Urban Sketching in Singapore

1. Introduction: Hi, and welcome to urban sketching in Singapore. Urban sketching with line and wash is a fun way to create fresh and spontaneous works while enjoying some time outdoors. He combines the benefits of ink drawing and watercolor painting. Urban sketching is a great way to improve your drawing and painting skills. In this class, you learn how to transform some urban scenes of Singapore into some beautiful line and wash sketches. This class is aimed towards beginners with four line unwashed demonstrations, which I'll guide you through step-by-step. Their scans, drawing, and tracing templates included for each demonstration helped me transfer you drink over quickly and easily. You can follow along to my real-time drawing and narration videos for all of these demonstrations. This class, I explained every technique I use, or drawing and painting, such as using watercolor to paint shadows on a building. I'll be going over the basics of wine and washes, sketching. I'll show you how to sketch with a pen quickly and accurately using a variety of techniques, including drawing lines in the segments, hatching, and using different size nibs to your advantage. I'll also talk about what materials you need, your options and which ones are using. Recommend. If you have a pen, some watercolor paints and paper, and you're set to go. So join me in this class. Let's create some beautiful drawings and paintings that you can be proud of. 2. Materials Required: So before we start with this class, I want to talk a little bit about materials. In particular, I want to talk a bit about paper, paints, bit about brushes as well. Just to go through what you need and the materials that I use and recommend. The paper that I'm using is a cold press, watercolor cotton paper. So it's a 100% cotton. And I'd recommend that in the first instance because it just allows you to get in a wet and wet and layer over the top of other layers without disturbing the previous ones. Now you can use other types of paper as well, particularly cellulose paper. It's often not labeled as cotton. Watercolor paper will just be labeled as watercolor paper. And that's when, you know, it's gonna be a cellulose type paper that works pretty well too, but you just have to remember when you're laying over the top a few times, it can upset and liftoff the previous layers. So that's about all that I use to make sure that the paper has a bit of a texture to it. I find that just helps for the different layers to blend together very, very slightly. If the paper is completely smooth, that does work as well, but that can also lead to areas of inconsistent drying. So for that reason, I tend to use pixelated textured paper in my scenes. So I'll talk a bit about the paints that I use now that these paints here just paints that I've squeezed out straight from these tubes right into the palette. And starting from all over here you can see I've got warmer colors, the yellows, oranges, bit of red here. Then we go into blue and a darker blue, got some browns, green and then some purples and a bit of neutral tint over here. And you don't need all of these colors. Most of the colors that I use tend to be around the yellow to yellow ocher sort of range to get in the general light sort of feel here as you can see in this scene, the air of the ground is mostly just a bit of yellow ocher. I think I use a tiny bit of orange in years. Well, I've got a bit of buff titanium, which is basically an opaque white like an off-white color that I used from time to time again, that does help with indicating some of the light. And I've mixed a lot of water into that when I'm getting in these little colors like that, I've got this color here, which is cerulean blue. Really nice to get in areas of the sky. It has a nice kind of granulated effect, which I actually prefer need to have that you can actually use something like a cerulean. And notice cerulean button, ultramarine or a cobalt blue, which works really well when you dilute it down to get a really, really light sky color as well. So that's another option. These are just some earthy colors, a bit of, a bit of green here. But apart from that, those are the main ones I use. I've got a little bit of neutral tint, some purples here which are really good for darkening down, getting some of these darker shadows, as you can see here. That works really nicely. I do also have a bunch of these colors here, these gouache colors, the main ones, the main one that I use in a lot of my paintings is this bit of white gouache. And you can see it here on top of the highlights of the vehicle, on the shoulders and heads of some of these figures. So it works really, really well to get in these little bits of light, bring back some light into the scene, even some of this smoky effect as you can see here. So it's really an opaque watercolor paint. So you can get this pretty cheap here in Australia, I think it's about $8 a tube at last, you forever tend to also mix it around with some of the transparent watercolors. If I want to get a colored gouache that has a bit more yellowish tinge to it and maybe a bit of blue in it. I can mix that in. And it creates an opaque version of your transparent watercolors. So great little tip here. I always loved to add in a bit of this at the end. So in terms of brushes, I'll just show you some of the brushes that I use now I've got a bunch here. This is a little cloth that I keep around That's always important to keep a cloth as well. When you're painting because it just allows you to dab onto that cloth and remove a bit of paint from the paintbrush just to dry that paintbrush a little bit as well. Sometimes you're using effects. We don't want too much water on it, just a little, little bit of water just to apply that paint down, say for example, these little leaves here. So having a, having a, some type of tau, maybe some tissues are like a little cloth is really great. Over here. You can see that I've got a bunch of these brushes. These are watercolor brushes. They're designed with a large belly and so they actually pick up a lot of water. They're really good when you're trying to get in large areas of sky bit of the ground. Just large washes of color where you need to pick up a lot of paint. I find these brushes are fantastic. I actually use all three of the east of different sizes to get in different areas of washes. So sometimes the buildings might and get a little bit smaller, so I'll just use a smaller, smaller mop brush. I also tend to use this small one for detailing as well, sometimes just to get in a bit of a shadow on some of these buildings and stuff like that as well. Fantastic. So I also have some of these round brushes, as you can see here. These watercolor round brushes. And they're made of a synthetic material. And they hold a really nice point. They don't pick up much water, but they're really good for getting in little highlights. So you can see here with the gouache, perhaps some of the details and the windows, the legs of the figures. These brushes are really, really good. And I think that's about it. I'm gonna do have a few these specialty brushes here. It's a flat brush that just has a bit of a uneven edge. And fan brushes can be good for getting in some grass. This one here is like a rigger brush, which is good for getting in trees in the distance, little twigs and branches. So those are some bonus brushes that you happy you don't really need them. For the most part. Having a large couple of these larger mop brushes and one of these smaller round brushes do very well with any painting. So that's about it in terms of brushes, paints, and paper. So let's move on. 3. Sketching: Exercises: Okay, so before we get started on any of the projects, I want to talk a little bit about some sketching tips and techniques. This will just be a bit of a practice run for you to pull out a pen and just try a few of these little exercises to get yourself warmed up. And especially for those of you who haven't had much drawing experience, I think this will be very useful for you. So let's go ahead. I'm going to talk a little bit about simplifying shapes to begin with. So what you need to know is with everything that you see out there in the world. Whether it be a person, whether it'd be a tree, whether it'd be a glass of water, there are simplified shapes within that particular structure. So if we're talking about a person, for example, one of the things I always look at is of course the head and the head of most people, it's mostly an oval like shape. I tend to just draw it more of like a oval slash rectangular shape like this. Something like that is completely fine for the head, the body now, depending on what the person's wearing, that kind of thing normally has this sort of longer sort of shaped like this. Okay. It's a little bit longer, can be rectangular depending on the person. I mean, some people have more boxes, sort of builds like this, and people have narrower shoulders and larger hips like that. Okay? So what you can do from here is just simplify the body shape like this. Now in terms of the legs, I look at the legs as just to almost too long triangles like this. Okay, so you can have people that are just standing up like this, standing completely straight. Or you can draw people who are basically in various stages of motion. So this can be someone just walking a little bit, but you can see in terms of the little structures here, this is just t-shirts. The side of the t-shirts. You can see here it's just some triangles are square and a rectangle for the head. So finding ways to simplify things rather than looking at the entire picture, I think really makes it a lot easier. Now this goes for things like cars as well. So if you're drawing a car, I always kinda look at it as a bit of this trapezoid shape here that's almost rectangular. Canaan, the bottom of the car is like this rectangular shape. At the base. You often have some wheels here as well as the base which are darker. Maybe a bit of a shadow. And then you can start drawing out little extra details like the Nike mirrors here. You could put on some brake lights here in the back as well, number plate, that kind of thing. Okay. But the essential shape is, is it's this trapezoidal, almost rectangular shape. Rectangular shape for the base of the car and to almost square shapes for the wheel. So you can simplify things down. It turns a building's depending on the type of building. But if we're looking at very basic buildings, most of them are rectangular in shape or in various colors, square, rectangular type of shapes. So if you look at something like this, It's just a box. It's just a box like a cereal box or something like that. Okay. And you can draw them on this side. Like this. There could be facing the front and inside the buildings you're going to get windows. Sometimes they're gonna be square windows like this. Sometimes there'll be larger windows with some ornaments, some curtains or something inside them, but they're all still the same. I mean, that's just like a rectangular shape with a few couple of lines running through the center of them. So I always try to look at things like that. Sometimes you get buildings with dome on the top, which is just drawing a circle like a semicircle or something like that here. I mean, this could be this could be seen in Venice or something like that. Okay, and you can have another dome here like that. Now the dome here because if you can draw a circle, then you can draw these domes in quite easily. So again, you've just got to look at the shapes and simplify it down. And that takes time because obviously, when you try to work out at, at the start, what those shapes are. Trying to see those shapes is a simplified form, quite as loud and thinking, but after some time, it becomes a lot easier. You'll be able to identify them. For all types of objects, all types of things that you want to draw and paint. Now, I'm going to talk a bit about some sketching techniques as well. So one of the things that I do sometimes when I'm not so sure whether I want to put a line in or not. So for example, I might think I'm going to draw in the head of this person, but I'm not sure about the body. Sometimes I might turn that pen on the side like this. Came a turn the pen on the site. It kinda just grazes the paper. As you can see, it gets in a very faint line. And that way you can sort of put in some basic details in there, have a look at it. And once you're confident, you can then go in there with the actual. Details and use the entire Penn. So that's a little technique I do. I sometimes do this when I'm marking in the horizon line. So if I just want to put in the horizon line here, for example, I think, Oh, that's not in the right place. I want it a bit further up, then I can just marketing like that. And once I'm confident, I can draw it in and that can be just something that's ignored in a scene. Okay, so again, this is just a little technique, a little chip. I think that will help you, especially when you're starting out drawing. And I feel the techniques I'll talk about as well. And also in terms of pen nibs, I think is really important. So creating depth, making something come towards a scene or go away from the scene, I think is really important. And what you can do sometimes is that you might have a whole bunch of buildings. For example, you might have these buildings here in the background. Then you might have one that's a little bit closer towards the front or this one here. Okay. At the moment they all look pretty much in the same air and the distance. What you can do though, is that you can use this technique to hatch so you can create a little bit more yes, a little bit more darkness in those buildings. And what this does is that helps to bring forwards these particular buildings. Now, we're just draw the lines all in one direction. You can do them vertically or horizontally, but this helps to create a bit of contrast, helps to bring forward that bit, especially if you start creating lines that are further apart for these ones in the back. Okay, so those are these buildings here. We'll peel it all the way off in the distance. And there'll be a little bit lighter compared to these ones, which will be appearing a little bit darker because these lines are closer together. And there's another technique called crosshatching, which is basically the same as hatching, what you just hatching in the opposite direction as the lines you first put in. So you've got these kind of checkerboard pattern here just emphasizes that darkness in there. And another thing that you can use as well to increase and bring objects forwards, push them back by using different sized nibs. Now, for example, I might have a nib here, this is a 0.05 is small nib. And when I'm drawing in a person with this smaller nib, you can see all the way here, it's very thin line. Okay? Especially if we're contrasting it against say, these figures here, which basically drawn in with a 0.8 millimetre nib. This figure looks quite diminutive and pushed back because it appears lighter. It's, the lines are thinner. So you will find that if you're using a thicker line or it's going to bring forwards certain features, objects, people, cars, buildings, and that kind of thing. So even if I were to say draw some buildings here all the way in the distance like that. It's going to look they're going to look a little bit further back, especially if I start doing a bit of hatching those buildings, we'll look further back than say these ones and these ones together. So the size of them is really important as well. I tend to just use two, maybe two to three different size nibs, normally like a 0.3 which is a little bit a little bit thinner, just slightly thinner. And then I might have something like 0.5 or 0.8 that normally uses 0.05. But again, the more, more nibs you use then we'll see that the more choice you have in terms of creating different levels of depth in your drawing. 