Urban Sketching in Burano: Watercolour Line and Wash

1. Introduction: Hi, and welcome to urban sketching in Brunner, pen and watercolor essentials. Valving the places that stick with us, whether it'd be a new city, town or even nearby park. It's easy to take photos, but heck, we preserve that memory in an easy, unique way. In this class, we're going to learn how to draw and paint a lively Borodino urban landscape. By the end, you'll feel confident to draw and paint your very own urban landscape from any photo. We'll go through simple sketching techniques in pencil and eventually pen. This will form the foundation for our final illustration and painting. Once you're happy with your ink drawing, it's time to add some life to it. Splashes of color, Ed's personality in depth. Walk you through my simple two-step process to paint anything. It's easy. First, you paint the lighter areas, such as the sky or the sunlight and the buildings. Wait for it to dry, then add the darker shadows and colors. Anyone can do it you included. So join me in this class. I'm excited to get started and share with you my knowledge on creating an amazing urban landscape sketch. 2. Materials Required: I want to talk about the materials that you need for this class. So firstly, you need a mechanical pencil. This is a 0.7 mechanical pencil. You also can use a 0.5 mechanical pencil. So fine. If you didn't have a mechanical pencil, just use a normal pencil but sharpen it. I find that mechanical pencils are really good. They allow you to get in a very thin line with a lower profile and you can raise them much more easily as well. So that's why I use one. That's a planning stage. So before we even getting any pen, I find with beginners, It's always a good idea to sketch something in quickly with pencil first. Now, there's two types of pens that you can use. These ones here, just black ink pens, and they have a liquid ink with a ballpoint, a roller ball head. And their cost about $2 each. These are uni-ball pens and there's a whole bunch of them that I have here. This was three of them, 0.38 millimeters, 0.5 millimeters, and 0.7 millimeters. Now, I use all three of these, but really you can get away with just using a 0.50.7. So that's probably the easiest way to get started. Now, if you want to spend a little bit more, or if you have these already. These are a bunch of pigment liners. And pigment liners have a head that's basically kind of a felt tip head. It's hard to see felt tip pen that softer. It's a little bit more forgiving as well when you're drawing because you're not pushing down too hard on the paper to make a mark. So it's definitely a little easier to use. So if you have something like this, I do recommend it. They often come in a few different sizes as well. So these ones come from 0.05 all the way up to 1 nib. And I've also got a few others in here. If you have a look, it's got a whole bunch of sizes, but I'd pick up a bunch of these every now and then. And if you look at it, they're kind of see if this one has it. They've got a head that's sort of a flat edge. It's almost like a bullet point. Not a bullet point but a flat edge. And this allows me to shade in and get some darker areas a lot quicker than just using that pen itself to shade. So here's an example here like that. This sort of flat edge, you can really color some things in. And I've done that on some areas like here, you can see just in the Windows colored some of that in here, here under hear bits and pieces. Okay, it just makes things a lot easier to get in those large contrast. If you don't have those pins, that's fine. You don't need them. It just makes it easier to see using that pin and continuing just coloring and coloring. It takes a little bit more time, but you can get away with it if you've just got to 0.5 pen, that's completely fine. Just use that. Just makes sure that your pins are permanent. So they are waterproof. Really important because if they're not waterproof, when you go over with watercolors, That's all just going to lift off and you're going to lose the drawing. So really important, that's really the most important thing to remember. Makes sure that Penn is waterproof, water resistant or something like that. It will say it on the pen itself. Okay, if not, just make sure you ask your supply store. So this here is my palette. And for this class, I'm using a variety of cool and warm colors. Mainly warm colors though. So if you notice in the buildings, we've got a bit of this kind of orangey, yellowy color. Now that's a bit of debate of this Quinacridone, orange mixed with a bit of yellow ocher. Yellow ocher is just a great general color for warm buildings, a warm color. I've got a little bit of this color here, which is Buff Titanium, which is a kind of off-white color that works. I've used that for the ground here, just to get in that higher contrast for the light, you can even just leave it white, but I'd like to just have a bit of color in there. Notice I've left some of the, the, the umbrellas here, white as well. Other colors that I'm using, That's just a bit of par or red here. It's like a staining read, very vibrant and works to just create a center of interests in this right there. So what else have I got? I've got a bit of browns and a bit of neutral tint. Neutral tint is just a combination of all your three primaries, red, blue, and yellow together to convenience color. And let's have a look. What else? We got a bit of purple, bit of a bit of ultramarine blue, which is fantastic. And let's have a look. What else do we have? A lot of it. A lot of it. You notice sometimes I don't even know exactly what color that I'm using here in the water. As long as you've got a greenish blue, you can get in this impression of water. So I've used a bit of ultramarine mixed with a tiny bit of turquoise, so a little bit of, a little bit of yellow. So you can mix ultramarine with yellow ocher at that creates that turquoise see sort of color here in the boat, in the sky. I've just used a simple wash of cerulean blue. So it's not a huge amount of colors that you need, really just a bit of yellow ocher. The rooftop actually I've got a tiny bit of burnt sienna there, some reds bit of that buff titanium or off-white color. That's not even required. You can just use a bit of yellow and just dilute it down significantly, so that is just faded out. And finally, the last thing that you're going to need is a tube of gouache. And this stuff here is what allows me to get in these lid to highlights all over in the air, just keeps it a bit of life. You can see here highlights on top of the figures just bring out just some, just some impressions or ideas of things that are there, that may not or may not really be there even though the corners of the houses and stuff as well. A little bit of these highlights, so great color to have. You can also mix it with your watercolors to create warmer or cooler highlights kind of thing. So that's all you need to know in terms of colors. Now, let me talk a little bit about brushes. And firstly, make sure you've got a towel or something like that. It can be a disposable one that helps you to vary the amount of water on your brush. And that's important because sometimes you may not want to put too much water in a certain area, it's just going to flooding and cause a bit of a mess. So I'm dabbing it on that, on that tau really helps. So here I've got a bunch of mop brushes. Mop brushes are an essential brush that you need when you're using watercolors. Because the wash, that first wash, especially where you've got all your light colors, it needed to be done pretty quickly. And these brushes pick up enough paint to allow you to get in all those areas, kind of let them mingle, mixed together and but still allow you to cut around and create detail because they go to a small tip. So make sure you get some of these and you just use one if you've got a smaller mop brush, people asked me what size brushes I use and it really just depends because I'm using a smaller painting here. They've done a small paintings, 1 eighth sheet. You'll find that I tend not to use this one. This is a larger mop brush, a size 0 mop brush. I tend to use the smaller ones. Don't even know what size. Let's have a look at three dash to 0. And that is not sure what that is. It's a smaller, smaller brush, but you notice, have a look at the paper. But think to yourself, what is the largest brush that you can use without sacrificing on being able to cut around shapes. So you want it to be able to pick up a lot of paint. I'll probably use this one in fact, but not that one because this is gonna be just too much. It's going to go all over the place and I won't have enough accuracy. Really depends on the size of the paper using. If you're using an A3 or even one-quarter sheet, probably this brush would be a bit better to use in this one. But for this type of scene where I've got a 1 eighth sheet, but we're just going to use these two smaller mop brushes. This brush here is a smaller round brushes, a number eight round brush. So number eight is number six to eight round brush is going to be fantastic. And this is used for small details. So when I'm using the gouache at the end to add in some highlights, maybe adding in a bit of color to the windows here. Little detailing here just allows you to get in, get in detail with the small point doesn't carry much paint. So you can get more control with it. So that is basically it for materials, make sure that you have a large container of water as well. If you've got about a leader, holds about a liter, that should be fine. I do keep this little spray bottle as well, spray bottle of water. You use that from time to time when an area is drawing and I'm not finished painting into that area yet, so I'll just spray on top and it just allows you to continue painting there without that area dry. So that's it. Let's get started on the next lesson. 