a bit and adding in some extra details. I want to tell a bit of a story here. And what I've done is I've taken liberty to sketch this little composition from the reference photo. Everything's the same, really besides the cars, because in the particular photograph, there's no cars and really no figures that I thought it would be nice to have a couple of figures perhaps walking towards or even walking away from the scene in the background. And this is the Victoria Markets here in Melbourne. Victoria, of course, and one of my favorite places to go shopping and getting some groceries, having a nice little snack or little meal from some of the vendors there. It's a nice area and I quite like it. I want to just make sure that I've got some additional elements here in the foreground, because right at the moment in the reference picture, it's just all this detail in the background. I want that to be an important part of the scene, but I also want there to be a bit of a story, that's just a bit of a sketch to get my mind thinking about what else I could add in there. I'll refer to that sketch a little bit, but mainly we will make a start. First things first, I want to get in the bottom of the buildings. I reckon I'll place it round about here. About a third of the way through the scene. Okay, Nice straight line running across the scene like that, just placing really the ground, the road or whatever there. Now, the buildings in the background are a little bit easier because we've only got two of them and then obviously some more out in the background, But I'd want to make sure they aren't too tall. We're going to split this scene up. I would say that this building probably goes in it, let's think it's little more than a four of the way through. I could just estimate it roughly here. The actual yellowy color of the market itself. The market front. So I'm just going to draw the side of this building in. Okay. I'm also just going to have a little play around to see roughly how high I want to put it. Okay. I want to make sure that I'm leaving a touch of sky in there as well. I think that's a pretty decent height for the top of that building because we've got enough sky up there. Okay. So the question is, on the right hand side of the building, I want to actually add in a little bit more detail in terms of just the sides of it having more of a three dimensional look to the building, having it come down a bit more like that. And then you can actually see part of it just go off into the side. It actually goes all the way down. There's tons of little stalls down the left hand side of the marketplace, but I'm just going to simplify it down like that. Obviously, some of this is made up because you can't see it in the reference photo. But a little bit of that I think is going to be interesting. Give the building a bit more dimensionality I think will be good. Okay, just drawing in a little bit of that, the side of that building. Okay, let's continue on with this part of the market. And I want to make sure I've got a bit of upward part of the building like this there, that seat slants upwards like that. And then you've got these, what you call them pillars, or features of the building roughly here. Just going to put in a little bit of that. You've got the doorway right in the center here as well, but again, you've got these pillars that just run down. Okay. I'm just gently penciling these in, thinking roughly where to put them at the base of the buildings. It got the squarish cutouts there in the center. There's like a bit of darkness. These separated out like that, just emphasize that a touch there here. It doesn't have to be exactly how it looks in the reference photo. All we want to do is just create a general impression of what's happening in here. Okay, On top as well, you've got these to parts of the that just a little indication there. This part here as well. The top part just has these grills up on the top like that. Even here. Look at that. I don't even take much time to notice the artwork in here, but there, it looks to be like some animals, like a lamb and a cow or something there in the background. And I don't want to certainly spend all day doing this. Okay. Maybe just a quick indication like that. I want to get this more in as a silhouette. Okay, here we are. Let's put in some of the windows. I'm just separating this out like this. And you can see the front part of the markets here, little sections, four by two. Then at the base you've got these doors. It's quite darkened there actually, this whole region there is fairly dark. Okay. Of course, I can sit here and get in every little detail, but I'm just going to mark out basics. I'll work it all out with the brush later. But we do need to get, yeah, we do need to get in a good amount of details, especially in the separations of the buildings. You see these pillars, for example here, part of the roof of that building as well. Market building. More of the roof here as well. Look, there's like a section down the side of the building. That doesn't have to be too much detail. Got enough in there to imply what's going on. Okay. I'll add some more detail on there perhaps later, but I think that's a good amount for the time being. You've little semicircular windows that you've got these little trees here. Something I didn't notice that much. As well. Got the square