4. Sketching: Simplifying: When you're out there drawing in the real-world, there's obviously a time limitation. Could be the place that you're sitting. It could just be uncomfortable. Maybe there's some wind blowing in a certain direction. Maybe you've got to draw quickly because there's people moving around. Either way. It's quite exciting, but you have to be focused and capturing the essence of the scene. I'm going to show you a way to capture a scene quickly and easily and also be able to focus a bit on the perspective. This is a scene that's fairly complicated, but I'm going to simplify this down for the sake of this demonstration. And I'm going to get in a little French, that quick little frame for this scene, something like this. Okay, so it's a lot smaller than the actual page that I've got here. Okay. So I always start off. The first thing I do when I'm drawing is that I put in the horizon line. Now, perspective is a really important thing and I'm only going to touch on one-point perspective because that's going to help you in this particular class. And in terms of most of the scenes that you will encounter, 99 per cent of the scenes that you encounter. So I tend to put the horizon line. The horizon line is basically the line all the way in the distance where everything appears to disappear at the sky meets the ground. So it's roughly here. If you look at those buildings all the way in the back, you can see that horizon line is somewhere around here. So I'll look at that page and I think it's not in the middle. The middle horizon line is not in the middle, and it's not really a third of the way through the page. It's less than a third of the way through the page. So that's where I've roughly put that horizon line in. Also, you sometimes might not be able to see the horizon line, but you'd be able to see where the buildings touched the ground. That's the area that you want to mark and roughly in this scene, that's where everything is. Okay? Now in terms of creating a flat looking scene, what you wanna do is you want to make sure that the cars and the figures are roughly aligned on the same point in the horizon line. What do I mean by that? So when I'm drawing a person, I'm gonna put their head about here. Okay, so this is a smaller person maybe off into the distance like that. This could be someone here just walking left. Okay. This could be another person walking towards the right. As you can see, all the heads are roughly in the same location, even if it's a really small finger off in the distance, that the heads are still roughly in the same position on the horizon line. Okay? This is going to indicate a flat plane. So basically the ground that is completely flat and you can add the same thing even with the cars. You might have a car here that's a little bit further into this scene. Over there, came out of a car that's all the way over here, which is a lot bigger. Now they've got the windscreen sticking out the back like that and the back of the car there. Here, the wheels like this. Okay. So you might have a car that looks a bit like it looks a little bit like this. Okay. But it's still on that same point, roughly on the horizon line. Okay. And what this does is that it creates a, an impression notes flat, Flatland. If you were to draw these figures going up into the distance further up and further up, it would look back with going up a hill. Same as same thing goes. If you start putting the heads further down and down on the horizon line will look like we're going down a hill. So I tend to, I tend to pay really close attention to this to make sure that we've got the heads and the cars all line up in the right way. Another thing you can do is even if you want to figure in the foreground really close, you can draw that head all the way here, large ahead and put that body in like this. Then we can put the legs in. But keep in mind, the legs may actually be going out of the scene. They might be going on in the scene if we're putting it really putting the fingers closer down to the front there, but notice the head still lining up on the horizon line. You've even got the van or some kind of vehicle here. Often the distance couple of wheels, they're off all the way up into the background section like that. But again, still on the horizon line. Another one here. Of course, you have some scenes where it's not going to be exactly. You're going to have areas where the there might be a bit of an incline, but it depends on the scene that you're doing. For the most part. You're gonna be looking at scenes where you will need to get some kind of alignment there, especially in a flat city scene, urban landscape scene. So that's one of the aspects that you need to really keep in mind in terms of perspective in drawing, I draw with a really simple style. I always start by putting the horizon line. Once you get the horizon line in. Everything else becomes a lot easier and you know, where to place everything in relation to the horizon line. We look at these buildings. We've got a big building coming through the right-hand side of the scene. It's only just sort of cuts off in an area, but you've got something like this. There's kind of looks like a movie theater or something. I'm not sure, but it comes all the way across. I'm like that is trying to get into the basic shape and just kind of actually comes in front of this car, not forgotten to put it in, but comes in front of that car like that. Okay. And we want to look at where the building start and finish these buildings go out of the entire scene so we don't have to worry about how far they go out. They just know that they go out of the scene. But in some scenes you find that the buildings will stop just a little bit before the end of the page are halfway through. So you have to really look at the building and look at it in terms of where does it where is it placed on the pages in the middle, does it finished as a route to stop in the middle of the page? Here and here. So it could be in the right smack bang in the middle, or it could be in the middle, but a little bit more to the right. So you really need to look at those objects together. I tend to use other objects to help gauge where we're. Everything else should be, assuming that you've placed this car roughly in the right position. You might think, okay, this is a giant enormous building. And again, it's just a rectangular shape, but it'll come down like this. Okay, and then we're going to have what have we got here, like the building running so that right-hand side, you've got some billboards here, larger billboards here, that's the side of the building there. That can be another building off in the distance like this. Okay. And then you've got some other other buildings there. Okay. The sign and then you've got this side here and then all the rest of them maybe just gets smaller and smaller part of this large block there. They're just gets smaller and smaller and smaller as we go into the distance. And that's another thing you got to remember as well as you move into the distance, you're going to get smaller. Beak is smaller buildings, smaller cars, everything about you. Kind of a big car like that all the way up there in the bag was not going to. Otherwise, it's not going to look like it's going to look like it's more in the front. So that's one of the things through to really keep in mind. And it's something that we often don't focus on too much. We just kinda take it for granted. But in a drawing or a painting, we really have to emulate what we see in real life. We notice when things are out of place in terms of perspective, when a figure we put in my two big up back and it's just looks like a gigantic person walking around this. Certainly when perspective goes wrong that we start to notice things. So we have to take into consideration these rules that we, that we observe in nature and tried to apply that when we are creating even a quick little urban sketch like this. 5. Chinatown Drawing: So this is a photograph that I took just on my phone when I was Holiday and in Singapore. And this is an area in Chinatown and I thought it was quite a nice photograph, a nice sort of seen because we have a lot of these older buildings, I think back in, back in the early days. And so you can see it's just quite, quite an interesting blend of East and West. And I thought this would make a really nice little sketch. And especially with the rows of houses, some different colors. Strong light source like this. I thought this would be quite a good thing to, to paint. So anyway, I am going to go and get into the drawing. And Firstly, before I started, you want to talk a little bit about what I'm planning to do. Now. I really like these buildings in the background, and I think the emphasis will be mainly in the buildings and also the cars, perhaps a few figures. What we're missing is a bit of figures, bit of life going through here just with some people walking through. And perhaps on the right-hand side as well. I'm thinking whether to emit that larger building on the right-hand side is actually a train station, I believe, but we'll see how we go. I do like the tree to the left and I might even extend it out a little bit more to give that impression of more, more contrasting foreground. So I'm going to pick up a 0.5 lineup. And at some point, I've got to tell me as well, which is just a little bit smaller. I'll start off with this 0.5. And let's go ahead and give this a go. So I want to put in just a general line where the buildings finished. And you can see there's a bit of a incline. The line just goes up all the way up until the corner there. I might, for example, just starting around here. Let's just draw that, this joy, that general line going all the way up like this. It's just a general line for the time being, but I'm just estimating. We know it starts roughly about here and then it goes up a little bit more. So I don't need to measure it exactly, but it's certainly starts to approach the middle of the page. Not too close though, just a little bit like that. In the foreground, we've got some little shoves at the bottom. I don't think I'm gonna get that enough. Reckon what we'll do first is work a bit on these buildings and find a way that I can simplify them down a fair bit so that we're just looking at a simple way to put them in and view them as boxes. Look at them as so many. There's 12345678910, potentially ten buildings. But the good thing is we have little separations, slightly in the middle of them. So if we put a line right in the middle here, first for buildings. The fourth building ends roughly in the middle of the page. So if I can go ahead and potentially put a little indication, and I've just swapped to a 0.3. I just thought it might be better to use a smaller liner. That one there was just making too much of a strong mark. Okay. And what we can do is already my account for buildings, and of course we can go a line in-between roughly like this. And then we can go line in-between for these ones as well. Okay. So we've got four buildings. 1234 year, roughly four buildings. Okay. Because we've got some drops or something like that. A big tree coming in from the left-hand side. I'll actually get a lot of, lot of that in with the watercolors. And later at the time, for the time being, I just want to put it in a few little brush, feel a little line marks and stuff like that coming in. I've made it a bit bigger than the actual the actual photograph itself. What it shows that isn't in the photograph, but I think this is just wanted to have a little bit more of an impression. And again, let's try to estimate where this building comes in. I'm just having a look. I think really close to the top of the sky. We can see it sort of starting almost at the top of these trees here. Okay? And you don't have to get it in exactly as per the reference. But you can see it's sort of start roughly here. And then slowly just starts to incline a bit as we get down further and further. Okay, So of course at the moment it's just a pretty, pretty quick impression about from here, we can start building in some more details. So this could be, for example, that the rooftop of this one, we're going to go in with the rooftop for this one. And there has been a little section here that's hidden behind the trees actually. But I'm not going to worry too much about that. I'm just going to try to get in this impression of the roof, talk like that. Sort of coming across just like this there. And then we can make it sort of come down here. There's a little sign up the top as another line here just for this part of the roof. Interesting thing is down below as well, we have cars and stuff like that. There's actually a big bus here. Not only that, we have a mind of a large vein, so to just driving cross into the foreground, almost near to the foreground anyway. So let me just try to put it in this car, this van basically, it's just going to get it a little bit further like this. It goes almost up into the shops and just comes down. Okay. If we just simplify down, so it's just a box that curves, changes and just tapers off at the front. But you can see that costs are just going into the scene and that sharp dark shadow underneath. Really just a simple sketch right now, just something like this. Let's keep on going. Window is a window here at the front as well, and maybe a light there. And I will also get an another car here with Brenda. Can you wonder why am I actually doing these cars first? And the reason why is because we've got so much overlapping shapes here in the foreground. If we don't get the overlapping shapes in, it's going to be very difficult because we're just going to be drawing over the top of everything else. So I try to always draw the stuff that's in front first. And of course, when I start working on some of this stuff in the back, like this big boss, you in the back. Notice that there's some overlapping shapes in the foreground that I can go ahead and get in at the same time. So that way you can see it overlaps and it looks a little bit more or maybe more natural. Suppose we not just cutting everything else. So there's this kind of building here in the background as well. And you can already see there's like a little section here, but a bit darker. We've got this second building. I'm going to just work on this one. It kinda just starts with a rooftop finishes on that one coming down like this. Here. I'm going to move that one down little bit further, like this third building. It's trying to get this third building coming down the rooftop just like this perhaps. And we'll just take this off. There. Have not left enough room actually, it's in the middle of the page for that fourth one, but it doesn't matter. We can always chop out one of these other buildings further down. Let's have a look at this a little bit coming up the facade of the building. Then there's like a rectangular top of the building like this. The, the, the top of that building like that coming down. You'll notice as you go into the background as well, There's a bit of this reduction of detail, okay, because you'll find that as you move into the distance, the camera captures it very well. But when you're doing watercolors or when you're doing any drawings. If you want to imply a sense of depth, or I guess focus even on the, on the foreground subjects or bits and pieces, you actually want to decrease the amount of detail in the back and cleaning bit. There. Again, we've got other cars that are running through this whole scene. I'm going to just work on this roof top of this other one here, just a little mini rooftop like this, as you can see, it's kind of like a structure on top of the and off the roof here. And can you some little structure like this. And we'll kind of move this one here. Okay? There we go. Just a little bit. This is like kinda shade of course. Let's get into the other one behind. Just overlapping. Bring that down as well, like this. Okay. What else have we got? We might have this other building which is like a really sure what it is, but there's a structure on top like this and stick out this side. When I'm looking at drawing these things, I'm just thinking it's a rectangle or kinda triangular bit or it tapers off into a corner, something like that. I don't really look at them even as buildings, I convert them on the go into shapes. I'm just looking at these and the tummy, they just look like rectangular, rectangular like shapes. I'm purposely not going too much into the bottom bit because I still need to get in a few cars down there as well. But let's go ahead. I'm just going to go at getting the side for this one here. It's getting a little indication of that one. There's another some type of building here, railing. In this one down as well like this, we've got another overarching building all the way in the background like this. To the top of this other building. It just disappears off all the way into the distance. But of course I can still work on the side and that side of the building in this train station over here seems to have sorted itself out. I don't think I really need to to get it in. I mean, if I really wanted to, I could put in some sort of indication like this, indicating some building, perhaps to the left. I don't need to really emphasize this. Again. I do like these kind of bush here. I didn't know what it is. Just a little green bush or something like that. Okay, I'm