3. Pencil Sketch: Alright, let's make a start on this scene. And I'm gonna be using a pencil first because this will allow us to get in a little design before we actually get in the pen work. I think this makes it a lot easier, especially if you're getting started. And I don't really focus too much at this stage on getting any of the details and just more of a generic structure of where the buildings are. Okay. What I'm doing here is that I'm drawing a line and just an imaginary line where the buildings finish. The building's off in the background. So you can see it sort of goes around about, I wouldn't say it's it's almost like a quarter of the way into the, into the scene from the bottom of the page, we can measure about a about a third would be, would be fair. So about a third of the way up, just draw that line in around about third the way up. That way we know, roughly speaking, where the buildings are in the background. So let's go ahead and I think what I'll start doing is that there's so much to actually put in here that it can be overwhelming at times. I like to draw the buildings that are in the front first, some of these umbrellas, that type of thing. But to do that, I think what we'll start off with is actually getting the side of the canal coming in. So we can just you can see the canal just coming in. There's a little section there and then it just goes all the way to the left like this. Okay. That I'm good. I like that. There you go. Just a bit of this wall, I suppose, um, and then this edge of the wall there. And then you can see it kinda go down into the water, disappears somewhere off into the water like this. But mainly just a little kind of waterway can now. Okay. Alright. And you can see it just running in like that. So if you just imagine it's almost like a little air where it gets smaller at the back and then larger here as you move towards the front. Okay. And while we can start doing is putting a few boats, just a few indications of what may look like boats. And I always look at the most simple shapes possible. Look at that. It's just a kind of sounds like a rectangular shape sitting on the water. Okay. Of course, there's little intricacies in there. And I'm not going to really put in too much detail for that, but just little bits and pieces like this. You can see the motors as well of the boats. Even this one here in the distance That's kind of like the back of the boat as well. So I can just have a little bit play around, put that in like that almost like little tea cups or little cups floating on top of the water. Okay. Just think of them that there we go. There's another one, maybe another one here. Okay. Like that off to the distance. And of course we might have something over here as well. Again, another type of boat, it looks like the back of the boat. You can't really see too much of it. But I'll just simplify that down again. Like this. Just looks like there's some type of boat or whatever here in the foreground. And you look at this as a couple of these wooden pylons and they really common when you're talking about Miranda here, where you've just got all of these little polycystic and the water and you'll notice that they get smaller than the distance as well. Okay. Let's get this wall on the side of the wall in a little bit like that. Just smashing where it might hit the water. Again, there's another large boat here. And you might think these large boats get in the way, but it's so important to put them in because they're gonna make those smaller boats appear like they're receding into the background. So if you've got it, you do have to have a combination of large and small shapes, larger shapes in the foreground, smaller shapes in the background in order to create that illusion of depth. Here we go. The side of that war. It's not perfect, but we certainly getting there. Now we've marked out where the bottom of the buildings in the background. Now, we know some of these buildings here, they actually come a little bit further forward. I'm going to place this one roughly. Okay. Let's have a look. It's not even maybe about a quarter of the way into the scene 12, little less than a quarter of the way. Then we can see also here there's the larger building that just goes all the way up. Okay? It's important to remember here that you don't need to get this perfect. Okay, as long as it's close enough, no one's going to notice. In fact, if the photographer had just shifted their camera a little bit more to the left or the right. The proportions will be little different as well. So we just want to create an impression, but making sure that we're also adding in enough detail here. There's a window just to put a window here. Of course, this will be detailed more when I go in with the pen work. Can I'm putting that in first as well as maybe some little bodies of figures. This little figures maybe walking here. This gentleman's wearing a hat of some sort, disappearing. As you can see behind this umbrella, this shade, we can kinda coming up like that. You can see just some of the ruffles, folds of the umbrella. There. There we go a bit and running downwards like that. They're like that. Just a little indications, um, is fine. You can see here as well, there are some more, these wooden pylons just sticking out. So every now and then I'll just draw another one in there is even a smaller. But here it looks like just a little orange boat or something like that may actually emit that it looks too out of place. I want to put in another boat behind there. It's kinda like that. And there's maybe another one behind as well. Just indications. That little larger. Good. Okay. There's the bottom of that war with a water sort of starts. Here you go. There's a corner of a wall here. And look at look at this little wall. And if you look at where it starts, it starts roughly in the center of the page, look at the reference photo, middle of the page. So just etch it out roughly in here. Again. No need to be obsessed with how perfect it looks. Just putting in a basic foundation first. This actually starts with a wall. Actually goes up a little bit more up around here. And we may have to fix that up later on, but that should do the trick. I'll figure it out later. Okay. And we can, of course that's getting some more people just walking around off in the distance. Like that. Just getting in a few more figures. Again, not too much detail. I like to put them in order to put them in pretty quickly with the pencil because then we can go in afterwards and reshape them and stuff like that with the pen. We've got a doorway here. There is another three separations, 123. And then on each separation we have like a window or a door kind of thing. So just a little bit like that and we'll detail it out more later. Okay. Just something like that to start off with. Okay. Now I'm going to have a look directly above this wall and let's see what's here. We've got these kind of white umbrellas and I can go ahead and try and put one in. It's just a triangle. Just look at that. It's just, it's just really just a triangle. Simplify it down to that. And you can see behind as well, There's a bit of cloth behind that behind that wall. That's the stem of the umbrella. Maybe some off in the distance as well. Over here you have this kind of red shade. I love this red shaded. We've got to get this one in. Just running out like that and connecting on with the building to the right. Let's just get that in roughly and then we can get the side in like this. And you can see it's kinda got this pattern like that. It's wavy fabric at the bottom. Okay, let's go up and finish off this building. And really this one's kinda complicated because there's a structure on top, a little balcony almost. It's going all the way up. And I'm trying to say is going to simplify this down as well. And don't want to spend all day with the pencil. The pencil work just indicate roughly where they are and then I'll go in with the pen later. Okay, so there we go, just to kinda top section of it. Get it to look more three-dimensional. There. It goes up a bit further. Fantastic. Let's have a look over at the buildings to the left. Now. This is where it can get a little bit tricky. Actually. I'm gonna go with this blue building of first, because I know that it's overlapping with the center. The center of this umbrella here, the bottom umbrella. Maybe leave the space a bit wider in the center. Okay, it's up to you. How can we simplify this blue building? Well, if we look at it, it's basically a box. So I can come down. Let's go ahead and just get that side of that building and like this. And not all, nothing I need to keep in mind is having a look at how tall this building is as well. If we have a look, the roof of this building finishes around where this build, the roof of this building starts getting in a quick little measurement there like that. So that way we know when I'm coming in with the bottom of the building they bought on the structure. It's not not gonna be too