bases, that dark square bases there connected to the tree. And let's separate out this one as well. So we've just halfway through, we've got this pillar running down like that. Then on the left hand side, again, the same thing, just to be that pillar like that. Another one there. Okay. Roughly where you think it is, a little bit darker down the center at here. Separate out some of these windows, a touch like that. Of course, these plants, again, more detail, okay? Simplify, of course. Okay, Let's get in a bit of this building. I'm getting too bogged down in the small details of everything. This is like the side of this building. This is actually a role of sharps and little restaurants. Sometimes people go there and eat breakfast and things, just something like that. I know it's about as tall as that one there underneath. You've got this little shade like that. You know, I can emphasize that a bit roughly where I think it is. There's even a car here, like a van parked here, which I can put in some detail for like that. I do like that van there as well. Just something interesting to have in there, okay? That something there, okay? Even traffic light or something. A lot of this stuff we can get in with a bit more detail afterwards and just simplify it down for now. Okay, We've even got these little bits on the rooftop like that. Okay, good. There's actually a shadow that's just cast on the side of the building like that. And I think this is nice because it actually creates a negative shape for the van behind it, in front of it, I mean, as well. Okay. Now I want to go ahead and get in some cars. Now, I did have that reference, that little sketch I did before, and you can see I've added a car just in front, some figures. I'm going to just have a play around with that. Let's put in a car, say here, putting it roughly in the one third mark of the scene. I just wanted it to be a bit of a focal point in the scene. The back of the car just get in the roof and then the front of it, a bit like that. We've got a wheel here perhaps, where that one to the left put this one a bit more like this. Another wheel here in the front. Okay, just fix this one up. A touch should only just be maybe a sliver like that that I can see of that wheel. Okay, these will drawn up and form a shadow running to the left that let's tell a look, what else did I put in here? We got some figures. Of course, these are quite important. I just want to tell a bit of a story here with a couple of figures. I'm going to put, this is tricky, I think I might put them maybe here, another one here. I have to cut over the top of this flower pot there. Another thing I want to do as well, I just want to make the heads a bit taller. Now, remember the car, when you're standing up, head's going to be around about here. I need to make sure that the, the heads are significantly taller. Okay. There's one, just to get the body of this figure in this, we'll get the other figure in here. Maybe they're just both crossing the road or something like that together and this, maybe they're holding hands. Okay. There's a bit of a little bit of detail in here. Okay? It's kind of just trying to do a bit of this shirt, bit of a T shirt or something for this figure to the right, for the one to the left. More kind of wearing maybe a dress or something like that. Figures can be quite tricky to draw and I'm just making it up really as I go. Sometimes maybe like a handbag or something here as well. Okay, let's look, maybe some shorts for this figure. There we go. And the figure to the left, maybe just ***gthen that out a bit. There are a couple of legs. The hair I'm going to have to play around with later. I'm just thinking I might have her head facing towards the right hand side. I do that by just emphasizing the hair going by the left side like this, the left. Then this figure here on the right, just the head facing a little bit towards the left. Again, placing the hair more towards the right hand side of touch like that. Okay, so let should do the trick. Maybe got his hand held out here or maybe more towards the side as well. Could look better like this there, holding onto who knows, like a bag of something. Like a bag of groceries or whatever. Okay, good. Okay, so there are the figures and I will put in some little details for the car. For instance, maybe like some windows here on the car. Just a bit of detail like that. What else do we have? We might have another car behind like this. It's the car that's behind and also another car here. Just as we go into the distance. I find by having this effect of the cars getting a little bit smaller, perhaps even overlapping with each other, helps to create a sense of depth in the scene. Something I like to do anyway, where possible. Okay, like that. There's shadows in cars just driving past that thing. I'll put in some shadows here on the ground as well. Whether I want to put anything over here, for example, I could put in another figure just walking in the distance too small. Let me just double check that. Nope, just a couple maybe underneath these shades or whatever. Just walking around near the markets. You're going to get people just walking and doing their thing off into the distance. Having a little bit of life or something going on back there, I think is important. There's another figure, but I don't want too many of these figures, especially in the foreground. I want these two figures to be more of the story telling. What's going on here, more of a focal point. And that car as well, the eye just focused around this area but also lead into the scene with these larger shapes, these large car. And then cars get smaller leading into the scene as well. I like this drawing. Let's go ahead and get started. 