gonna go grab that 0.5 line and let's start working on these cash shapes. I'll go to another car shape here. The windscreen just running out like this is a trapezoidal shape. There's a four-wheel drive coming down and you can see the front of it just dip down a bit there in a couple of round shapes there for the wheels. It's getting the back of the car. Like this. Just like this. Another one? Yeah. Yeah. Yeah. They're fantastic. Okay. So you can see that cast off in the distance like that. Let's get an, another one. Like maybe in front. Just overlapping shapes. See them. Another one here, the back of it, and you can get in another one here, even start seeing overlap a little bit more with objects in the foreground, especially these little Bushehr or whatever I've drawn in there. Okay, a little bit of that. And what I find makes it It's just leaves, we're just putting in some of the wheels at the bottom like this. And a bit of a shadow at the base does give it the stronger impression. There being a con in that, in that area. So it's a bit like that. Okay. I'm going to just work on rework these ones. I'm going to bring them out of this. It's just in a bit more. This is your darkness in these windows to one of course, some of this stuff you can put in later through the watercolors. But I'm just looking at them and thinking, hey, that's a square for this particular window, That's a squared as a frame there that kinda looks a bit like a like a, like a frame. I suppose another shape that looks a bit like a rectangle here. The Mac and little window here as well. Let's just going all the way into the side of the car is a windscreen here. So there's not really when you look at it, there's not really a lot of detail in there, but just the impression of it that you can look at it and think, Hey, that's a car. I think that's probably the probably the best thing to keep in mind. Of course, we've got shadows and things underneath, but I'm not going to muck around with it too much. I'm quite happy with how it looks. At the moment. I will shift this wheel to make it a little bit lower and work on this part of the car. Teeny bit more. Scrape out of the wind screen here, there's actually a real here, this bus. Then I will emphasize again these pods that are lost as well, that section, that section there. Then we can already start to add in some smaller details in here. You should lowering the wheels of this car again because it's looking a little bit too far up. That's a car. That's a car. There's a real here. This is like a area that turns off into the spine. That and then you've got the kind of barrier or something like that here. The barrier there like that. Through this you got some little vertical holes or what have you little support supporting structures like that. Like that. So having a look now we might look at getting into perhaps some figures. Now we have a guy looking to walk or as the road or maybe run across the road getting in the way of these cars? No, I'm just thinking, what else could we do? I mean, I could turn another, something like this seem to work. I figure as well, just in the foreground, perhaps walking into the scene, leg going out like this. I think this would be good to get in a sense of light and shade in here. Sometimes these little lines on the ground and really help as they sort of give the scene a bit more direction. In perspective. The perspective here is very, very gentle, as you can see, it's kinda vanishing point somewhere over there. With all the lines going towards that point, off the distance. All the way off in the distance somewhere. And Destic some more figures. I think we need a few more, at least. I'm going to put one here. Another bigger just potentially walking into the scene. The leg another leg that it'd be walking towards us could be walking away as well. Another figure had another one just behind that car waiting to crush the road. I'm just looking for opportunities where I can place went in. For example, CEA, or may not be too disruptive on what is going on. Here we go. Maybe someone wearing a dress or something here. Again, just maybe going towards the back. We're just standing there waiting to cross the road. Let's put another one in here. Maybe this person's just managed to cross the road and running across in the leg. This one just off in the distance like that, kind of running a little bit faster. Sometimes you have an arm out like that. That really helps to emphasize a little bit of movement. Their legs tilt of the head forwards and the arm outstretched, kinda like that, gives it a bit more life. Okay. You can put another one over here. Kind of an intermediate intermediary figure like I'm halfway through the scene that you notice I haven't definitely drawing over the top of a few bits and pieces in here. I do prefer to draw in the figures. Actually eat without cutting over things. But this still works quite okay. There's thinking maybe I could get in another one there, just behind that car. Standing around. One to create a sense of dizziness and just a lot of movement in the scene. So if I do have a bit going on, That's no issue at all. I actually want that these legs that kind of overlap a bit, perhaps here, the two figures that are just going opposite directions, this one's going forwards and to the right and the other one's going to the left. I get my arm out like that to make it look a bit more better. Notice as well how the line work I'm using near the front for the figures, it's thicker. And when I use a thicker line, this brings those figures out closer as well. So that way, what's going to happen is that you're going to have a lot more, um, I'm gonna have a lot more contrast between the background and the foreground. So it's a little trick that I've learned. Just changing the basically just changing the name of the panel makes, makes it really makes a big difference. This thick. Alright, I've done a bit of work on those figures now I think I'll swap over and started working a bit on the buildings and what have you. I think I've forgotten this to get this building here all the way in the distance, it's thicker. It's like a really long one That's just disappears off into the back foot taller than that building. But it doesn't matter. Just get it in somehow like this. Beautiful something on top as well as what can even start by painting parts of it as well. So just hatching essentially, as you can see here, just drawing lines in one specific direction. And that helps too. Portray the direction of the shadows. So we know the light source is coming from the right, hitting the right side of the buildings and then casting a shadow. And I can already imply a little bit of that. And you can put in a few windows. I'm just going to draw a bunch of them like this is some vertical lines running through it. It's nothing too tricky. And then of course, here in the foreground, we've got some larger shape. It's the what do you call it? It's the station, the train station. You'll notice it's actually quite a lot darker than everything else. I'll have to rework this in watercolors afterwards. For the time being. I'm just going to shade parts of it are marginally darker to bring it forward. Another reason, this is good as well as that it allows me to contrast with the figures. As you can see the figures here in the foreground, because I'm just darkening around them. It actually brings them closer and makes them stand out better, just a little bit like that. So let's have a look here. I want to just start doing headings, adding in a little bit of details for the buildings. So working on this one, Let's go ahead and just continue, continue on with it. At the top of the building it's doing there and there's little bits and pieces, antennas and things at the top which aren't getting afterwards. Not too fast. There's two sets of Windows, one here and then the other ones that sort of start around here. You try to separate their building into two parts like this so that you've got obviously the roof section and where the the name of the building is. And then you've got these two sections here, which are for Windows. And then you've got the bottom bit here. As long as you've got those sections sort of figured out, you'll be fine. But you really have to think where you draw the windows, for example, you don't want to draw the window is too close together and leave an entire norm is meter space at the bottom. So I tried to look for patterns to try to see where, for example, in relation to the tip, the top of this box, we know that the Windows Start roughly around here. So we can just draw in this one set like this, just to suggest a rectangular squarish shaped like that. There's a couple and then we've got a couple up the top here as well. Okay. Just like this. Then another one here. Excellent. It's been a little bit of this going on. Of course, there are some shadows and little shutters here that we can work directly on. There just some lines that run. As you can see, horizontal. Horizontal lines. Okay. They just indicate the shutters that you don't have to draw all the shutters app, but this is what I do. I will use broken lines quite often. As you can see here to indicate. Yeah, that's like a corner of the shutter or something like that. But I don't state the obvious. I think that's a mistake because you can just get bogged down so much into details. And it becomes tedious and start getting annoyed at the whole thing because you're trying to make it look too much like the reference picture instead of just using it as a guide to help you with this tree, I've decided to make it kind of going a bit more. Maybe help frame the frame the scene a bit better. Something like this. There we go. Down like this. And let's go ahead and I will just draw inside of this building. Yeah. Okay. Fantastic. Let's start working on this one now I'm going to separate this out into, again, a few different sections. This section dispiriting out, but there's a rooftop. The little shade area, sorry, of this building is here. So I'm just going to draw that out like that. And again, separate these out to two. So we've got the top row of, as you recall, windows and a bottom row of windows. And the windows here, really quite complex. I mean, there's just so much going on here, but we make it simple. This three is three rectangular shapes like this. Rectangular shapes. Okay? Then on top, you've got more kind of shapes as well as one here. One here, one shape like that, and then another shape here, another rectangular shape. Okay, It's just to get in. These windows, don't want to do them in the same style as that one as well. So we've got some of these, again, these horizontal lines like this. And then they sort of indicate the shutters. And then inside the Windows there's all kinds of stuff, but I'm not going to try to draw it all in there. The shadows. I think the important thing, just making sure that we've got enough of the mean. And a little bit of a separation between the shutters were one opens and another one sort of closes off as well. Just stick out like that and a bit of an angle. And then they join up like this here and that one again, so it sticks out a little bit towards the right-hand side. Then the inner part of the window is kinda like a darker frame in some areas anyway. Okay. Like that. It's again, just worthwhile for me to note. Another time. While I'm drawing. I'm not even looking at it as a window. I'm looking at it as just a shape. These three little things on top of the windows, I'm just looking at them as the semicircular shapes. I'm not even sure exactly what the four on the buildings. I'm just drawing them in little bit of this rooftop. There's something on top years well, whether or not when it is retreats back, I think that's enough detail for those windows. Let me think. You can always just do a little bit of hatching away in there. It's quite dark and those windows, but there are some statues and I think ornamental things in there as well. They had a big deal, I think later, just getting in those shadows inside, but the time being that's good. Just getting more of these semicircular beats here on the building. Also bit more hatching like this, the center. And I'm going to just start drawing in a few these bits and pieces here on this side, That's where shutter, shutter, shadow here. It comes across like that. The more these little shadows. I'm just again trying to get an indication of them not wanting to state the obvious because we're going to run into troubles with all the details and effect. Thick enough as it is. There's other things and all kinds of interesting bits and pieces in the Windows. And whether you want to put them in how much you want to detail is up to you essentially. Okay. I think that's me, that's more than enough. I will get in some of these little bits here for the roof that just the shade area of that building and just with a walkway is you can see here there's a little sign board as well. I'm not a big fan of getting in the rotting and all the sign boards, but It's something if you would like to do, then go ahead and just a bit of shading like that. This is the car here and the third time, really want to make sure that it's coming forwards a bit more. Okay. Let's have a look at the other buildings. Certainly getting there. Just outline the top of this rooftop. Cni bit better. There we go, That's better. Read. That just sort of comes in and goes over France as well. I think that's something like that. Yeah. Okay. Fantastic. Now this one, I'm just going to draw the line that runs across there. And once you've once you've gotten in one of the buildings, fairly accurately in terms of the proportions and the features older. Hope everything you can start using that building as a reference for the other ones. You can see the separation running through the middle of these buildings separating the two the two levels. This is also the same separation on the building to the right. Okay. So I'm using that as a guide. And then I'm also having a look what's, what's going on up here. It's again, just separates out how much the two. And then you've got bits and running through here. They're just Windows really. But I'm going to hatch in some darkness in here. There's some bits and pieces underneath here, here. Here. It's a darkness underneath like that. We've got another kind of shade here, running a curse. This. And again, I'm just going to get in the directionality of these shades like this directionality. There's these little lanterns. You can see these kinda Chinese lanterns. They like those red lands is that you get, but all around the bottom, there's a lot of darkness and that's something that I will actually leave for later. But let's work on these windows. It's drawing a few of these windows. Again, it's kind of a rectangular shape, is one. And then you've got another one here that's kind of longer rectangular shape like that. Then you've got another one here like this. And little shutters like this. And it's kind of a little sign sticking out of the building. And of course, some little areas inside the windows as well that we can of course, just paid and coloring to darken off a bit inside the windows. As we move off into the background, there's really less details that we need to pay in there. This year is just the middle. Some line work on the roof top there. Look at this building, this is getting a little bit easier as you move into the background buildings. No need to sketch or too much. And that's another two angular shapes or square-like shapes for the windows. There. There's another window here. The window here. Two windows like that. Then at the bottom there's a bit of darkness there as well. I really want to get some of that darkness in. Actually, I just want to see some of that come through already if I can with the pen work. If I can just pick up this year is just a darker sort of number, 0.8 liner. And this can help me to get in a little bit of contrast in here, little bit of darkness. While help to push the push forwards these figures. That's the idea. We got here. We've got another bits and pieces again running through this section. These, all these buildings here. Now there are actually a little bit more simple. You can see this. There's just a few, these arches like that. A lot more complicated to bitterness, but we kinda look through them. We're going to simplify them down, okay, because as you move into the background, the one thing you want to remember to keep them. Keep the bits and pieces simple and decrease the level of detail. Because if you do that, if you do that, it's going to give the scene a lot more of a feeling of debt. It's also going to make it easier on you when you're doing the drawing. Then look at that. Such small details like this blue shade organelles is beautiful. Blue shades, the splash of it running through that. And I'm going to capture that watercolors. Some of these buildings. I'll just make up the windows. And this one here, I don't know what this one is even just like a white building, really. The White Building and fantastic. So we're going to go ahead and get started on the painting. 