overwhelming, too tall. So there's a little chimney here as well that has a three-dimensional look to it, like this. Like that. And of course we can change this up a little bit. It doesn't have to stay like this. Always implied down just something like that. On top. Kind of just goes up there and becomes this little pointed section like that. There we go. They're top of that building is fine. Just bring it down a bit to face so they're the ground is. And of course I can start drawing in this building to the left now. Because we know, since we've got the roof of this building, essentially that it starts in the middle and about the middle section of the roof here. Okay. So go up there. Where does it stop? Maybe about here. Around about the center actually of this balcony to the right. Notice that I'm always using other shapes that I've drawn in here and other features to gauge where to put in the remaining buildings and things like that. That's why it's so important to get those original shapes correct. Because it's going to form the basis of everything else that you draw in there. Of course, there are all these little construction things and stuff in the background. I'm not going to put those in. We don't need we don't need to put those in. You can change what you want in there. I think they look a bit ugly, so I'm going to take those out and I'm just going to have a play around with some of these buildings here. Just the building here in the background or something. Something there like that. Could be the window here as well. I mean, the the buildings just go all the way off into the distance. It's hard to see, um, what happens really, but I get smaller and smaller. This looks like a balcony or something like that here too. So I can just HIn something like that. And let's have a look. This large building here on the side, I want to just get in a little indication of where it goes up to. Maybe here. Like that. Just merely is large shape to the left. I'm not concerned of accuracy at all. We just know it's a large shape on the left hand side. Alright. And I'm gonna get in the rooftop now of this building, which is just going to go directly across like this. Okay? Just draw a couple of horizontal lines like that. Then you can sort of look at these buildings and think, have I have I got enough room on those buildings? Do I need to extend them out a bit more? I think we're kind of okay, this one on the edge though I will enlarge and a little like that. You can see here in the foreground there's even this large shade comes all the way down like that. I'm just going to place it like this quickly. Okay, that's a little shade. Bits and pieces over here, of course. And what I think is important is putting a few figures. So I'm going to check in a few here, sort of standing around near the shades. You get some of them that might catch a bit of sunlight as well. Like that lady here you can see just catching a bit of sunlight there. Few overlapping people in the background. Look at these theories. Now the window here, so you can see another window here. Window up the top as well. Here, K here. And here. Oops, this is more squarish actually like this. Then the rooftop kinda comes through. It's interesting. You will actually refine this a bit lighter shade here as well. It looks like some kind of shade and a fence at the base. There's some sap green shrubs or something growing here at the bottom. In this tables and chairs here as well. Again, not a huge deal. I'm just penciling in some basics. A couple of windows here. A couple of windows here. Oops, it's actually further up. So you want to, this is why it's really good to go on with the pencil first. You can always change this around with the pen work afterwards. This white shade, just stark white shade here. I think this is super important. That's going to catch a really strong reflection or reflection and really strong element of light there. And underneath you've got shops and things like that as well. Few people are walking around on this building. We can start indicating some windows. Okay. Oops. This one perhaps I may extend this to say I might extend it little bit more to the left actually in the pen, the pen work. I'll tidy that up just to extend that off so that the window is hidden behind a little. Okay, Here's another window there. Okay. So I think that looks pretty good for the draft of what we're going to do with the pen. And it's certainly not perfect. And it's not meant to be perfect. It's just to get yourself into the mood of composing, thinking of what you want to include and what you want to exclude. Where to place all the buildings, making sure that they fit in before you go in with the pen. 4. Ink - Foreground: So I've got a 0.7 pen here. You can use a 0.5 for this entire scene, but I do like to use a pen that's a little bit thicker, four bits and pieces down the front also alternate between the 0.50.7 at times, especially if I'm just estimating where to put lines and things like that. Now, the first thing I always like to do is draw the stuff that's in the foreground. So the stuff that's right at the front first and the reason being is you're going to have a really tough time cutting around shapes if you don't get them in to begin with. So you can see here, if I draw this umbrella in first, then I won't have to worry about these figures and potentially cutting around. So that's why I always like to work, usually from the foreground up until the background. But if I do work on stuff in the background, really keep in mind that I don't overlap onto areas for it. So for example, I'll get these figures. I'll draw these figures in first because I know the figures are in front of the buildings. So this is just a little bit of this umbrella. Again, taking time to draw in a little bit of the side of that umbrella. Again, a lot of this is going to be nice and sharp afterwards when we get in some watercolors. So it's gonna be kind of a really light color, like a pinkish red color. And I'm just going to focus a little bit more on this side here. You can see the little bits of the frilly bits of the umbrella kind of get larger and more obvious. Good. Again, these boat, boat here, we can start putting in that boat like this. Holding the pen at the end as well. I find really helps. Because you then have a bit more freedom. You're not so congested up and things just start looking a bit too forced. Again, this is like a cloth on top of a top of an engine. Hard to really draw this one in. But just something like that indication of it there. Of course. You then have these pylons okay, that stick up and they kinda go behind the Umbrella. Umbrella is a more sort of in the foreground and I'm just doing this on purpose as well. Get a few Maureen. I'm making them a little larger. Perhaps the one that's just coming up around here as well out of the scene. Something like that. And you can just drawing the edge there of the canal where the water is underneath. Of course, around the boat. You're going to have this the edge of the canal right here and where this white marble or white stone lines the canal area that you can see kinda hit the water. Just estimating where it is, somewhere like that. Okay. And what was it does help if you practice before you go in there, It's weird but I sort of think of it almost like throwing a ball. You're practicing in your mind or even just on the top of the paper before you put that Markin. Often I find that it just looks so much more accurate when you do it like this. Okay, because with the pen, it forces you to really be intentional with what you do. Because the more you go over it, I find, the more forced and unnatural. Unnatural it looks. So here we go, just the top of this boat. I'm just putting in a little bit of light up the top there. You've also got a boat perhaps, shape of some sort here in the background, something there as well. Off like that. Good. And we'll just work a bit on this. Now getting the bill that this again is indication of the the stone that runs behind like this. Okay. It doesn't have to be perfect as you can see, it's just enough to indicate what is happening. Okay. There you go. Just behind that as well. That's part of that stone there. Okay. So let's have a look. What have we got here? We've got weird that wall finishes off like that and then it goes straight behind these boats. There. Okay. Cutting behind the boats like that. Okay. Let's get in this wall of some sort like that. And I'm going to put in this structure, this kind of wall here then what it is, some kind of little wall like that. Okay, there's some bricks and things we have to get some more detail in later on. But for now that should be okay. Seeing as we're working on the boats, I'm going to continue just working around this area and drawing in the boat, the left. Okay. Just take your time. They're just like little almost look like little tea cups on the water. Okay. Because they facing us as well. We don't get too much of that side view of the boat. Okay. Here we go. This is like a little bit of rope and bag on the top of this boats engine. Here. I'm just going to draw in a little bit more of the side of that birds indicate. Give it a bit more of a 3D look. Coming up to the front like this. Let's go ahead. Before I do that's getting this pylons. So again, this is what I was talking about when you're using a thicker pen, like I've got the 0.7 pen here, for example. It just helps to push this, these little features