4. Painting: First things first, I'm going to be picking up some lighter colors. We'll go firstly with some yellow ochre. Now this market building, the background is a yellowy color. There is more contrast saturation. I mean, on the right hand side, the yellow is more like a subdued yellow here on the front. But then as you move towards the right hand side, it becomes more warmer and brighter as well. I want to make sure that I am just implying that even on the rooftop you'll find there's actually a little bit more of a sharper and brighter yellow up there. I'm just going to get that in like this. There are some blues and things running through the building. I'm going to try to indicate some of that, okay? But in this stage we want to use pretty light colors. We're using a concentration of maybe 20% paint and the rest of it just water. So it's a very light wash. What's happening in here? Okay, I'd like to start with the yellows first because I find that it's so easy to just accidentally mix up some greens if you're not careful just to touch of that in there. The rest of it really can just paint the whole thing pretty much yellow downwards. And in here as well might put a bit of blue in the windows or something like that just to get a brief indication of some reflection from the sky. But really it's not necessary. Just coming down around here, you'll notice there are trees here as well, which I'm not too concerned about because with the yellow, we can easily go over the top and mix a bit of green. Later I'm going to pick up a bit more vibrant yellow. This is acrid yellow. Just drop a bit of that in there. Look, it needs to be brighter. Something like that. It's a lot more vibrant. This is actually lemon yellow. I ended up picking up lemon yellow, trying to mix it in a bit with that yellow ochre that I've Yeah, just to b***d. It's not completely out of place because sometimes when you use too much of a bright yellow like this, it starts to take away from the scene. Looks too gaudy. I try my best to b***d and make sure I've got other things like running through, for example, a little bit of darkness in there. I noticed even on the building back here, it's like brownie color. So I've picked up a bit of burnt sienna cutting around the cars, just bringing that across. Notice also, I'm leaving a little bit of that white on the paper. Don't be afraid to leave in a touch of that white these things on top of the buildings. I just want to get in touch of whatever it is, the ops, some more yellow ocher. I just want to dial this down again a little further using quite a large round brush here because I'm not trying to get in really any details. It's just some indications of what I think is happening or the lighter values you notice here as well. I'm just picking up a bit of this more vibrant yellow And you can go ahead and just dab it in there as well. If you want to create a bit of extra brightness or contrast in some areas of the building that it mixes in. It doesn't, it doesn't look too gaudy as well. Let's have a look here in this building to the left now, it's mostly just a grayish color. Actually, I'm going to pick up a bit of black and just mix it with some water like that. There we have it. Just a grayish color that building and it doesn't require just a bit like this. The tone of that yellow is even darker than the gray that we've got on here. Comes all across like this. You don't have to keep it that color as well. For example, I might pick up a bit of burnt sienna and think to myself, why not just put in some burnt sienna in here? Don't feel like you're limited by that reference. Infinitely change it if you feel you want to experiment. Around a bit. We're not, again, putting in any dark bits, it's just painting the light around that van. There's some figures here. Look a bit of cutting around these figures as well. It's nice notice how everything b***ds together a bit. That's what we want. I also want to move this wash down further. I'm going to actually spray the paper to keep it wet around. Some of these bottom parts can be quick as well with it. If I just pick up, it's really just a bit, a bit of purple and a bit of this black. Okay, I'm going to mix myself up a gray color, really like that. I want to do this preferably while the paper is still wet up here so that it flows and runs down nicely. Okay. I don't want it to completely dry, so I'm just going to spray that a little bit up the top like that. I can come back to it later. This is just that gray as you can see for the road, but it has a little bit of purple in it. It's more interesting in my opinion, than just using black. You get a texture to the road. And I like this, it makes it look a lot more interesting. I vary my brush strokes as well. I have some just varied areas of pigment, so it's not completely smooth all over. Cutting around the figures a bit as well. More purple even you could potentially add in here, but you're really just making sure you're not going