6. Chinatown Painting: To start off with, I'm going to pick up a medium-size mop brush, something like this. And you have very small mop brush. And I'm gonna go in with the sky wash first and I want to make sure that it's a light blue sky wash cerulean here, which I just grabbed off the pallet. Quickly. Just drop that in here. And I'm just putting a bit of that light wash of cerulean. We go straight into the sky and move that around. We're gonna go straight to the edges as well. Actually, I'm Julian is a naturally blue color. I've got a bit of turquoise in here as well. Darkens it. Marginally. The meeting just shift that around that near the trees and stuff like that as well. We can shift that around, bring this down, which here, here around the buildings like that, like that. Like that. That I'm going to start putting in a bit of color for the for the buildings as well. But let's have, let's have a look now. Always remember you don't have to go with the same colors as the reference photo. You can always change things up if you'd like. So I might, for example, pickup a bit of this burnt sienna. I've got a little bit of burnt sienna may drop that in for this building. Actually made me a bit of English. Read my vote share. Now there is it somewhere here, up here is next door, actually something like that. I hope that in there just a light wash. And because I want to create the impression of greatly impression of a nice sunny day. It's a little bit of that running through. See actually some of it's gone into the sky. No big deal. Just let it, let it do its thing. Things, you will get bits and pieces that run together. This one here next door is a kind of an off-white color are dropping a bit of this titanium white. I think that's perfect for that one. And that one here I think I'll go with look maybe like a lavender color, which is a bit of a, it's almost like a Laila at very purple, purplish color, light purple color dropped, returning something like that. Again, very light wash. And continuing on, let's have a look this yellow ocher. And now just start putting a bit of that yellow here actually to some of these buildings that just mixed in. Also a teeny bit of teeny bit of Hansa yellow there as well. This is like a quinacridone and also create a bit of quinacridone color that I'm using as well. What I want to really get that nice contrast between warm and cool colors on here. So I think this is going to be good. Just color all that in, we'll make a lot of that in a little bit in here as well. Get that kind of golden age permeating through the scene. A little bit here on the right-hand side. I think we're going to need to go in a little bit with the ground as well. And I've got some yellow ocher dropping here. You just cut around the cars are in the figures. Just getting a bit more that connected or in color. And around. Go further down. We'll just yellows here. But of course, you can pick up other colors as well and drop them in. For example, this is just a bit of bluish, dirty sort of bluish color mixed in with a bit of red. You can drop in as well. What's this? I think at the end of the day, all I wanna do is just getting a warmer color. And maybe in the foreground just had a bit more strength like that. But apart from that, I'm happy with how it really all those colors have run together. Do have some do have some green as well. So just pick a bit of that green and just drop that in there for that three. And a bit of sap green, this is going to help the sap green just like a really light and vibrant green. I love this green. It's great to great sort of background, green color that you can mix in with darker greens. Okay. Dropping that in like that. Bring that down. I can just pick up, lift off a bit if it's too much color and dry it off. Let's look at the cars. I will grab a little bit of this color, which is just basically getting primaries mixed together. And just getting a bit of darkness for this car. Bit of darkness here. Darkness in that car. That moment. I'm really not worrying about details just a bit of and I'm just a bit of darkness. Some of them we've got lots of cars in there as well. Mixed in with all of them are sort of darker once we should have changed it up as we move through. Here, there's some car that has like a darker kind of weird, and we've got a car in the background, that one's got a bit of a wheel as well. Darker we'll mood. I'm actually going to look at mopping up part of that sky, a touch, a bit of paper. Just a little bit of these because I feel like some of that yellow is gone into the sky and tended to be much of a greenish color for my liking. So I'm just using this bit of tissue paper to lift off, drag off a bit of that paint near the top of the buildings like that. Okay. Something like that. And let's have a look. Looks a little better and also appears like it's kinda getting a lighter near the buildings as well. If you want, you can always pick a bit of extra paint and dropping. They're just having a look at a bit of this little bit more of this cerulean that the son of that in. Good. Alright. I'm gonna work on these figures a little bit as well. It's getting some colors. I can, I'll get into some blue for some of these ones like that one there. Just cooler looking colors as opposed. There. Let's get in a beauty of this. There's a bit of this lavender color there, for example, for that figure. And I'm using kinda cool the colors because they help to contrast. I'm with the warp in the ground. Grow this warmer color and I think some coolest stuff already. I've given that all a bit of a dry now. And what I wanna do is just start putting in some of the shadows, bit of the contrast here. So let's go ahead and do that. I'm gonna be using smaller round brush. And I've already got a bit of a shadow color mixed up here from the three primaries, a bit of ultramarine mixed with a bit of perylene red and a little bit of this Alonzo yellow medium. Okay, So we can use this mixture here. Okay? I'm gonna go and just start putting in a bit of a shadow underneath the buildings, as you can see here, there's a bit of this little bit of that shadow underneath the buildings like that. And the top of the buildings, especially this, which you call them these little tops there. Okay. Notice the little window is also quite dark, but we can go over the windows again later with this second wash. Once this is dry, I find this area, this wash is so crucial. The shadow wash here because it's kind of like a, it's not a full tone. It's more of a sandwiched in-between a mid-tone and a full tone, or even just a mid tone in general. Really gets the impression of light in these shadows. And I use a smaller round brush like this so that I can also detail a bit along the way. As you can see, little bits and pieces. I can get in some of this stuff years, well, that building, these little windows, just impressions of the windows. That course we've got a darker part of this building running into the background and I can just work on as well, just to drop in a bit of it. There we go. I'm going to blend that on softer, lighter section of that building to the left. Bit more here, more on the buildings and the windows like that. The important thing is leaving the middle section of the rooftops like that. In the light. This is a really dark shadow shapes here in the foreground for that, which you call it that little train station. And I'm just going to round it like this and cut around those figures. And this is creating a sense of in contrast around those figures. I can go into the bottom here like that and just dropping a bit of color at the base underneath the buildings. Not doing it everywhere, but just enough to cut around the car's. See. If I see the top of that car, they're doing areas. You can leave out some bits and pieces. And since not all to the same, same thing running through this darkness, running through the entire area. And you just want to leave it, give me a bit of rest and then continue on. Bring this whole dark shape across and really seen it done with a bit of the pen before. But we can bring that all across. I mean, even see it just carry that. Just putting it in that color like that. Here. It underneath here as well. Just, just a touch of darkness, really, nothing out of the ordinary. And then I see some red in the ears dropping a bit of red, perhaps, some more darkness. Then the buildings of course here as well. You'll notice there's actually a fair bit of darkness and shadow for the area of the building. Okay, so I'm gonna just some of this color in there. It's just a cooler color, predominantly blue actually, if I can use a bit of red and blue mixed together nice purplish color which makes it great. Shadow. Indication of a shadow like that. And in a bit underneath here as well for the windows that they're underneath here. Surprise just handled it. All. You need to put into these background here is to create a strong sense of light. Darkness also running into the background. Abilities. Darkness in the car as well. We use, of course, the shadow underneath the nice shadows or shape just running across towards the back. Not only that, we've got the shadow of these figures. Again, I'm going to keep it kinda this purply color. Then you can mix you three primaries together. And also that works quite well. You can add the legs just darker. What I'm doing here, just dark and the legs off a little bit. And then I'm just putting a bit of a shadow underneath like this. There's not a huge indication of a shadow, but it's just kinda like directly underneath, I guess, to indicate me son being directly overhead. Hey, maybe running a bit towards the left-hand side. Never know. And we can do the cars out in the back as well. A little bit of shadow underneath those cars. Bring them out a bit as is just a little bit more shadow here and just darken that side of that car to the back more and leave this side of the right a bit more exposed. Say a bus or something. I've been back. Here is just some more of that shadow. That little bit of darkness around Windows here underneath as well. I'm going to work a bit on the how these Shimon column shrubs or just tree leaves. So yes, I'm running my brush it for us to create a sharper shapes like that, but I'm also leaving if you can see some of that yellow, lighter green behind trusses, lots of greenback because that needs to be darker. But at the same time, at the same time, the bits of light and they're really add interest. This one a bit more, the legs of this figure here. Hello, there. You can start putting in touch of hair as well for these figures. Here is good because it helps indicate almost the way the direction that people are walking. If you notice that one here, I've put in here running down the back of the head. So you can indicate that this lady moving forward in that direction. Just at the top means there may be just standing straight and looking towards the camera. Small. Here's another figure here. Little bit of a shadow underneath. Figure. This one here, two more on these tires. You find that these little finishing touches, I mean, they just be surprised how much they make everything come together. And if they're not there, just looks funny. Here is what I was talking about before we can go back in and drop in a bit of color to darken some of these windows again. Okay, So we know that perhaps some of these areas are a bit darker. We can of course, go in and do that, add a bit of darkness in here. Because the windows are slightly, slightly darker. Just simplifying it down as well. Not I don't want to spend all day doing this. Is actually a nasty blue color there, but I'll probably leave it for the time being. I'm just looking at what else we can do. A few more lines running across the background for that building like that. We'd put a bunch of these other buildings and shades and things like that. The background here too. The layering of these different brushstrokes. The key of really bringing out a sense of whatever you've got in there. For me, it's these buildings really make where they really tell the story. But we need to, of course, have extra bits of darkness in there. Otherwise. Otherwise it doesn't communicate properly from light on top of the buildings. For example. In a few movies, bits like that. There is Windows need a bit more darkness running through them as well. Redo their shadows to touch. A look at this one more. Yeah. Maybe putting a few birds or something. The sky lighter colored ones. Here. These little indications of some birds weren't really there on the day, but why not? More here, a few more. I wanted to get in a bit of red for the faces of these figures as well. If I can just pick a tiny bit of this red, just soften that down a bit and just drop it in. I'm just going to help identify their faces and even I can even drop it into the arms that helps as well. It actually drives off a pink color if you, if you go to lighter. Fantastic. There is also on top of some of these buildings, there's like a little, little bits and pieces example of something. Then there's a bit of something here on top of that building. Just soften this down. Let's have a look. For example, this one here is while they might be like a antenna or something like that. Look what else can we do? There's something up here. It's more likely in gouache. But these little bits sometimes on top of the buildings just help to connect it to the background. So I like to drop in a few like that even if they're not actually not actually there. So we're going to finish it off. I'm going to use some little bit of white gouache. Adding some finishing touches. Really got some here. Just re-wet. It does work a lot better if you use it out of the tube. There's just less chance of it and mixing around with other kinds of paints, turning gray or any other kind of color. So just really reactivating that by just grabbing a fair bit in here. It can be tricky to get it to a nice, thicker consistency, especially when it's already fairly dry, but it is possible. So be patient with it, which you've got enough on there, you can start doing some interesting things like this are exactly is dropping a bit top of that car. I say, I think I'll actually use some fresh loaf. Just a bit of that white wash Here, bit of water in there to activate it. This is just to bring up the final highlights. And I'm dropping a BQ and chocolates car. Yeah. Here. Here. Indicating maybe some of the frames, the window frames and stuff like that. The car. This figure here, just to highlight for the head, another figure there that was disappearing off into the distance. Here, that's another figure. The interesting thing about these is that you're going to see shadows more on the shoulders, highlights and the shoulders and the top of the head. Because we've got the light source coming from above. Little bit of that like that. Perhaps in the buildings you could find some bits and pieces as well. It's not so apparent at times, but might notice some parts of the buildings that are more, more white. So you can actually go over the top of some of it. I don't know, I normally do this but something like that or bring out, bring back out some of the whites again. Don't overdo it though. That's my only bring out some of those highlights. Once it starts looking good, then just leave it. And to be happy. Some of these buildings, top of that building, some of these ornamental bits and pieces on top of that building. And this one is actually getting more of a white color. Dropping a bit of gouache in there like that. To make it soft and off, I'll just add in a bit of paper gouache here and just soften off the edges. And this also creates this kind of misty like feeling, smoky like feeling if you do it, if you do it right, you might get some of this stuff anyway. The scene with Louis, cars and bits and pieces running through there, so smoke and then the background might actually be a good thing and actually helps to break up a bit of the sharpness inside this kind of milky color. Just a bit of water and gouache like that. More greenish, green and blue. If I can get in some darker bits here. That's good. Okay, and I will call that one finished. 