forwards more like that. There might be another one just sticking out like this. As you go through to the back, I always find it easier if you just if you make them a little bit thinner. And that's essentially just by using a thinner pencil, thinner pen, sorry. Okay. As you can see here, this is what I mean. I'm cutting over the top. So this is like not really ideal, but I've forgotten to actually go in there and draw them in first. So you get these sort of cutting over lines and things like that. So I tend to prefer to do things like that. There we go. Let's get in this boat is some kind of boat here and the engine of another boat, I think here. Back of the boat like this. Good. It gets a bit kind of abstract as you move towards into the distance. And I actually like it that way. So then the viewer is not too concerned with all the little details there. Okay, There we go. That's just getting some of this. Again, this little there like that. Then it's getting a bit more of this color. This edge. Good. Here. The edge of that wall as well, can use this hatching technique to do this sort of thing as well. To just get in a bit of darkness behind. I'm starting to loosen up, which I think is, which I think is good. This is where I can just start to potentially add in some figures and little bit of line work. More intricate sort of line work. We've got a few figures just kind of walking around here. Okay, Let's just put in us and the legs as well like this. There might be someone here just near to the water. Looks like they're just sitting down. Kneeling down kind of thing here near the water. Let's go ahead and I'll draw in this other figure here as well. Just a couple of legs moving into the scene, perhaps. A few more here, another one here. Move towards the foreground. I tend to make the figures are a little more detailed, um, because of course they're closer to us and just getting that sense of depth is important so that you can see here I'm adding in their arms, maybe some shoes, something just something a bit more detailed in there. You can even put on a hat or something like that for some of them. I always just like to add the figures in first, like this. And putting them in also, in a sense, in a way that makes it just gives a bit of variation so they don't have to all look the same or draw. Walk in the same direction. This one's kind of walking towards the left. This one might be walking towards the right-hand side with that slightly bent knee. This knee here bends towards the back. Like that. There is a door here. I'm going to start drawing into that door like that. There we go. That's a bit of a door. And again, now we can get into the buildings because I've started, I've already finished drawing the figures in front. So I don't have to be worried about going over the top of the buildings. So just a bit like that. I tend to draw the lines and segments as well. People often ask, why do I draw the lines and such, in such a way I find that by doing it in this way. It kinda adds to that style, my personal style, I suppose. And if I get a line in, it doesn't look completely straight. It doesn't look out of place because all my other lines are kind of jaggedy as well. So I think a degree of accuracy is very important. But I think often people overemphasize how accurate you need to be actually set. There you go. That's just a window. Got another window here. I'm just drawing that in. This window. On top, There's another one here. So take your time with the drawing. And what happens is if you take your time, the final product will always look better. More detailed. Look at that. Just a little bit of darkness in the center of that window there, which I think I'll actually get in with another pen afterwards. Have one of these is basically a permanent flat edged pen. And a few of them, and they are great for general kind of coloring in work. Just want to get in a bit of darkness quickly. You can do that here. But I'll actually do a lot of that light. I'll have them out. If you don't have one of those felt tip, sort of darker pins, don't worry about it. All you need is basically a 0.5 pins just takes you a little bit longer to color things in. So let's go in here. Look, I've got this window, another window, and let's get some of that detailing in for that window here and back. Here we go below the roof as well like this. Then there's another overlapping roof over here as well like that. Right? Good. And let's bring this all the way down. Okay. There you go. Edge of that building. Here's where again, we've got another kind of shade. Overhear. Someone who is actually the side of this shade. Grafton make it a bit larger. I've not left too much space here on that side, that doesn't matter. There we go. We've got this kind of pattern, kinda like what we had here. I'm just going to imply it, okay, just this wavy up and down. So the pattern, okay. There we go. Get that shading. Straight line coming across like that. Figures in the background as well. These figures are great because they help just add so much life and interest into sin. If you've ever been to Venice, there's no way that there's gonna be a few people walking around. It's often really busy. Okay, so just a few more here. Just while I'm in the mood of drawing in figures, why not just add in a few more? Of course, here in the foreground you've got some larger ones. And you can just sort of, again peg on some more details. There could be some shorts or something. And leg. The leg there is a head of another figure. T-shirt here. Here. Here. Some shorts, legs. This as I get closer to the front of the the, the scene, I tend to do this, just add a bit more. Make the figures look a bit larger. It goes another one that I put in there. Let's have a look at these ones. I think what I could probably do with them is just enlarge and touch as well. I feel like these ones too, a little bit too small, but doesn't matter. We will figure it out. Just could be some hair or something like that. Just to get them around the same size as these ones because they're roughly in the same position, right? So we don't want to make them to the size difference too much. Okay, so again, let's go with the next object that we have. And working from the objects in front. This umbrella here, you're getting a bit of that umbrella like that triangle. Maybe go and then there's another one at the back, little triangle at the back, like this. At the bottom. Here there's a stem of the umbrella like this there. At the bottom parts of the umbrella as well here. Okay. Good. Something here. I don't know what it is like. I think might be a person sitting near or something. It's hard to say. Of course, we start getting into the buildings now. And there's a top of this roof here. I will just indicate we also wanted to put in a part of this structure on top, some trying to just place the legs of it. Here. It's in rows hanging on top of the roof, isn't it? It's interesting, kind of interesting kind of structure. There we go. Horizontal line like this here. And coming back here. Here as well. Here. The is like a curtain there or something. Then I really don't want to spend too much time on this, but at the same time, I think having enough detail in here to imply what we are actually putting in, It's important. Just a little balcony like overlook, I suppose. Okay, Look at that. It's a little bit wonky. Just straighten it out a touch like this. Okay? And then we can have a look. We've got these kind of cross sections in the center where they're kind of like these three cross sort of areas. Like this. Just a bit of a something like that. Simplified, of course. Simplified but it's in there. Okay. This is of course the roof and these little tiles and things in here. So I can just like putting these little indications of tiles. Sometimes it's smaller. Little pen like this. This is a 0.3 pen. Works quite well to just indicate a little bit of texture. And I don't overdo it as well, just a few little bits and pieces, especially near the goddess of the roof here as well. It does help. The odd tile or what have you. Good. It's getting some of the windows. Here's one like this, one here. That the windows have a kind of a shade as well. On each side, which I will just draw in like this. 12. There we go. Maybe go a bit more on top. Like that. We're getting the side of this building. While I'm at it. There we go. White frame at the base of this window to end. I think that should be good to go for that building. Let's move across to some of these blue building. And I'll get that one in like this. What should I use this smaller pen? Or I can, I'll use or continue using the 0.5. Actually. Move that down. Okay. This large chimney like shape coming down. But here's a house or something behind their top part of the chimney. Like this. Simplified down of course, this yet the top of this blue house has this kind of like burnt sienna, brownish red tile pattern there. So I'm going to work on that. Just draw in that building. And of course, the roof top. So important. We use. This is another window to the right. Here. You see more of that rooftop in the background as well. I'm not a layer of some house off in the distance. Another window. I think I'll use this smaller pen as well to just not smallpox this smaller nib depends what I'm trying to say. That will help to just make these lines look a bit more subdued as we move off into the distance. You can see just little bits and pieces, maybe