too dark as well. I'm like I mentioned before, just a very small amount of pigment, even 10% of pigment or less to the 90% water. Okay. It's like a purplish color. The reason why I want to use some of this is because we've got all these yellows back there, right? And I think a bit of that purplish color is going to help create a nice contrast and a little bit of coolness to offset some of that color back there on the buildings. This color. Okay. You can always drop in some color in there too. A bit of cerulean. I'm going to pick up a touch of cerulean and cerulean blue just to do things like this. I don't just, again, it's, it's quick little indication even here. Let's put in a bit for these potential windows or what have you here as well. You can leave a bit of that white on as I move down. Let's pick up a bit more purple and just darken a bit down the base. Okay? Simplify that down a touch. I'm still trying to cut over those figures. A bit tricky. Yeah, something like that. Because we've got a figure and then we've got that car directly in front there, which is tricky to get in. Okay, good. Let's put in a bit of the sky. It's a nice blue sky, cerulean blue like that. I might actually add some clouds in mind you. I just like having clouds in there that make a scene just look a bit more interesting. In my opinion, I'll start off with a bit of darker cerulean blue at the top and also got a bit of this stuff. It's ultramarine, ultramarine blue. I can just drop in a bit here in the sky. As I move down. Just add more of the cerulean blue and more water as well, more water coming down. I'm just using this opportunity because you can see part of that yellow is also starting to come into the sky. I can let it mix in areas and then other areas I can just cut around as you can see, leaving little bits of white and spots. A bit more water. Okay, more water on here. Bring that wash down. And join it on a bit to the buildings as you can see. Just join it on nicely like that. If it touches, no problem. Just let it mix. As long as it doesn't go completely into those buildings, you'll be fine. Okay. A bit more blue here. Now, while this area is still drying, this is where you can play around with some additional colors. I might pick up, for example, a bit of purple, a bit of purple, purple and brown mixed together and dry off the brush. But I can add in, say a little thing here. Just drop that in like that. Do one here as well. Okay. Do its thing in there. You don't have to do it for the entire scene. Entire are of the sky but just some areas I think for the clouds and especially when you're going up the top, sometimes you'll find that the clouds get a bit darker because they're closer to you. This will nicely b***d in here. You might get a bit further down the scene, like that little bit of fluffy light. That creates a nice contrast here. We'll just drop in a bit underneath the cloud as well to give it more body, okay. But I just want them to be pretty soft and not, I don't want them to stand out too much in the scene. Something like that. Should do the trick. I'll let that looks decent enough for the time being. I'm going to swap over to use a flat brush. This is the brush here, It's just a flat brush. Okay, with this brush, I find that I can actually just get in a few more little details and things here. I want an example would be, say for example, this car. I might just want to get in a bit of darkness here and I don't want it to run too much, so I can just go like that. The color in a bit of this car. Okay. I want to leave the right hand side of the car and the light better. Okay? Just to indicate more of that light source coming from the right hand side. So I can just do something like this. Okay? A little bit of that edge of the window there. Okay? This van here, there's probably a well, there is a bit of darkness in front of it like that, but really on the other side of it, it's pretty light, I mean. Okay, there's a car here. I want to just put in a bit of darkness behind it and a bit there as well. You just playing around with some of these mid tones. Okay, here just color a bit of that. Darker, you can leave that part in some of the windscreens. Top of the car, kind of like that, sort of reflecting a bit of light. Okay, good. Really, I'm just using a little bit of purple mixed with some black consistency. Again, is about maybe 15% paint because it is quite a dark paint. This purple, it's easy to go overboard if you're not careful the figures I want to get in a little bit of color. I'm going to go with a bit of pink or something. I'm mixing up a bit of white with some red to get in a bit of a pinkish color here. Okay, this figure there, something like that. A tiny bit of red and a tiny bit of titanium white for the legs and the skin. I'll just go with a bit of Wd down red. A bit of water down red. The legs in the arm. We had one arm roughly here and here. Okay, simplified. Of course. Figure on the right. I'll just go with a bit of darker color, maybe some purplish color differ for the shirt there, can get the shorts in there. And just some red and maybe a bit mixed together. A bit of yellow, a bit of yellow ochre, and a bit of red makes a nice generic lighter skin color as well. I'm going to just redo that a bit later as well and in some more detail, but that's a good start. Put in a bit of the face and