7. Chinatown Road Drawing: Again, we've got a great little scene. Here's a different view of Chinatown looking straight down on one of the roads. So you can see, of course, a lot of different buildings in the background. It's a very simple perspective where we've got the vanishing point right in the center and the road, the lines on the road just hitting all the way towards that vanishing points. So you'd normally, what I like to do is I will just put in the horizon line, a general indication of the horizon line. So I'll just draw it in like this. Okay? One thing to keep in mind as well is that the reference pictures of the square orientation. So I'm going to enlarge it, just widen that orientation a little bit. I might make up a few buildings here in there. I might put in an extra car or something like that. It's not a big deal, but that's just something to keep in mind. And what I wanna do first is I want to just start looking around at some of the cars and see if we can go ahead and sketch some of these in because they right in the center of the page. We've got of course, there are all these tax season, there's one right here, so I can just start drawing one in. It's just a box, okay, if we look at it, it's more like a rectangular style sort of box like this as you can see. But inside there are a little, you know, little bit more detail and smaller shapes in there. But in its essence, you've got a rectangular shaped sort of boxy object like this as you can see. And you can of course look at the lights, some of the cars you can put in there, the lights here. There's a grill here as well for the radiator course on top here you've got the windscreen, little indication of that wind screen like that. That we've also got some of the mirrors on the left and right-hand side of the car. So simple sort of thing like that in other cars or they come in all different shapes and sizes. So don't feel like you need to make them look exactly like what they are in the reference photo. But one of the things I do recommend is to follow that general shape, that boxy looking shape here on the ground as well. You can actually tell where it hits the ground because you've got the wheels, we've got one of the wheels up to the side, one of them over here, and then straight underneath, It's pretty dark. You've just got a very sort of dark age underneath there. So it joins the wheels up. Now we've got other bits and pieces here in the background. You can see the side of a bus. It's pretty far into the distance, so I can just go ahead and draw in a little bit of that bus like this. It's just another rectangular shape, almost like a box or something like that. Of course. It's going to be this bit on top of that car as well to indicate that it is a taxi. You can see here, this is another just a bus looking box-like shape. And I'm going to draw in some details inside. So for example, this is just part of the wind screen. I'll just hatch away. Came to darken that area a little bit. Even hear something like that. You might put in a couple of lights or something. Not a huge deal. Just a little indication that the other ones you've got, of course, other cars, you've got a car that's just behind. Like this. Of course, a little bit, little less detail. But nonetheless, you've still got the wind screen and everything behind as well, so you can pick out a few others as well. So for example, this side we've got a car that's a lot larger, so the wind screen, I'm just making that a bit larger, making that front of it come down more like this. We can see the side of the wheel here. For this car. You've got to light like that here. Light here. I remember still. So approximates this kind of rectangular boxy shape, caves long as you can preserve that boxing this on there. And all the other details are not a huge deal. We'll just indicate them. And you see you get a little bit of darkness under the bumper and stuff like that. The main thing if you get that wheel in these wheels underneath and join them together, it really makes a big difference. So it kind of anchors them off to the ground just like this little indication of the side of the vehicle here as well. Like that. Of course, you've got other cars back there too. Here's another one just off in the distance and you've got some wheels again like this and you might have a track or something here behind. I do like to use a smaller nib pen, like a 0.3 pen as you move into the distance, sometimes it does help to indicate that sense of perspective of decreasing size of objects, cars, that kind of thing as we move into the distance, it makes it a lot easier if you're using a thinner pen. Because you find that when you use a thicker pen, bits will always what was bring forward, whatever you're drawing. Of course we've got now some cars and one of the things I want to put in some figures, So I've got a nice bit of space here like that. So why not just drawer in a sort of a figure walking is leg going forward and using Lake. Kind of going backwards to figure just walking through the scene here, the head roughly on the horizon line. The horizon line is about here. So that's okay. Maybe the camera is a bit further down. Bigger, just walking across the road perhaps with some a bit of a shadow as well. I'm thinking with shadow as well. I do want that to follow this general pattern where it's going towards that right hand side. So even the cars might have a shadow just cost towards that back, back area as well. So we can draw in a little bit of that shadow to start off with, just as an indication, of course, one on getting a few more. Here's another figure here. This one might be run in a bit more of a hurry. So the body, the slant of that body is moving a little bit more of an angle towards the front so that we indicate a bit of a more vigorous sort of direction that these figures moving in. This one here could just be in the bag, perhaps just standing or something like that. I'll just get a bit of dizziness going on. So that we have some variation of figures. That one there might be a little bit further in the distance, that figure just in the back. Like that. I love to put figures in where possible, especially if we get them to interact and cut over the top of the cars and stuff like that as well. It makes a difference in terms of the overall interests of the scene just gives it a lot more life. We've got, say, a figure here on the left-hand side. And I might just draw a car that's just off in the distance here like that, just behind that figure. Maybe the front of it just coming out there that there's a light. And then we've got a wheel here for example. Okay, so just something like that and that might be the side of the car there. Another taxi indicating the taxi status of the car. But we've got some interacting figures in cars and what have you here. So it's really up to you how much you want to go, how far you want to go with this. But as you can see, I've drawn in a lot of these interacting shapes and making sure as well that the heads roughly line up in the same place on near the horizon line. If you make the heads go too far up or down, or if you make an irregular, it's not going to make sense. It's gonna, it's gonna look inconsistent. Especially it's going to make the ground look. And even if you've got to have figures that are going, the heads are going further up into the distance. It's going to look like we're on an incline, so I want to make it look like it's a completely flat area. So I'm going to start drawing in some little indications of the buildings and stuff in the background. And again, I'm just going to be using this reference picture as more of a guide. I don't really want to try to get it in exactly as what it looks like. Having a look here we can see near the center of the page, we've got these buildings that just especially this large dark and building off in the distance we can see goes all the way up like this. And then it's got this little shape here with a rectangular area there on the side that comes down, hits this building. They're looking at the angles of the lines as well. You can see that's a side of a building which I can just emphasize a bit more like this. That, okay, Now the side of a building, perhaps going up further like this. Okay. I'm going across here, I guess that sort of creamish colored building. And then of course got some of these other buildings which have a more interesting top section of roof as well. So simplifying these down, I like to put these square sort of areas underneath the buildings around here as well. Just sort of indicates a shop front scenario. Suppose that just keeps things a bit more simple. Here we go. I'm just gonna put in these buildings on the right as well. And again, you can just look into however you'd like in terms of simplifying the details down. I just look at them as shapes, very basic shapes and look at them as triangles is looks like a curved area like that. That just comes down. There's a bit of darkness in here in case. So we can just indicates shading a little bit of that. Little bit that looks like there's a typo. Something attached to a light post or something like that. It's hard to say exactly. Okay, here we've got a few windows and you can just start getting in some of the floors indications of some of these floors. As we get down to the front, we can start doing these things, getting in the shade cloth buildings. I love doing these shade cloth. They always add more interest in terms of flashes of color and shade underneath. Especially it's sort of give a bit of makes it makes sense of the shadows on the buildings. So I have to extend this one out to the right, a touch as well. Or I can just imagine that it's fades off into the side like that. That's completely fine. We can now start looking at a bit of the left hand side, some of the houses, some of the buildings. And again, I think I'll just start roughly around here, leave it, leave it a little bit of space in between. We've got this kind of rectangular and another rectangular building that goes all the way up around here. That off into the distance. But of course we've got buildings in the front that's sort of just go off like this. Sort of dip down into these areas. That could be just an indication of a side of a building or something like that. They're just remember you're drawing boxes. If your chart, if you look at them as boxes, it becomes a lot easier rather than you picture them as buildings can really take note of the angle of these lines as well. If you are measuring the horizon line is just off the back here. You are imagining that all these lines meet on the same angle. So if we draw these lines are running all the way emanating from the horizon line. That's going to help you place the angles of the sides of the building. So here, for example, or here. So after a bit of time, you get used to it becomes a lot easier to do. But I find the best way is just to give it a try and one-point perspective scene like this, it's quite essential. Something that you always do. No matter where you are doing some urban sketching, start getting in a bit of this, maybe some buildings here right in the background. Now, here I've got obviously some of these buildings that are just getting a bit closer. And I will simplify this one down again. So we've got three example. This one just coming up in this kind of like this strange stepping pattern up there. That doesn't matter, we can just get that in there then of course is another one maybe just over here. Just want to be careful with this error or something. But when you get closer to the foreground, that's when you just want to make sure that you're adding in as much unnecessary detail as you can does make more sense, especially when you move closer to the foreground, that the objects and details become more apparent and more parents and recognizable as you move towards a distance, you generally speaking, it's more difficult to see what is going on. So I can start putting in just some quick little perspective lines here as well, which is running into the section. They're just across the ground. Yeah. That yeah. That that really starts to add in a bit more of that three-dimensional feel, three-dimensional. We'll look at scribbling a bit down in terms of this building, these couple of buildings here, that there's another window here. And looking at, again, looking at the angles of the lines of those windows as well. Really quite important. You can them, the edges of them appear as well as you move into the distance. We just sort of dropping a few lines are there. And then that will indicate those buildings or what have you done the bottom of some of these buildings as well, you're gonna get some darkness because they shop France or who knows what. So that's why I'm just doing a bit of shading here with the pen. You can even do things like this. Little poll here, just goes off. It goes quite fun around here. This is just a pole and that connects onto a little lamp like that. So bits and pieces like this you can, I'm certainly add on, on thinking and some more figures here we'd be good, especially maybe a crowd of figures just a bit more busy-ness here. And then look, I will just draw in the body, the heads first of these figures. Then I drop in the legs and everything else afterwards. It just helps so that I can get in the general sense of the crowd forming, the feeling like there's something missing on this side as well. So I'm going to drop in a figure walking cross the road there. Fantastic. So other than that, I'm quite happy with this drawing. You can just drop in a few squares and things like that. Again, for the Windows. Little bits of details here and there might even pick up, pick a line unlike a 0.8 liner, and look at things like thicker style windows, window frames here as well. Okay. A bit of shading under there. Okay. I think we're good to go with the drawing. 8. Chinatown Road Painting: Alright, it's time to add in a little bit of color now. And the first thing I really like to do is getting some colors for the buildings. And you've got orangey sort of colors. You've got a bit of burnt sienna light color in there as well. So I guess warmer colors that we can start adding in to begin with. And we've also got some of this milky ***** in here as well, which is basically due to the yes, the lightest, the lighter colored buildings. So instead of leaving it wide, I'm actually using a bit of buff titanium. And I'm going to just work my way in with very, very soft and diluted levels of orange and burnt sienna. So you move off into the distance here as well. You're going to notice a bit of this building as a yellowy color. So I can just pick up bit of yellow ochre, not using many vibrant colors in here at all. This year is a bit of cerulean blue. And I thought a little bit of blue would be nice in here just to contrast with all that warmth. So I'm keeping it pretty nice, sort of vibrancy colored here, just dropping a bit more of that, bit more of that milky color up the top, coming down further, bit more of this burnt sienna for the top part of the state. Hey, good. And of course, these buildings here in the background, I'm just going to pick up perhaps a bit of blue bluish color or just a double down color. Really like a dull dark color. I'm going to turn out to be great because it's just whatever is mixed into the palette, everything together. And just drop that in. I don't want that to stick out too much. And as we go over to that left-hand side, again, just picking up some warmer looking colors and dropping them in for these buildings. I'm not fast as to what exactly these colors are. But having a splash of coolness in it at times just helps to offset it. So you can see here I'm just dropping in a bit of like a cooler color. And actually this left-hand side is going to be cooler than the right hand side, right hand side, because we've got a lot of good, a lot of shadow coming in from the left. So it's looking good. I just mix this to come down to the foreground. Let's get into some of this yellow ocher into the ground as well. I'm going to keep it very sort of really bright and a little bit more vibrant as we get near to the ground. And notice how I'm blending that Washing from that top area as well. Letting it all flow downwards. Okay. Just letting it all flow downwards. Bits of that coming down, bits of this wash blending in as well. Okay. I can paint to the edges or you can just leave it like this and also be fine. Let's have a look. My go all the way to the edges actually, just since I'm almost there, drop in that color like that, good. Into the sky. What I wanna do is put in some blue, so I'll use a bit of lavender mixed in with the cerulean as well, good and lavender and Cerulean. And I'm going to use a pretty fixed lavender cerulean