on top of the roof. All the way off into the distance, that kinda thing there. Okay. Good. Great. This of course formed part of this. When you're looking balcony or whatever the building behind. I have a feeling it might even been some kind of construction or something that just looks a bit odd. There are, I'll draw something in like that and we'll decide what to do with it later. Maybe go and just coming up and finishing this one off now, maybe a little bit further up. There we go. Come down. You've got all the line work already in there. So you're kind of following that line work. You make it more precise and you also changing it up. We feel you could do with extra details or emission of other details. So I'm just gonna go and draw this one in. Make sure it connects up with the roof. There we go. Good. Good. That white part of the building. And then of course, we've got the windows, so 12. Then we've got the third window kind of hidden behind there. So you can see what I'm going to draw in the frames of these windows. Can just these white frames like that. You don't have to connect them all up everywhere, but just enough of an indication, look at this one here. That just little rectangular, rectangular shape like that. Another one, for example, like here. Hidden behind this building, also has a shade, this white shade cloth shop front. Here. We're going to add just coming across the, connect that up a bit like that. And, um, oops, a little bit of this bottom part. Emphasize that more. Let's play around with these windows as well. Again, just simplify down the windows. That's good. The frames of these windows as well. Let's drop in some little frames, wireframes. They make a difference in the end. Surprisingly, quite a, quite a big difference. K is getting the edge of this house. Their hits the ground about there. There's some kind of other structure running down the side of this house. I won't make it too obvious, something like that. And another window behind like this. And just getting some more of this pattern of tiles. Suppose another smaller pin, nib pen. Really basic. And you can even do it to put in middle bricks and things on the edges of some of the buildings. Casey, some of the bricks start to get exposed. I'm with the older buildings here in the front especially. Okay. Um, so let's get into the buildings to the left. 5. Ink - Buildings: Now I'm gonna be using this 0.7 liner. It's going to make things a lot easier for me to sketch in. So start with this one here. That a couple of these pillars moving downwards. Just getting that side of the pillar. That sort of in the roof that we'd gotten here. Now we've got like a rooftop there. Shift this down. Another couple of windows here as well that you want to just get in. While we have the chance is draw those windows, couple of windows in. One here. Good. Okay. Just keep going. Goods. This is basically the rooftop. Okay? I like that. So you can get some of these tall, tall like looking shapes here. Okay. Now these sort of splits down into half. We got like the yellow part of the building or the warm part on the left and then on the right-hand side you've got more of this greeny color and building. I'm going to bring that down to here. Okay. And there's also cause that little other building all the way to the left, which I can just sort of alter, change up a little bit, bring that down. Okay, there we go. Looking good. Let's just put in a bit more of this window here. And there's another window here, of course, these white frames windows. This more of this shade of that Windows will that right hand side part of the window, the shutter. I mean, again, there might be a shadow there as well. Okay. Good. Now we're done mostly with those buildings. I'm just going to start putting in the shade underneath now this cafe. You can see just the bottom of that shape kinda comes out all the way to here. So I'm going to just extend that out like that. And let's put in a bid of this bottom part of that shade. This little effect like that. There is another kind of what do you call it. Now, the shade here as well. It's kind of an interesting looking one scene. It's difficult to draw this, finish this one off first, like that. They kind of combine onto one to one almost. Of course you got all kinds of things going on in here. There's some kind of like I said, some type of shrub, bush, some flowers in here, some little what do you call it? Little fence. Fence off the area somewhere underneath. It's not a huge deal really. I think I've noticed there is a kind of one of these wooden pylons going behind as well, and a cross here to just underneath like that. Good. Rest of the stuff underneath the building. I think we can just simplify down or just get that into one big. A shadow underneath. I don't want to overdo it. There's another window that will put on this little house. Okay, the edge of that house. Doorway here at the bottom as well. There. Let's go work my way back at touch here and start looking at these. There's another window of some sort there or a door frame. I think it's a window actually like that. You can even see there's like little lamps. I'm like, Look at that just like a kind of It's like an inverted inverted basically like a triangle, triangle shape. That can be indication of some type of lamp hanging off the side of that building to the left. Good work a bit on the facade of these buildings. More. Of course, again, like these buildings, you can see they have these like on the rooftops, these little almost like little ends shapes. Just for the tiles indicating the tiles. I do them so quickly like this because I just don't want to get bogged down in them. Really. We've got pretty much everything in there. The last step is really just looking at there's anything else to detail. But at the moment I'm kind of liking the level of detail. It's really just looking at it and thinking to yourself. Is there a way that I, um, could make this look a little bit better? For example, I might add in another, I might add in another row of houses here, just this one on the left. Again to just emphasize that sense of depth. And I'll get another window in here. Like this. Here. Just to create another, another kind of shape. Like that. It looks a bit better now. I'm good. I'm gonna go in. I'm just thinking. I've got some of these pins like I was mentioning before it, darker pins that have a flat edge. And this can add in a tiny bit of shadow and darkness in areas. So I'll just go ahead and have a play around. I'm not gonna do this to all the entire area, but just under some parts where I want to draw out some extra darkness, for example, I think, I think this works quite well. So for example, this little shades, shutters, sorry, of the windows. Simply just add them in like that. And you're done. And then we'll go further down below. I forgot the drawer in bits and pieces. Of course. The shops or that kind of thing. Here. You can go and just again do this using this darker pen. If you don't have a pen like this, just use a just use your normal I'm ink pen and color it in and areas. It does the exact same thing. It's just makes it quicker. Okay, so I think this also helps to increase that sense of light and dark. Extra shadows. Contrast, especially underneath these shades, makes quite a difference. So I cut around the figures as well. That makes it look more realistic. In terms of the shadows underneath the buildings. You can even see it coming across here. It goes underneath the left-hand side. You don't want to get all of it in, but just it's kind of like a it's kinda just carrying this shape, like a dark shape all the way through. And the shape is really the shadow. But the darkest of the darkest shadows. And of course it's not done yet. I mean, we, we go in afterwards and we can figure out, I'm adding a few bits of details here and there. But It does help, makes, it makes it quite simple to get in the stark contrast early on and give you a bit of hope to continue. I find anyway. So you can see it's just little detailing. I mean, I've got one, I've got another pen here. Let's just add in some horizontal lines to create this. I don't know these, the sense of these shutters like that simplify. Darker in the middle here. This one is kind of like opened, half opened or something. Maybe a little bit of darkness behind these shades as well. Kind of like what do you call it, the red umbrellas here in the front. Even in the water, you can start putting in a little bit of tiny bit of darkness and like to do this around the boats at times to just draw them out a little bit more. Little bit of darkness at the bottom of the boats helps to anchor them to the ground. These pylons as well, you notice these wooden pylons. Some of them are pretty dark and so you can just go into them straight away and indicate the approximate locations with the pen. Notice you're just building detail bit by bit. You just adding detail on top until you feel like you've got a drawing that you're proud of, that you happy to continue with. It's also at the same time, it's funny because you also just gauging. If it's too much, constantly just looking at it and thinking, have I, Is that enough? There we go. Again, these windows look at that just a little bit of color in there. A little bit of this darkness just brings out the detail of the window. They get, the windows get a bit small. You can then start using these other pins. Thinner, thinner liners. Okay, but just