for the figured for that face. B***d that in a little bit with the rest the scene bit more red. A tiny bit of yellow. Okay, good. I think this building in the background is starting to, I'm thinking I'll just go straight into it with a bit of darker color. There's just a bit of black, a bit of purple here that I'm picking up. I'm going to try back here first. What I'm trying to do is get in some of these pillars and things. For example here that's not completely dried off. So I don't want to go too much in there yet. But for example, maybe here it started to dry off. I can just put in a bit of detail for that roof area like that here, for example, there looks to be like a separation in these pillars. I can just go ahead paint a little bit of that in. Okay? This little area here where you've got more like a bit of darkness back in here. Okay? There, there, like these little openings on the side of the building like that. Okay. You're really just drawing and indicating details there and it's not a whole lot really, but Just enough. Just enough in there to imply Yeah, just a bit of darkness I suppose. And even around these cars, I will go just dark in this area. Touch to help the cars to stick out a bit. Okay. There's like a large shadow here. Softer shadow. I'm picking up a bit of darker paint, dry off that brush and just dab that bit of darkness on there. That, that just creates a shadow on the side of this building. Tiny bit of shadow there. What I'm doing here is abstract. The main goal I'm trying to achieve. Get in some sharpness and some detail in areas like this part of the roof there and like a little bit of this detail there, okay? Parts of the building just touch and go. Really, I'm not wanting to spend too much time to imply every little detail, but you do see that there are these little pillars and things that are quite important to put in there. Just a bit of darkness like this is good. Okay, another thing that I will do as well is at the same time I'll also work on like some generic shadows. More so, like in the center part of the building here, you'll have just this bit here that's significantly darker underneath here, for example, here. Let's have a look. This top section here, just a bit of shadow. Let's move downwards, and you can see it's just in this section. But cutting around that bottom detail, there is some green here as well. Just drop in a bit of this tiny bit of green or something. It doesn't matter there, purple. Bring that down here. A little bit of that going on. Let's have a look, really, if we look at this shadow pattern that just runs across these pillars and covers a lot of this part of the building. We can get it all in a few indications like what I'm doing here. Just one large shape. Okay. Down here. Yeah. Okay. I'll probably have to redo this a bit afterwards as well, but this should form a good basis for these shadows. You know, up the top here as well. You've got a bit of that darkness underneath like that, that, that tear that down. And a bit of that separation between the pillar, again, like that, that there. This pillar here. This one here as well. The other one here. The good. I think I got one here as well like that. Okay. It looks a little bit loose at the moment, but we'll get there a little bit of color here. Inside as well. Underneath is in between these pillars. You can see the sun catches some of the light, the yellow on the pillars. You want to leave a bit of that yellow still on there. Use this also to cut around the outside of the figures. Probably darken that a bit later. Okay, I've got a bit of a shadow here on this building. It's quite dark. I'm going to go like this. Bit more paint, Maybe 20% paint. This would just be the shadow cast by that building to the right, from the right. That creates a bit of negative space as well. As you can see here just cutting around this little pillar on the right. See just exposing a bit of that yellow. Here we are again. It goes all the way around the car, this van and you get a bit of light hitting it like that. Okay, I like that little shadow. Let's continue on and get some more shadows in. I know underneath the building here you're going to get a lot of darkness. So I'm going to mix up a bit of that purple and black, sometimes a bit of brown as well in there, just to darken off bits in here. And I'm going to cut around, firstly that van, you've got some poles and things in there as well, which I'm going to cut around. You know, you could even France and a bit of something there so you can just color part of it in and leave the rest of it see how dark it is. Really quite in that section. I'm trying to add more color in there. There could do with a bit of extra darkness with that shadow. But here for example, you can even see it in the wind screen of this car. Bit of darkness like that. A bit of the wheel. Again, coming to the left side, there's a bit of that shadow. And underneath the car, you'll get a bit of a dark shadow as well. A few little bits like this. You'll be surprised that really just adds detail. Continuing on using this to cut around the car a bit as well. Extra darkness. Little white highlight there. I'll leave that ad that figure, the rest of it, I can just darken a fair bit. Here you go. A bit of dry brush further down. No problem. Shadow for the car to the left. A bit. Shadow. Okay. You can just