collage. Just want to make that sky a little bit thicker and more obvious. Normally I keep the sky very, very light. And even, you know, even if you mix up a very thick layer of cerulean, you find that it's not going to be enough anyway to get a dark color. But I do want to make the buildings just stand out a little bit more, which is why I'm just picking up heavier wash of cerulean. But even if you use cerulean straight from that palette, as I'm doing here, you'll notice the very light, okay? This drop that in. Just mixing this around and getting it to go in nicely. Okay, so to even it out a touch as well. Like that. Okay, Good. Fantastic. So what I'll do as well as muscle just getting a little bit of vibrance C4, these cabs, they have like a yellowy color to them and I'll just drop in a bit of a yellow in there for the cabs. Just trap that in nicely like that. And I can also just pick up some of the, the darker color on my palette and dropping the wind screen like a dark and down wind screen like this. Remember a lot of these calves are going to have shadows and things on them as well. Then what we can do here. You look at some wet and wet and dropping a bit of darker color on some parts of the buildings. So for example, I've got a bit of purple or something like that. So if I can grab it and purple and I'm just dropping a little bit of little bit of purple like that and the bottom parts of the building. So it just looks a little bit more interesting rather than, rather than it being that same color all the way through the walk. Now, the figures, why not just dropping some color for them as well? So here's a bit of a purplish color there for that one, there's a couple here. I'm just trying to get in a little bit of life, a little bit of interest. Okay. I'm dropping in a bit of color like this. If you've gone overboard, just lift off, touch a dry brush and just lift off paint and it will and it will come straight off. So a lot of this is just whatever I've got on the palette. Not fast. Okay, so that's it for the first wash. We'll give this a really quick dry. Okay, so that first wash is dried off now and what I want to do is work on some of the shadows, the details on the buildings. So I'm gonna be using the mop brush and also a small round brush and number four to six round brush. But the main thing I want to look at is getting in a nice shadow. And to do that, I'm going to pick up some kind of purplish sort of paint that I have here. There's some purplish paint, some mixing a bit of it up. This is called amethyst. Amethyst. And quite a bit of it here, it is probably about 50% water and 50 per cent paint, so it's thicker, certainly in the first wash, I'm kinda look at some of these areas. So for example here, I don't want to get in a large sort of shadow coming in from the left-hand side here. So I can just get that in on the ground as we can see here. I also wanted to leave in more of that yellow on the ground then is actually is actually in that reference photo. So I'm just a bit of that dot is here in the ground. And then we can just see a little bit of this come across like that. Okay, just these darker shadows on the ground. You only really have one chance to do this as well. So you got to make sure that you are confident with your brushstrokes. Put it in there, and just leave it. That can look at that just holding the end of the brush as well. And I'm letting the shadows merge with the figures here on the right as well, that these figures are gonna be kind of under a bit of shadow as well. Perhaps in their fur underneath those buildings, there's gonna be a bit of shadow. Just like that. As I'm moving to the foreground, I'm going to just add in a little bit more of this neutral tint color. Pick up some more of these grays here on the palette as well. Let's look at continuing this light pattern. More water. Just drawing that on. Good, good, good work here. I'm going to darken this up, touch as well in this section like that. But I really want to leave enough of that yellow here on the paper as well, so that we've got just enough of that light coming through without leaving these lighter bits in. You're not gonna be able to get in that beautiful sense of light. Though. Keep in mind, always keep that in mind. Of course, some of these cars are going to have shadows on them as well. So we need to merge these cars a bit. I'm just going to just put in a bit of color on the right-hand side of some of these cars. But I'm going to also leaving, leave out some of the other bits of the castle, for example, that left hand side of the car. I'll just leave some of that warmth in there as well. To contrast. Contrast with the cornice. Very light wash of hello there. The buildings here on the left as well, you're going to find that they will be a bit darker. So I'm going to just mix in some of these. It's really just a bit of brown mixed in with the purple to create another shadow shape here in the distance. And this is going to help indicate these dark without sort of buildings here and the distance here. Of course, this building here is a bit more. I'm more light on it here in the background. We move out to the back. You don't want to make things too dark. This building is slightly darker than me, but I'll get that one in this light wash. And really it's mostly just water with a bit of that purple in it. Okay. All these buildings here are really, certainly really light. So there's a lot of light hitting those buildings. So I don't want to mess with that too much. So I just want to make sure that this shadow pattern is in. Okay, That makes sense. If it's not dark enough, especially you got to make sure that you darken it to a level that you're satisfied. For example, here in the foreground, I just think a bit more darkness would be nice in here. So why not just add in a bit more while that paint is still wet, I think that's a good, good thing to do. Or you've got the opportunity. Fantastic mice pickup. Now, the little round brush, number, number six round brush. And I'm just mixing a bit of purple with a bit of neutral tint. I'm getting in are really trying to get in a really dark color for some of the areas, especially underneath, if you can see here some of these buildings. Okay. So they kinda cut around the fingers. Can you just the shades and that kinda thing. But just some of this darkness in here. To really again draw out the sense of light on the buildings, you need to add in darkness. It's just, it's a 100% necessary. I'm creating the largest contrast I can overhear by using the darkest tone that I can use, which is basically black. By mixing whatever I've got here in the pellet, which is basically a bit of purple and a bit of neutral came to a bit of black together. And to really draw out a sense of lights on this building. You can also use it as well to cut around shapes and things in there too. To draw out the figures. See here I'm just cutting around the shoulders of the figures. Okay? And it makes it look like they're negatively way. We are negatively painting those because by cutting around them. Okay, with really the darkest pigment that you've got. Often people are afraid to go too dark with their paintings. But I find that if you don't do this, what at the time, you don't get that beautiful contrast and sense of shadow and running through the scene. So you've even got the legs of the figures, which is, well, it helps to draw out a bit of those legs. For example, here. Here, for example, could just be legs of the figures coming downwards in here. And then the shadow of those legs on the ground like these running towards that back. That helps create a bit of consistent shadow. I suppose. We've got one here as well for this figure. Drawing the shadow up with the legs of that figure so that it just looks like they combined not only that, but we've got this little car here, for example. And the need that car getting in a dark line there to indicate the tires and it's in pieces. Okay. This is a windscreen of that bias. Often that distance as well, I've just obliterated that to get it in here as well. There might be a bit of darkness on that windscreen here, underneath that car, underneath this car here, there's certainly going to be a shadow connecting the wheels that the bumper bitter the right-hand side of that car as well like this. The legs of this figure here. Okay. So just as you can see, following that same shadow pattern, as you can see at the front. The stuff on the left would have almost dried already of the buildings. And this is where you can take the opportunity to again dark and around the cars. And by doing this, the cars will come out of the dark. And this figure here as well, by using this really dark color, mix up whatever dark color you have. And you can of course, some details, some of these buildings that touch as well, the lines are too sharp, just wet your brush and just soften those areas if it's just a bit much. We go a bit more like that. But the main objective here is just to cut around the cars or touch so that they will come out of this theme. Okay, Good, good. I'm also putting in things like Buddha here for the figures that helps to also what do you call it, sort of place where they're where they are. It's pretty loose at this point, so there's not a whole lot of detail. But you can see it's starting to take place and these little perspective lines as well then I'm just going to draw in B. Notice some of these lines running through the scene. This will start to make it look a bit more three dimensional. Normally that you can pick up a bit of white gouache and see if you can drop in a bit of this kind of opaque paint running through as well. And that also helps because it blends and melt into the melt into the ground area like this. So it doesn't look too obvious. It just could look like part of the on the ground. You can see just bits of this pedestrian crossing and markings on the roads, making it a bit more natural looking there for a particular reason. Okay. So it's all starting to really come together. At this point. We're just looking for areas that you might want to draw out more. For example, these windows. If you want to outline them with more accuracy or that kind of thing, you can also just drop them in. You can define the figures better. You can use some gouache for that too. So I always like to finish things off with a bit of gouache, a little bit of white gouache for the figures, especially in the shoulders to sort of bring them out and bring them out of the darkness. But as you can see, just these little splashes of color of the background. I guess just for the Windows, this darkness in areas helps to indicate little details in there without you having to do too much work at all. Just use the shape of that brush to dab as you can see and look at that. And you've got Windows, you've got Windows. You just got to pay more attention to the ones up front. But apart from that, the ones that were backer, pretty simple to do. You just use that again as shape of the brush as you can see, what I'm doing here. Why not put in some birds and then just dropping a few in the distance. Okay. Not good. Give it a quick dry. Alrighty. So a bit of gouache to finish this one off, I'm just going to use a small round brushes and number two round brush, number two or three, just a small run and pick out, picking up bit of wash is squeezed off the pallet and looking for some areas that might make for some good highlights. So here for example, the top of the head of this figure and then the shoulders like this. In the darkness here you can just indicate a bit of that to help bring out the figures. You're back of a figure like that. This one here. We lost the head, so I can just drop that in there and bit at the back here. Okay. Here as well. Yeah. Okay. As a figure here, there's one here as well. Okay. So these little highlights, their magical, which is bringing together the scene. And wherever you are. Perhaps a bit of light, suddenly you can just bring it back again. Just a little shearing there is just not to overdo it. Dropping a bit of cerulean. I like to use a bit of cerulean sometimes in the gouache to create a kind of a bluish or a guess, I guess another color, not the color just in the buildings. Bit of a dry brush technique. Suppose in some areas to, to create areas of interests, just splashes of color. Because we've got all this warmth in here and I think a little bit of, little bit of coolness off in the distance and in the background does help. Okay. Good. Okay, and we're finished. 9. Haji Lane: We're gonna be doing this interesting seeing here of Haji lane. And this is done in a portrait style orientation and a little bit different from the others. And main thing to remember with the portrait orientation is you need to flip your page apart from that, everything else, all the rules still apply in terms of drawing your different shapes, placing the horizon line, that kind of thing. The other thing I'd say you need to keep in mind is just making sure you're placing your objects, your areas of interests carefully as well. So this reference photo here, it's already placed. This building right in the back and the center of the page. But one of the things you can do is you can change the figures. You might be able to put your fingers just in little corners here with where we maybe imagining the page divided into thirds each way. And we're placing the figures are just some areas of interest. It could be a tree or something like that, just in those spots. And I find that's just a quick shortcut way of making things look a little bit more evenly dispersed, also draws a bit more attention to those areas. So let's go ahead and give this a go. And it's gonna be a quick one in terms of the drawing, we're going to grab a 0.5 pin. And I'm going to put in the horizon line, it's really quite close to the ground. So we've got the ground about here. We've got the horizon line, I'd say roughly about here. It's not even a horizon. That's just where the buildings disappear off into the ground. Okay, we've got a bunch of figures just walking through. You can put a few heads, those figures in here as well. Another thing you can do is look at their figures and try to put on a little bit more detail in terms of the clothing that they're wearing and stuff like that. So sometimes I do like to zoom into the reference photo. You can notice this lady here. She is wearing a large hat right there and she's looking in, peering into her bag or something like that. Here. I'm just going to draw this sort of dress coming down like this. Just a quick indication for the shoes like this. We've got a man with his head turned a little bit towards the left and he's wearing a little hat there. So I'm just going to put in a little detail like this. Okay. And put his shorts just putting some shorts there and legs like this can couple of couple of his shoes like that. So I'm putting the arms maybe just down the side there. Okay. We've also got a few figures here off in the distance, and I'd just like to simplify some of them down all the way off in the background. So there's really not a whole lot to sort of put in, in terms of details, but you can sort of get them in sort of walking through, walking away, that type of thing into the distance. Okay. Of course you remember this area is just where the bottom of that building is. I like to start putting in a little bit of this besides buildings. And we know we can see here this is kind of like a shade cloth or something running to the, to the n like that. We've got maybe another shade cloth here that just runs a little bit further lower like this. So I'm changing it up a little bit as well so that we've got just bringing these a bit closer. I suppose. You've also got some trees. I think this is going to be nice as well. Just to put in some of these trees, we're going to extend this one all the way up to the top like that. Let's get into some of these leaves just quickly indication of where that might be like this. You know, you've got some other sort of leaves and trees just running around the background like the suitcase and not a, not a huge deal, just something quick. And not only that, you might also have some trees and things running into the foreground as well. So I'm just having a look to see what we can do. For example, here, there looks to be a lady that's kind of just walking or standing over here, which you can just sort of putting in occasion of the figure there. There's all kinds of clothes and stuff like that here on a, on a bit of a rack. Looks like kind of like a rack of marketplace, like a makeshift marketplace, people looking through that kind of thing. So just a bit like that. The reason why