like that, just a little bit of darkness in there. Of course, you've got again, another kind of situation here, this shade underneath the building and the white shade. And I just darkness under there that's waiting to be brought out like that. Here there's like a shutter, another window of some sort or another, another window here. Here. Okay. We'll look at some of these background bits and pieces and I think I'll go into the background. I want to keep a lot of the darker areas, hopefully just closer to the areas of focus. Okay. I'm just softening a bit around there. Good. Bit here as well underneath these shades. That could just be a bit of darkness. Let me go look just a simple how little effort it takes just to get in the shadow of a window. Few little strokes like that. Even need the color that window all the way in. Oops, there's something back here like another window. I thought I'd indicate that as well here. The framing bit better like that. Okay. Another thing I like to do is look at some of the figures and think to myself, well, maybe I can get in some of the legs of these figures already just darken down the legs. For example, this one here. There's a figure here maybe with some shorts on. Get that one in and this one here as well. You don't want to make all their parents darker, but just maybe a bunch of them here and there. So they just have a bit of a bit of difference as oppose between the figures. There we go. Another good thing that you can do as well at this point is getting in some of the shadows of these figures. Across the ground. I mean, there's someone I thought I'd put in someone's sitting here. I didn't put it in so well, but I'll just add it in better. He'd bit of shadow to the background. Here, a bit of the shadow to the right, like that. See, and you can just join that shadow one on the ground, make it look like they're all running in the same direction. All the way to the right-hand side. Connect on, you will notice on top of the other figures as well, the shadows. Okay. Let's get in Let's get into some more bit of darkness, maybe under here behind this boat. And the start of the what you call it the canal underneath this boat as well, you notice it pretty dark so I can safely just put in extra darkness there and not only that in the boat behind as well. To just bring out details in those boats. Like that. Pylons, these wooden sticks. Just kinda put in a few more here in the distance and restate some of them as well. Like that. Right? There we go. Couple of figures. And again, kind of getting that shadow shape to run towards the right. But we are also having, in this section there's gonna be more detailed darker shadows because these buildings is going to cost a large shadow anyhow. So it's no big deal. We're really putting it a bit of a dark shirt and that figure in the background. Lot of this is just emphasis on little minute details making it look like this detail in there really. But perhaps there's not. You just implying the few little shapes here and there. Some details. So you look at that just some legs. Legs of this one as well, kind of in the shadow running towards that, right? I'm going to just like this. Okay. Often the distance more here, maybe underneath this this one. Good. And it's just putting a bit of this wooden thing like that. Really coloring behind that boat as well. Help it to stick out a bit. We look at this one and maybe there's a shadow here. So much like having a duo, duo tone situation where there's like about two, really two tones in here. And then we'll add in all the rest of them afterwards. I just don't want to overdo this bit because I love drawing with pen. When I get to this stage, it becomes a lot of fun. The beginning part always kind of bugs me because you're starting out with nothing and you really have to just push through it. But if you push through it, you'll find that the layers of detail and the little corrections you make along the way, suddenly a scene starts to emerge from all this chaos and miss and you just have to, you just have to persist and you have to have faith that it's going to work out. Since difficult thing to do is one of the most, one of the most difficult things to do really in watercolors too, just to just have faith in yourself and keep reminding yourself that it's going to work out. Just keep on going, just keep on going. Another line there, another line there. Emphasize here, emphasize there. Until you get to a point where you think, hey, that this actually looks a little bit Like what I'm trying to draw. And you find also in the absence of the reference, you a lot easier on yourself. And you're comparing the reference to what you've got. Often it's a futile effort because the reference is always going to be a million times more complex and detailed. Okay. I'll put in a bit more underneath these funny little rooftop area, things like that. Little bit here as well. I think I've overdone that one, a touch and this blue building, but we always have to put up with it. Good. Maybe a little bit in the canal sections of the canal. Sort of going around the edges of the canal. I mean, we will there we go. Disappears off here. Off in the distance. Connects onto that figure actually. Okay, I think we will keep that as the drawing. 6. Painting Light: Alright, we're going to start doing the first stage of the painting. Now this is painting the light. And the important part to remember here is that we're looking at really keeping this super light wash. So I'm just mixed up a bit of cerulean blue here. And it's mostly just water. If you look at that, it's really just 80 per cent water to approximately 10% to 20% paint. Ok, so just a really, really light wash. And the reason why is we just want to preserve that softness in the sky, that really light color up. I think with the paintings, you have to make sure that the sky is the lightest part of the painting, so you don't want that to be overpowered, so keep it very light and it does look almost two week when you have it on by itself. But you need to just keep in mind that it's not going to stay like that forever. Okay. So just a quick little wash like that and it's pretty much done for the buildings. I'm going to use a few different colors. I think it's always good to just experiment, play around with what you would like. And for this building here, I'm going with a kind of an orangey sort of color, orangey brown color. And it doesn't have to be exactly the same as the colors in the reference. I always like to change things up a touch. Just keep in mind that we're looking at warm colors here for this building. I always try to change it around. Looking at warm colors and cool colors, rather than looking at specifically an orange or a dark blue and cerulean blue or something like that. Just I tried to simplify it down basically into warm and cool. So anything that approximates or goes towards the yellow, orangey, yellow side of the color spectrum. You're looking at this color here, anything that's more towards the blue, greenie, purple, the colors. That's what I refer to as cool. So hope that simplifies things down. A little bit more of this brownie color. This is just burnt sienna, really speed of burnt sienna. And a bit of orange. Quinacridone, burnt orange in there in the windows. I might just put in here, there's like a brownie color, so I can just drop in a bit of brown in there. In this window, actually there's some corners so I can just go ahead and drop in a little bit of, there's actually this grayish color that I had on my palette from before. I can just drop in there quickly. Okay. It doesn't matter too much. We just got to make sure that mainly we've got warmer colors in here. Probably on this building, I'm gonna go a little bit more reddish. And in a little bit more red and red and a brownie color. Just mix that in that cut around and leave those edges of the windows white as well. Like that. I'm dabbing in a bit of color here on top of that roof as well. And don't be afraid to leave some bits of whites on. Another interesting thing, these rooftops here, They're all of that same sort of reddish brown color. So I do like to just go in and give it a touch of that first and it will melt in, do its thing and then you can come back to it a little bit later. But it's just a good thing to get in to begin with. There's a bit of an orangey color, orangey yellow color. I thought I'd drop in for this one. This one here. Again, this brownie, orangey color. I just like to call it a warm color. That's the simplest way to define it really. I'm gonna pick up a little bit of white, a little bit of buff titanium, and a little bit of red. And I'm going to go straight into this building underneath here, which is almost like a looking at kind of like a salmon type of color. Here we go. It's dropping a bit of that color like that. The trick is to get everything to kind of mix together. Okay. If I actually lean, lean this paper up on a slight, lean it down, slight tilt. You can also get this effect. Just get the colors blending a bit better, closer and moving downwards. Okay? I do notice a bit of yellow here, kind of like a yellow ocher, so I'm picking up some of that and just trying to get that in as quick as I can so that you have a bit of this. Mixing going on. I don't want any weird sort of edges forming. Any hard edges forming in this stage of the painting. We can move down. Let's go ahead down here. Light wash of yellow. Just carry that