start working a bit on this one as well. See darkness on the left side of that wheel like that. You can even just start bringing together like the shadows underneath the cars. You can see here some more bits near the back, the windscreen and that thing to dirty it up a bit. Also because we've got a cars in the foreground, so we want to make sure that, yeah, we want to make sure that we have enough contrast here for this car. Connect that wheel up, get more purple here and here. And a bit, sort of running off that car to the left hand side like this. There we go. Just a bit of shadow for that car. There we are. You know, sometimes around the back side as well. Here you might want to darken behind the car slightly. This actually helps to bring out the detail details in the car even though there's this darkness isn't exactly there. I'll add something in there anyway. Can you see it just cuts around the top of that car and will bring it forwards more. Just a bit of pop thinking. I might add a bit of color to the car as well. Maybe a bit of this yellow or something like that. Yeah, just a bit of that would be nice. It's becoming difficult to see where it sort of starts in there. Okay. A little bit of color. Okay. To do the same thing for this one pit of darkness underneath the car like that. Create a little shadow here on the ground will just connect up to the car like that. These ones here in the background. Again, I'm going to just dark en off in front of the cars a touch to make them stick out more and then just continue working a bit on this shadow underneath like that. A little bit of that shadow under the car running to the left. There's one, another one like that, there's another one, they join up together at some point and they look similar, but that's a row of cars. Okay, I'm going to put in a bit of color for these figures. Mainly the left side of the body. You're going to get a little bit of darkness. Okay, Like that for this shadow. Bring that down. Little bit of shadow. You do get it across the body as well. For example here, just a bit of darkness like that across the clothing as well. Maybe a little bit of something like that, let it dry off. But the important part is this shadow as well. We've got to get some of this in. I also want to make sure I've got the feed in a bit more darker. I don't know, just anchors the figures a bit more to the ground that then I can combine. Just join this on that a bit of a shadow and maybe change this one up. A touch coming across on an angle. Thinking of these shadows now and whether I want to have them come off a touch more on an angle actually because it can look, I don't know. A little more interesting, I suppose. Be careful with this car over here can lose that directionality of the shadows and consistency if you're not careful. A little bit of detail for the figures. Normally you do get a bit of, say, darkness on the left side of the body as you can see under the chin as well, that just a little shadow cast to the left there to the chin. Put a bit of hair on this figure. I'm going to here on this other figure as well, I'm gonna use some bit of orange and a bit of yellow ocher. Who, who? I'm going to go back into this building. I've actually got distracted down here, but I'm glad that I finished off most of this stuff down the bottom. But one thing I've realized is that there is actually some bits and pieces. Like for example, this is a light light green tree, which I'm going to just a bit of green in here. It's like a tree or something coming in from the side, but you also get a bit of it here. This is like a tree here. I might have to actually use some gas later to just get in an indication of those trees again. I lost them, unfortunately. But you can also scrub a little bit like this to bring out touch of that little light in there that will help draw out this bit of light there for the trees. This building, I will have to get in a bit more of an edge here like that just to make it look like the edge of the building essentially then goes around the edges of these windows, a little bit of darkness. So you can see that just form around the edges like this. Yep. There, um, a bit more here that there there. So you can see there's like a element of light on the building. Okay. That's quite important. On the back end of the scene, we've actually got some buildings and things like that and I'm going to just make this up. There's all these cranes and stuff, and I think they make the scene look quite messy. But I'm going to let this dry off a bit first. 5. Finishing Touches: I'm going to just do a quick indication of some of these buildings here. I've forgot to draw them in before, but I think they're going to be useful to have in here just a, I guess a little guide as to where I'm putting in these buildings. I actually want to put them in not because they are in the reference photo, but because they also help to form a negative shape here for these buildings in the foreground. Another one coming over like this, like here, maybe here. There's actually one that connect, connect up a little bit with this market front there. Obviously, I've exaggerated some of these a touch as well. I'm thinking if that's going to be good enough, I think I might put in a tree, like a shrub here behind there. It looks like there's an indication of a little tree there that's