I'm doing all this stuff here in the front burst is so that we can use, we can have this basically coming forward so they're not gonna put the building in afterwards. Okay. Another tree here, often the distance is smaller, one, wagon add in another one even here, just a smaller one again, off in the distance. And use it more as a sketch. Don't worry too much about the accuracy of this. You can see here there's an area of this building in the background here. So we've got. We've got a couple of these arches that are just running through the back like that. Look at that, just follow the little contours, little areas. Terms of the drawing, I might actually add another one there and that side. And look at the shapes as well in terms of the shape that's more of like we've got these arches, the semicircular sort of arches, and we've got almost this triangular like air and talk like that. Okay. Here in the fall, in the mid ground as well, we've got sort of rectangular shapes. In the front. We've got sign boards, all kinds of things. And when you're sketching in real life, you really have such a limited time to get in all these details. And so when you give yourself a time limit and you try to do it a little bit faster than you, then you sketch, normally, you find that you will automatically gravitate towards, I guess, getting an impression of the entire scene, not worrying too much about all the little details. So I'm gonna go ahead and let's get into some more of these little trees. I know we've got one coming up around here somewhere in the distance. Again, just sort of indications of these palm trees here. There's another one here coming down. Not only that, but we have a really big one over here as well, which I can start drawing in quickly like this. And you can see just the leaves just come out in opposite directions, just like that. Okay? But importantly, coming through them at these buildings. So I can start by sketching in a little bit of these buildings. And of course we've got these little, what you call them, these little shades as well. Just jot out the side of the buildings and I find these are fantastic. Just indicates some darkness, especially underneath the buildings as tables and all kinds of bits and pieces running over here. One thing I wanted to just add in is a larger figure. That's getting a larger figure here, front and I'll use a thicker pen, 0.8 Penn. Get a larger figure, just kind of walking into the scene. Walking through the scene. We do have a couple of those figures I drew earlier. It was quite rough as well. That doesn't matter. We've got a couple in there. We might have another one just, just sort of standing up. Maybe these two are talking, for instance, you know, having a variety of figures we, you know, in different different areas and also close and further away from the camera really helps as well. Okay. I thought I'd put in another one here. Why not just getting another one here on the side? I'm standing over there. Okay. And let's go and start with this building in the background. I'm going to top of it here. And it's actually a mosque and I'm going to put in area on top of interest over here. So like a round, the area where it finishes off, the squarish side of it sort of finishes off in front. So there are a few of these sort of windows like this. And here as well. And looks like, let's have a look here. There's more bits and pieces on the side. This is all going to be white, so there's not much detail we need to add in there rather than just cut around it. There is a pylon here just sort of going up minarets. I think. That just again just has a little point there. Quick little point like that. Often the distance and I'm going to stop putting in the dome up the top now. Kind of like this just to kinda like a circular shape at the top there. And some of the little details as well. Now, again, we don't need to we don't need to think too much about what we're adding in here. Just need to look at the basic shapes of what we're trying to create. Okay? So that's kind of like a square shape and assuming this would be the side of the building is going to be more of like a kind of a rectangular squarish shape off in the distance. So a very simple sketch, but when you have something like 1015 minutes to sketch, and that's just enough time for you to get something like this. So let's go ahead and get in some color. Here. I'm going to be using firstly, little bit of burnt orange. Also. A bit of yellow. Just pick out a bit more of that orange. Okay, because I want to get trying to just get this sense of a golden color on the roof of this, just the dome up the top here. So something like that. I think that replicates it fairly well. Maybe with a bit of something at the bottom, just a bit of shadow or whatever. It'd be too wet and wet color there. Okay. Why not? Something like that? And of course, in the buildings There's not a whole lot left to do in here. It's just, I can pick out bits and pieces, for example, just like that. That sometimes if you've got a thinner brush as well, it helps. I don't want to fiddle around with too many different brushes at this stage. I just want to see how I can get it in, in the most minimal sort of way. And you can see even near the windows as well, that there are areas of just this sort of yellowish color in some spots. On the top here. It's kinda warms up again, the back-end of the building, there's a bit of coloring there. Okay. But apart from that, there's not that much. It's mostly just white in there. I'm picking up a bit of green. This is just some undersea green, which is just a really and really lovely granulating green, which are mixing with a bit of yellow. Because I want to get in some water, some of lighter greens as well. This is about the only way I'm going to be able to do it. Mix that in here as well for the tops of these trees. Why not just get a dab of this color in there as well? Okay. Like that. We can do the other ones to just drop that in. Okay. I'm purposely trying to look at the easiest way to do this and using this few brush strokes as possible. And a bit, a bit of green here at the bottom as well. You might get a bit running through the base there. Okay, Fantastic. Let's have a look at maybe some brown or something like that for the tree trunks and they're pretty dark. But I'll just drop in a bit while I'm here. So I just want them to blend a bit with the, with the leaves. So there we go. There's another one, there's another one there. Another one here. Another one here. Okay. What kind of going downwards? Fantastic. You're going to also remember where the light source is and it's coming straight from above release that there's not a whole lot to think about. But I can start doing is looking at getting in some nice little colors for these shades and things here on the right-hand side. So I've got put it in a bit of pink here, a bit of orange in there, and we can drop in some purple at the base as well. Okay. I'm just replicate some of that over on this side as well. A little bit of pink, maybe a bit of burnt sienna or brown up here as well. It's just drop that in. Let's have a bit more, little bit more pink perhaps in some of these spots to just to change it up a bit like that, maybe putting a bit of purple as well. So these buildings have just a touch of interest and coloring them. Something like that. What I'm gonna do now is just go into the ground. Let's put in some warmer color. I'm just going to pick up a little bit of a yellow. This is basically some Buff Titanium mixed in with a bit of yellow ochre. Just drop that in like that. One isn't really light. Mix here at the base and cutting around the figures as well. That said, soften that down. This removes all the way down the page. Just carried a carry it through and just one wash. I'm not going to bother about making it dark or anything like that near the front. And add. What we'll do is also on the sky, we're going to start putting in a bit of color. I'm going to actually use some turquoise color for the sky over here. So it's just a nice little turquoise see coloring. And you'll find also that it will actually blend with some areas that are still wet. So for example, the trees and stuff. So if you've left a bit of a bit of wetness on the trees they haven't dried yet or what have you. You find that just by letting it and mix a little bit, it actually works completely fine. So don't worry too much about cutting around and things mixing. Just let it do what it needs to do. And you find in the end it will work out. But obviously just try to avoid going into some of these areas too much. You see I left a bit of white here, cut around the leaves and add a bit of white. And in some areas I just let it go through and do its thing. So having those kind of Lost and Found edges, top part of the dome has already dried off, so I'm not getting that effect, but it's more. The tree leaves. Heirs of the buildings which are still wet from the previous wash that I added in before. Okay. So I'm just going to carry this through just a light wash of turquoise, turquoise color for the sky. Just bring this down. Okay. There we are. So it's really cool getting there. Certainly getting there. I'm gonna give this a quick dry in just a moment. But before we do, I'll actually start putting in a little color for the figures. It's a good, it's good to do this at this stage because obviously a lot of this area is still wet and if we can get a bit of mixing and softness in here, it's always going to look better. We do it this way. We'll get a darker figure here. On the left are some more darker figures here. And here as well, you notice, look at all these color for these clones and things like that. And I like to rather indicate this indicate what's going in here rather than stating exactly what's in that area. So just a bit of color like that. Does the trick for me. I know the little bit of these little lines, these perspective lines as well on the ground just leading into the, into the distances is good. So I'll give this a quick dry. Okay, this is all completely dried now. And the final step of this painting is just putting in some small details that just basically draw out the shadows. And B, the contrast, a little bit of details in the figures. So I'm gonna be using some leftover paint here on the palette. I'm going a bit of brown and I'm going to mix that with a bit of blue just over here. So I've got a kind of a general grayish or darker color. One of the things I need to do also is just to make sure that we've got some really dark areas here. The distance, for example, these areas of the windows, they're pretty dark. It's just underneath the arches and not actually windows. So some of those areas under the arch is there, not only that, but also in the windows up the top here you're going to get a little bit of darkness in there. And this one I'm doing here with the brushes are very, very basic. But it adds a touch of interests in here. Okay? Underneath here as well, you're gonna get a bit of darkness. So just looking at the scene and picking out some middle highlights that you might want to add on. This little minarets actually darker. Go back into that later. Just having a look. For example, underneath here, shapes, There's, It's a lot darker under there. So we're putting in all the final finishing touches, really old figures. You're going to find that there is a kind of a shadow here on the ground that we might be able to add in. So I just make it going towards the right so that there's some larger shadow shape of that shadow shape going towards the right. Sometimes you can just add a bit of color into the figure as well and draw that, that shadow shape all the way up into the figure. This out. These two here in the foreground is this figure here as well, just getting those legs in, getting that shadow run towards the right like this. Right? And of course underneath the figures, you're gonna get the shades over here. You're gonna get some darkness. So I will just add in a bit of this, a little bit of color on there here. Cut around that beautiful color that's already there. Sort of a good opportunity as well to draw out some of these figures a bit better. It's kind of a, using some negative painting like that. You might want, I'm getting a bit more of that tree, just a bit bit of extra darkness in that tree, for example, like this. Okay, there we go. Just like that. Let's put in a bit of, I'm going to put in a bit of pink into the faces of these figures. It's just a bit of red. Just a bit of red mixed in with white. Just adding in touch of color in there. And that's just more to signify that signify that these are people because I have not really detailed them as much. So this is just something quick that you can add on. And I think, especially for the ones in the foreground here, a little bit more indication is going to be helpful. We'll drop in a bit for their hair as well while I'm in this section, just a bit of darker paint. Just a little bit of dark paint doesn't matter what it is, but just something like that as well, that's going to help. This can be longer hair of this lady. This can be someone with longer hair as well here in just a bit on top for that person. Okay. Good. Finish this off. I will just add on some little white highlights and we'd be leftover quash that I have here in the palette. I'm just going to mix in a bit of yellow with white gouache so that it's not too strong. And I'm just going to add it in like this. Over the top. Heads and shoulders are some of the figures here. It's really just the finishing touch. It's not anything to focus on too much, but it helps to indicate the light source coming, coming towards from the left, sorry. And just kinda give the fingers a little bit of an outline as well, especially if we've lost some of the detail around them and that sort of thing. A tiny bit of gouache like this can make all the difference. Okay? Someone just standing there. Here is well, not only that and you can even go back into the buildings and stuff like that and just dab, dab a little bit of color in there. Sometimes I like to pick up a bit of bluish bluish paint as well and just add that in. If we've got a cerulean or something like that. I'm just, just to get a bit of coolness sometimes into the buildings. Given that we've got a lot of warm colors in those buildings, can pay to change it up a bit. I'm good. This building actually has a lot of detail on it and I don't want to get it all in, but some of this line work on a building can help to indicate some details that aren't really there. 