down. It's mostly just water. Thinking of remember what I was saying before. You're just looking at very, very light washes. Of course, this house over there is actually it's actually blue, so I won't touch that just yet. But I'll go over the top of these ones, this one here and the distance kinda like, uh, reddish pink color. The distance something there as well. And then you've got these turquoise see colored buildings off in the distance. Which I can just indicate like this and leave some of the white on there. Why not? I'm good. Now into this area here, I'm going to get a bit of orange and mix it with some red just to get a deeper, more vibrant red. Just drop that in there for this for this shade. Okay. Keep makes sure that it's still transparent like that. Okay, Just drop it in there and let it go. And I'm also a bit of bit of buff titanium, and a bit of that red will get you also the color of this umbrella here, these shades. So we can just go ahead and drop that in and melt that into the other one as well. Like that. Okay, good. Good enough. Or that color in their mind, you we haven't gone in, gone into the ground yet. Even I'm going to pick up some cerulean blue and I'm going to go into that, the side of this building like that, maybe a touch of ultramarine as well through here. I just want a cool blue color. That's all I want. Okay. I don't want it to mix in with anything else. Just let it keep that retain that cool blue color. Okay. I think we've done that day. Alrighty. Now, let's go ahead and look at the buildings to the left and then we've got a bit of green. So it's dropping a bit of strep period of green for this one. Okay, this is where you can obviously just get creative, use whatever colors you feel work for you. Especially on these areas where you don't need to worry too much about how dark you go. Because as you can see, I'm actually using a lot more paint, probably 50 per cent paint, 50% water, because this area is going to be in darkness anyhow, the rooftops may get a little bit of light. So that's why I'm kinda trying to leave the top of the roof tops a little bit lighter for later. But you can see on the buildings, for example, I can pick up a bit of this yellow, a bit of this yellow ocher and just drop that straight in to the buildings of the left like that. That could be just the top of that building there. It's kinda like a grayish like a grade down yellow in here. Sometimes it can just turn green if you're not careful. I think I've managed to do that. There we go. Little touch of that burnt sienna on the rooftops here. This little touch of that get that warmth coming in. I'm going to move this down the page and just getting a bit of brown on top of this. It's really just a bit of brown and maybe purple mixed in here would be good brown and purple. I'm going pretty dark. 50 per cent water, 50 per cent paint again, and I'm just getting in a little bit of this idea of the shade there. Of course, this little, little bits and pieces here, the base of those buildings in the back as well. The ground I've noticed is just so bright. I mean, it's I'm thinking whether to even putting any color through it, but I will add in just a wash of whatever I've got leftover and the palate, which is basically kind of like a grayish color. You have some Wyatt as well, tiny bit of this off-white color. I think this is just going to help get rid of that wire. I don't want it to be too stark further down. So just just a little bit of that white running through like this. Coming through. You might want to swap to a smaller brush if it makes it easier as well to cut around these figures. But the main thing, I'm just trying to get this in very, very Lightly going to preserve that lights in the ground. Then here is a bit more here. This is actually some green or something. We can just drop in some green here for this bush. Here, Here. Bit more here for this little boat in the front. You can even just pick up a bit of blue and make this let's make this boat blue, like that. Okay, good. What else can we do? Bit more blue or a cooler color for this one. Like that? What else did we have? Bits and pieces here. Bit of warmth maybe for one of them here. Oops. It's getting a bit more of them. Maybe some brown or something. Okay. Water as well. It's gonna be interesting because I wanted to leave little bits of, potentially a little bit of white in there or if I miss it out, we will actually just not worry about it and getting some gouache, some white gouache afterwards. So I'm mixing up a bit of turquoise, see, color. It's got like a greenish blue color. And, um, maybe a bit more green in there actually would be good. I'm just mixing a bit more of this green. Okay, That's better. Drop that in a bit more turquoise. And I'm going fairly dark in here. But I'm also trying to leave maybe some white reflections, as you can see in the water. Tiny little bits of white reflections running through that. You know, that the water is fairly dark compared to everything else in the scene. It's almost one of the darkest parts of the painting. Then I can pick up a bit of purple or dark or neutral tint and just drop that in underneath some of the boats. This helps to anchor the boats to the, to the, to the water and create a little almost like a reflection of it is simple reflection. Nothing. Nothing too out there. Okay. So having a look and just checking what we have here. This is looking good. We've got I think we've got quiet. We've definitely got, got all the warm colors in here or the softer, lighter colors. And the trick now is basically just to put in the shadows, bring out a few little details here and there. And we'll be ready to go. So what I'll do also at this time is that I'm going to just put in some colors on the figures. Quick little colors. Just dashes of going a bit of blue here, for instance. Might just put some into this one. Okay? Some of them you can just leave white, there's no problem there. Just dropping little colors here and there. And I find that helps to create some interest with your figures. Make them look a bit more like people wearing colored clothing and stuff like that. You don't have to do it to all of them, but I do try with a few here or there. Even in the background, you might pick out a few that you want to darken down. But it's not a huge deal. Some early May, the ones in the foreground. Okay. What else do we want to put in there? Really think that should be it. I'm just adding a few tiny, tiny minute details. Really splashes a blue perhaps a bit into the windows could help to indicate just the reflection of the sky. Blue there and there. Not all of them, but just in them. Some of them would be good. Okay. Good. And give this a quick dry. 7. Painting Shadows: Alrighty, So time to get in these shadows. And this is the most funded in my opinion, I love putting in the shadows. I'm gonna be using a number six round brush and also this small and mop brush that I have here, this is a 01 slash 0. This is a smaller mop brush that I'm gonna be using as well. So first things. First, we have to mix up a color for the shadow. I'm going to just simplify it down and use a bit of this purplish color mixed in with some black, a bit of brown. There's some green left over the palette. I don't really want to put any of that in there, but it's starting to go in there anyway. But if you've got this general purpley brown color, I think that's a really good color to go with for shadows. And let's go ahead and do this. I'm going to go straight in. It's pulling it and put it in a bit more blue in here. Actually, I'm going to just drop in a bit more shadow here on the right-hand side of this building. You can see in the reference photo that the shadows pretty sharp starts off like right on the edge like that. Okay. I'm holding this brush very lightly and just trying to get in some color on the right-hand side and underneath the roof top as well. See if you look here, there's a little bit of shade under there as well, so just dropping that in, okay, let's put it in a bit more neutral tint as well. It's good. Underneath here you notice there's a little tiny bit of a shadow to sort of just goes underneath. I'm just dropping a bit of paint under there quickly. There's also a shadow that goes across across the background and cuts through that building like that. So almost like a it's like a it's caused by another building behind that one. Here as well. We've got a shadow on this building. The right-hand side there. Just Good that in. I think I'll be able to do most of these actually with the mop brush. Really depends on the size of paper you're using there. Okay. Let's get in the shadow and the shadow I'm going to use a little bit darker. Let's go here. There and get it to come down like here. Good. Blend that together. Alright, um, and also just stop putting on a bit of this shadow underneath the roof top like that. Joined that on nicely so that it forms part of that one sort of shadow. May extend this a little bit. It just extend it down a little bit like that. So that would look nicer. Good. Shadow on top is probably a little too dark so I can just lift off a touch of paint there. Okay. Dab dab in a little bit more. If it appears as one big shadow, that's no big deal actually. Go down. Let's have a look, maybe a little bit of darkness at the base there. Let's have a look over here. We're going to get in a little bit of darkness and keep it transparent underneath the rooftop there. Like