a balance this out a bit as well that you've got. Yeah, some of that coming in there, some of this coming in there. It looks just a bit more balanced. I'm not going to fool around too much with the colors. I'm just going to pick up a bit of purplish color that I have already on the palette. Maybe with a touch of Sullan mixed in there. Remembering the light sources coming from the right as well. I'm going to just go in like this. There is a building here. I want to just get it quickly done. And here's another part of the building like this. Okay? Here. You want the buildings in the background to be dark enough, but not too dark that it overwhelms everything in the front, okay? This is just to bring out the light, Okay? Here some more here. That directionality of these bits of the floors of the apartments and things like that as well. Little bits like that. I hope to just try to connect them up a touch and a bit of dry brush, okay? Start looking too rigid. I do this kind of thing and I just start scrubbing at parts. And it actually helps to b***d it and look more natural. Okay? This area here just helping combine, join the background a bit with this building. Okay. I don't want to join, I want it to join in some parts of the entire area though. You see that? That's doing okay. A bit of green for this tree or something here. Just the same flat brush, something behind. There doesn't have to be much. Okay, There's a couple of figures here to the left. I've not gotten them in the legs in yet. I'll just put in some quick indications of the legs there like that. And get a bit of a shadow as well for those two figures. That's better. Even a figure here. Just get in some more of the detail for that figure. Just with a bit of the dark background, a little bit more. You see these figures as well. Couple there, there's one maybe here as well, that's what you get. Slight indications of figures in the background but not too overwhelming and overpowering of these ones here in the foreground. This is where we're just doing detailing. For example, this bag that we put in before, it's like a sling or something, I'll just put in a bit of detail there. That, that bag. Um, just a bit of maybe bit of darkness like that. Bit of brown as well. It's a bit of brown. The bag Kate, touch more detailing for just want to add a bit more shadow to the left hand side. And a bit of dry brush maybe, don't know, folds in the clothing and stuff like that. Let's just try for the shorts like that. Not too much. I think it starts getting a bit. Kay, good. Really just picking out some little areas to draw out the faces, the head positions of the figures Here, there's like a little shadow on the left side of the arm that will help to draw out indication of that right arm. Not much to really do here, that one. Okay? Okay. Now I want to just work on the buildings attach in the background. And what this means is I'm picking up some darker paint, bit of black and a bit of purple. Mixing that again together again here I will just really bring out the final finishing touches of what I want to achieve. So for example, this windows a bit of dry brush here to just add in some details on the building. The trick I find, anyway, the trick is to just break up the lines a little bit so that you're not having too harsh lines running through the entire scene. Okay, I'm just doing is emphasizing some of these pillars again, these little parts in the center. A little bit like that. Over the top of that previous wash, this rooftop. There's a little bit of this detail here as well that you can see bringing together the bits and pieces of the background. If I've got a little rigger brush that might actually be easier to get some features in these top. This top sort of part, anyway, that branches imaginary branches. In these little light windows here as well. Just u in a little bit of them, little extra darkness here. The base, a little bit of darkness. I've forgotten to get in some shadow in here, just to add that in quickly. You've been here just a touch of that as well. Getting some quick, final touches of guash. Okay, a little bit on the car, the top of the car here as well. On the figures, just the heads of the figures here. Here, shoulder, Just a little more like just a little high light indication that, you know, the car just clean, almost just cleans it up a bit in there is bringing back a little bit of that light here in the cars as well. Figures, again, just some more kind of light on the shoulders and the heads of some of these figures back over here as well is one. Okay. I want to bring introduced a bit of yellow into this squash. Just touch a yellow warmth in there. Maybe I can just bring back some little highlights and things more white. Just a little bit of the top part of the buildings. 0 He a quick finishing touch, I thought I would add in some shadows running across the scene on the ground. Just a bit of purple color and bring some of this. Okay, just another bit of shadow, I suppose, coming in from an object or could be a building or something like that in the distance. But the trick is just to be quick with it, I don't want to, yeah, I don't want to overdo it. Something like that. You can even get part of it to just of overlap with the figure. Run through the figure as well like this if you'd like. Something like this. More dark down the front.