that. Underneath here as well. This thing here, this balcony. I don't know what it is, but it's sitting on top of the building, is going to be shadow underneath there. Anywhere. Essentially where the sun can cast a shadow beneath a raised object. You can drop in a shadow like shape here, even because that light source is coming from the left hand side. So the shades on the right-hand side of underneath the right-hand side, you're going to have a bit of that darkness as well. Okay. Remember I'm just using the same color. Even on this building, it's hard to see, but there is a little shadow being cast across the building like this. And let's light sort of shadow, but it's sharp. Running across, it's probably from the top of the building. And this is going to forms part of this, the window shadow in that window as well. Here. And not only that, but behind this building, it's actually little darker. I'm going to just shade this one down a little bit. Just add a little wash, light wash of that purple over the top of that one. Okay. Look maybe a bit here. Drawing out some little details. This whole building here is going to be fairly dark. I'm going to just try to darken down this entire lot. But what also want to leave some previous color on this, so I want to get rid of all of it. Just darken it down. Just add in another wash over the top. Like that. Little bit of that yellow can leave that in. That's okay. You've got this nice contrast between the warmth behind there and it's like a darkness here. And of course it goes on the ground as well. We've got this shadow that's cast on the ground like this from that building. But I'd like to leave sometimes bits of bits of light running through it like that so that it doesn't look all to too much of the same. Even these little shrubs, why not just leave some little lighter bits in there as well? Like that. This is like a little boat or something here for our cool it down, put rid of coolness in their bit of blue like that. Okay, I'm going to swap over to this smaller round brush now I think I'll get a touch more control with it and have a look around, see what else we can perhaps do a little bit of this shadow to the right-hand side of these windows. You can just do this sort of thing like that underneath these windows and little bit of shadow under there as well. I just tend to do it pretty quickly so that it doesn't doesn't look too forced. As it dries, it starts to look good. But you have to wait and see till the end. Okay, good. The figures, I'm going to get a bit more darkness. So we'd have like neutral tint and a bit of purple, really dark colors. And from here, I will just work on getting in the feet, the legs of these figures. What I'm doing is basically getting in all the really, really dark bits now and emphasizing. I'm drawing like the most emphasis on, on these areas. Because we don't have these super dark areas ingest yet. We do have some bits and pieces here and there. But it's really these almost black areas that will make the light pop-out. Can actually put in a bit of brown in here to create this. These just make them look a little bit more brown. These wooden pylons. Good. Okay. Bit more of these legs here. The shadows that we had stated before, this is another chance that you have to redo the shadows, re-emphasize them. That's another wooden pile on here. Okay, here in the foreground. Another couple here as well. Here. Okay. Give this a little dry. 8. Finishing Touches: Continuing on with all this darkness, as I was mentioning for four. Let's work a little bit on detailing, for example here, this little, which you might call it shade. I can just draw out a little more detail like that. Okay. Extra darkness underneath this one to cut around the fingers and it creates a sense of contrast with them as well. And that light then starts to pop out a lot more. You'll notice she have these almost like pitch black areas in some parts of the scene. Here we go, Just some legs of that figure. Here. You can just drop in. Another figure here, lakes. Someone walking there. That little shadow is just getting those shadows on the ground, soften them off a bit and I think they're just touched too dark. But should be okay. I'm here. Indicating these legs a bit more like that. Yeah. Even if you've got a section where you may not have figures in, you can try, you can even add them in there. For example. I'm just thinking, oh, there's one here anyway, that's okay. I was thinking maybe like here I could put in a couple of legs, make it look like there's a figure here behind. We've been here. Alright. Good. Couple. They're just walking around. Sometimes a little bit of darkness around the heads as well. On the top of their heads does indicate some hair and it does help to bring out the figures from the darkness. So I will just drop in a little bit like that. Notice how quick that is. It's just a dab here and there. To indicate, always like to indicate things rather than to make it too obvious. For the viewer. There we go, some more of these like pylons sticking out as well here, here. Maybe a few more here in the distance. I'm just thinking, what else could we do? Perhaps? Some shadows, some more shadows in parts of the roof here. Just thinking, darker ones. Here. Here. We'll soften that edge a touch though. I don't want it to overwhelm the good darkness and they're really just darkness underneath the rooftops. Maybe in here there's just some extra, extra bits of darkness running through underneath this shade. So very abstract. But you can tell I'm certainly is something there suddenly a shade of some sort. Okay, That little bit of brown. I'm going to just use this too. In the stilts and things of this. I'm not sure what it is. But basically this top part of the building there, That's looking a lot better now. It's like a private balcony. Like this. Wouldn't even need to do those curtains because they will appear white anyway. Like this. If I don't have to use gouache, I avoid doing it to easier just to leave it out. It looks better I find if you leave it out, but it's not always possible. Okay, a little bit of do we have here a little bit of darkness in bits of the roof. Now you notice on the edges of the roof sometimes you get little dark spots underneath like this, just shadows, darker shadows forming underneath. So this is a good trick as well to get in a little bit of that. Gibbs. Yeah, It just, it gives the buildings a little bit more structure. I'm good. Okay. So give this a quick dry and then putting the final touches. So what I've gone over here that I've picked up a little bit of white gouache. So just squeeze that out straight from the palette. Picked it up with a small round brush. And I'm just spent some time going over some of the areas that I can see perhaps highlight here or there could be perhaps some water, a bit of a wave in the water. It could be a highlight on the side of the boat, a little highlight on the pylon or something like that on the shoulders of these figures in the window frames as well. You can see sometimes you lose a bit of that light on the window frames, that White frame. So I'm just going around as you can see, dropping a little bit of that paint in there. And you can recover some of the white. Of course, that you have to do this sparingly, can't. We can, but it's starts to ruin things when you overdo it. So you just have to be careful that you are using this quite sparingly, this technique anyway. So there might be a bit of this path that you want to just bring back a little bit of that yellow or something like that in there. So I can just drop in a bit, will be there. We'd have gouache mixed in with a tiny bit of, a bit of yellow that brings back at touch a light. Suddenly. Not too much. You can just dampen that down a little bit if it's too much tiny bit here, here, like that. And the great thing with gouache is that you can go over the top of whatever even darker paint and it will still it will still show through. I can drop in a little bit, even a little bit of yellow in here to indicate like some just some warmth in the water. A little bit of extra color in there. You'll notice as well, I've gone on top some of the figures. I've just dropped in a bit of paint on the shoulders and the heads of some of the figures. And that helps to bring them out. Just indicate perhaps that there is a person there. Can even make up another person here in the front. Like that. There's really no one there. That sort of thing. And just drop in bits of gouache. You find that it does start to suddenly come together. Bits and pieces. You can even just get it dry, brush it onto some areas of the buildings to make it look like a bit of texture or something like that. Okay, so have a play around with that gouache. Bring out those highlights. And when you're ready, you can put the brush down and call it a day. 9. Class Project: Your class project is to draw and paint your own urban landscape. This can be the scene featured in this class are based on one of your own photographs or since you've observed outside. You can also refer to the scan drawing and painting templates attached below. This will allow you to trace the drawings if you choose to do so. I recommend drawing each scene freehand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to compose and plan your painting. Once you've finished with the drawing, use a watercolor steps and processes included in the class demonstrations to complete your painting.