10. Peranakan Place Drawing: We're going to have a go at this scene now. And this is a scene actually Orchard Road. It's an area called apparent not going place. And it's actually an old shop front, pretty classical Southeast Asian shop front on the right. And you can see it's like a double, double story area of shock. France goes all the way into the distance, through this alleyway and over into the distance. And you can see there's a nice light pattern coming from the left-hand side of the light coming from the left hitting the buildings, the roofs, and causing some shadows to the right-hand side. So quite interested to give this one a go. And what we're gonna do is basically just go through, do the sketch. I'm going to go through how to draw and how to reduce down all the shapes into simple, a simple sort of drawing and simple shapes. And we'll go from there. So I've got a sketchbook here. I'm going to draw straight into the sketch book and got a few pens. I'm going to 0.50.2, nearly as long as you've got a 0.5 liner, you should be fine. I'm mainly going to be used. The 0.5 also got some flat liners which I'll go through a little bit later than not too necessary, but it just allows me to get into a darker area a lot quicker. Like those door underneath the door frame somewhere, It's pretty dark. And have you go through those a little bit later? I've got a 0.6. What else do we have here? We've also put a three here as well. So I think what we'll do is we'll actually just go through probably the 0.3 or 0.5. I'm either these are fine for the main areas of the drawing. I think I'll start with 0.31 just because it's got a lighter touch to it. Okay? Now what I wanna do first is I just want to get into a bit of the air of the roads such as starting off here, holding the pen near the edge. And I'll just get in a line running across like that just to put a little section of the road. Of course, you've got a car shape here and I always like to simplify down car shapes into sort of boxy looking, boxy looking shapes. So for instance, we can already start putting in this car. We know that roughly it starts around just to the right of the middle area of the page. So we can maybe go here. We can see where the curve is roughly here. So I can start putting in the back of the car and I'll simplify it down. Just a square like shape. This, you can see it coming out there. Then we can get in a bit of the wheel here, simplified sort of round shape for the wheel. We've got in the windscreen here for the back of the car, side of it running like this, like this, coming downwards like that. Okay. And then we've got this bit next to the wheel running towards the right. Again, the wheel at the France, and again, just having a look at the structures of the vehicle. So we've got the the windows over here. So we want to make sure that the second wheel is just in front of this window here. This window of the sides, so kinda around here. Okay, so just a round shape like that. And then of course, we've got the bumper around about here. Yeah. Rounded off, touch in the front of the car. So there we go. Just a quick little sketch of that car. Of course we have another one here in the distance just from France or minus, I'll just get this one in as well. Similar sort of structure like this. Windscreen sort of going up, curving over. This one goes out of the scene so can't really see the entire car as well, but it does overlap and overlapping shapes always makes them more interesting sketch. So let's go through that one bit of the window there as well. In other window there. Part of that car. So of course, really simple to begin with, but I just wanted to get in basic indication of those cars. I always like to wear possible draw the shapes in front first. And you can also do the same thing with figures, so a little bit early, but you can start, for example, putting in a figure here. It's going to be a person just walking into the scene like that. Just make the legs make sure that the legs around the same as where the wheels are, the tires are around here just to make it look like they're in the same area. Someone kinda just walking in and looks like they're walking in into the scene like that. There could also be walking towards us. But at this point that I'm trying to make it look like they're walking in because that leg is a little bit shorter. It's just perhaps going up a little bit. We've got another figure, a couple of figures here. They could just be walking on the footpath. Couple of people just walk in here into the distance. You occasionally see a couple here just hanging around behind those cars. Okay. Pretty simple. Now, what we wanna do is we want to look at the most simple shapes possible. Again, we've got all these buildings. And I like to think how can I make this? I'm going to draw them in the most easiest way. Now. I reckon I'll start with this building to the right, either that or the left-hand side. Change my mind. I'm gonna go with the ones on the left actually. And we'll go finish it off roughly about here. Okay. We know that's where it goes off into that alleyway. So the alleyway is roughly here. We've got a bit of space between the car and that large building. Now I just want to go up make sure as well that we end the top of the building. I'm just going to put in the top of the building here. Not only that, but there's a little rooftop here, this orangey sort of rooftop like this as a selection like that. And at this point, you're really just drafting in the details, okay, So we're not really we're not really putting anything in set in stone. We just want to make sure that we've got the different sides of the buildings. And then you can see here there's one side of the building. Then you've got this side here, which is really the front of the building, the little walkway at the door that just sort of starts here. You've got the side is kinda separated into two. As you can see, it's kind of companies pillars going up. Again. I don't want to draw all the pillars in exact details or proportions. I just want to get in a quick indication just like that. Okay. You can see that roughly resembles a pillar like that. Then you can see that it just slices and half the building rapidly. Here. Another pillar running downwards like this. Let's get another one down like this. Okay, here. Here as well. There we go. And I can just start working on the new structures here underneath the rooftop. We have already the pillars that we can then start to place in this doorway. It's actually further up, somewhere like that. Part of that pillow comes inwards, but we can of course just simplify that down. There's a pillar like that. This one's kinda just hidden behind somewhere there. We've even got to a person like walking through a door, doorway somewhere like that, put a bit of an indication like that in information sign here. I mean, it's just got a little eye there, but we don't have to put that in. I can just put that as a red highlight there later on. Okay, so going in this half semicircle shape there, and then we've got a couple of these uncoupled but just like a window and then we've got the shutters as well. So just join a bit of that. And it's actually the window here and then I'll shut up, runs a bit to the right. Okay. It's important here to imply as well, I don't want to give the drawing too much emphasis because we remember we've still of course got the watercolors to go into. Later on. The rooftop has a white section here that I just continue adding in, kinda joins onto the rooftop like that. Sticks out the top. There. We go. Just a bit of that rooftop in the distance. Of course we have this more modern building in the background and I purposely, we'll simplify that down. I really don't want to add to much detail there at, for that building and the distance, but I will add in maybe a couple of lines here just to indicate the, the perspective of the building. Like that. I want to focus more on these buildings here in the front. They look more interesting to me. There's a bit of a rooftop here. And you will notice in some of these Booleans and simple, they will just preserve buildings. So the heritage listed buildings, and so they really stick out when you compare them to the other city buildings. You've got these more modernized skyscrapers and larger buildings with air conditioning ducts all over the place. But then you've got mixed into those, these, these older buildings, which I think are quite, quite interesting. So let's go ahead and put in this roof where we've really got that in. And that's a bit of the darker sort of area of this little rooftop or what have you learned? Another line here. This is like they've been converted. It's being converted into a visitor's center actually, just around here. I'm not gonna I'm not gonna put in the names of the buildings or anything like that. I wouldn't bother with that. Main thing is I just want to make sure that we've got a nice, strong indication of light and dark. Okay, so we focus on just getting in the line work. First, we will be okay. Of course, while I'm here, I would keep trying to add in some more figures, bit of extra details. Sometimes you draw the figures in and you realize they're not quite the right proportion. So you can restate the figures. Just simply go over the top of them and go over the top of them. And you'll be fine. The way that we get them to overlap as well adds a lot of interests to the scene. For example, that figure that it looks a little bit funny of the leg. The legs are probably too short. That's okay. We can probably change that up later. It doesn't make too much of a difference. But if you do want to restate it, just make sure you just draw over the top. Don't scribble, don't scratch over any areas, just restate it and then leave it. Sometimes it's even better to just leave it. Leave it untouched and set that set how it looks. Okay? The more you go over an area and pen, more. The more that little imperfection or I guess mistake you could call it stick out. So this is the side of the building and of course there are some windows and some areas there on the side that I'd like to just draw in a bit in there. I'm going to start working on these buildings to the right and just a moment. But before that happens, I'm going to just go along with some of these shop front area like here. More detailing, tiny bit more detailing. More of this pillar here at the base as well. There. What else have we got? I mean, it's really just a lot of darkness inside here. There's some kind of square area here. Could be a painting, this could be a feature on the wall. This could be a plant or something there. It doesn't really matter. Okay. They just shapes. They're not a, a more normal feature of this scene. The buildings are important, but I don't want to make them too detailed. Just go across It's putting this area of the building. There's some vertical lines running down which like this, you can see the kind of just part of the sarah of the roof of the building. I mean, not only that, you've got some little scratchy lines that you can indicate here as well. For the rooftops. Got two windows here, I've been avoiding these, but we're going to just two semicircular shapes. You can see looking at those two semicircular shapes, finding patterns in just the findings shapes rather than looking at as window. You've got this area of the window which is like a rectangle. You can see there's a little area here in the center. There's these little, when you call them shutters. This shutter here is kind of opened the literal and coming upwards like this. So I can just indicate a bit of that. And then you've got the lines a bit at an angle like this. That window appears more open, of course, there. And then I can just draw this one in, which is just completely flat, completely straight, like this. K. That's looking pretty good so far. So a few more quick bits and pieces running through here you can see actually some little pillars and ornamental features on the buildings that you can draw in if you'd like. I'm not going to state them too much, something like that. I think that building looks okay for now. I'm going to work on this building here to the right-hand side. So I'm going to place the front part of the building. So the equivalent of that just through this car. So we can maybe get the pillow running upwards like this. And we want to end it roughly. Roughly here. Okay. And just having a look at where it might end, the top of the building roughly hits just underneath the roof top here. Okay. Of course, we can change it around as well. Okay. It goes upwards into an angle like that down here. Now we're just placing it to get a general shape again. So don't feel like you have to get in the exact proportions straightaway this area here, which is like a roof, a cover for a sharp or something like that here is drawing that in. We've got sidewards here. This side would air. And not only that, we've got some figures off in the distance, just walking up. Walking up this area. Maybe just hang out and chat here. Great. And I'll just start moving this down. It's the side part of this building. And there we go. We've got kind of like this side ideas of these buildings and separate them out. And you've got the, you can see here the little separations of these buildings and I'm not counting them exactly to see how many there are. I'm probably sure there's about four to five. Looks like there's five in there. But it doesn't really matter. I just want to get in a quick education side of it. You can see the railing of the buildings here as well. Okay. The front part of this building, there's actually there's probably a window here and there's a banner covering that window like an advertisement. I don't like that, so I'm gonna get rid of that banner actually. And I'll copy and paste over one of these windows, so forth. So I'll just draw, drawing them first. So here's one semicircle. Again, semicircle. Yeah, we've got this rectangular bit there. Let's do the same here. Little rectangular section there. I'll do the same thing here. Just get that semicircle and rectangular section like this. Then we can just put in some of these, some of these others quickly. I've got them in just scribbling in a few quick things like that. And then we can, of course, look at the door area down below somewhere like this. You can speed up the frame of the door there. There, there's another larger door coming all the way across. And this will form a really good negative shape with the car is actually, I'm thinking to change the shadow pattern and Lidl. And the shadow pattern just looks a bit too disruptive, especially with this building. I might get in a bit of it, but then still have highlights on the buildings. Maybe just a softer shadow with bits of whites still left on the building. Whereas in the reference it looks like the entire buildings almost being covered by that shadow. I don't like that. So changing around that shadow pattern will be, will be fantastic. There is a pole or something here. I know whether I'm wanna get that in or not. I may actually emit that. Okay. But before, before we do all that, let's just start working a bit onto all these background houses, okay, we can see just a few more than that distance and they just interact together and go towards this building to the left. Okay. Pointed tops. Just trying to visualize a bit better the edges of them like that, just trying to get that slither of rooftop in their overlapping rooftops shapes. And I think because this so far in the distance, we don't need to draw them in with a whole lot of detail. But having them just on the right angle, I think is important. Something like this. If that knee angle, I'm good, I just get another one maybe coming up interacting with this building that simplify that down. This can be another, we've topped the one cutting through a lot of this. I'm just observing the shapes and making it up. Then we can just start separating out maybe some of the buildings here in the distance. Like this. Yeah. Yeah. I'm separate out those buildings off in the distance. And the shops also have, again, this kind of two-storey sort of pattern. This you can separate out some of the buildings into half like that, like that. Of course, you've got some of the windows and things in there too. Let's have a look. Let's start putting in some of these background buildings and I don't want to again emphasize them too much. They're the kind of newer type of buildings. So I'm just going to go in like this and work on getting into shapes. The top side of those shapes, just looking at them. That's like a I don't know what that is. It's just the shape of that building at the top. They were just rectangular shapes. I mean, this one here especially is a rectangle, so we can just get that side or that side of it here. There's another rectangular shape that just goes up like that, interacts with that one. There. They don't have to be too accurate. And again, they are often the distance. Let's have a look and also the illuminated by light. Well, actually, I've actually drawn them a little bit higher than what they are in the reference, but that's okay. Go and just continue on. Like this. Bring this one down, then we'll taper it off. Somewhere around here. Yeah. Just taper that off so that it finishes. Pretty much. Yeah. It doesn't go too far off into the distance that what do we got here? This is again, another part of this building that okay, So we've almost got the entire drawing in. Really the, what we wanna do now is just think about what else we want to put into the drawing. Anything, any extra details, anything want to change around? I mean, for example, I might think, hey, let's put in a, within a person here. The person standing in the middle of the road or something, another person here just walking in the distance like that. We could have a few little people off here all the way out in the back to indicate scale and a sense of perspective. And we've got this larger figure here in the foreground, which I'm quite pleased with. I don't really want to touch that one. Another thing you can do is also look at during a larger figure, maybe even closer than that other one, and pick up a pen that's a little bit thicker, maybe 0.6. Okay. Normally I tried to draw them first, but in these last minute decisions, this is the only thing you can do. I can get in a figure here that just, for example, it's just a little bit closer than the other, than the other one walking into the scene. You might look around and think that figure, it looks a bit funny now maybe we need another one, okay, another one here. So why not? Let's put in another figure here. Maybe this one is just standing, standing by the side like this. The head sort of turned towards the right. And there could be shirt or something like that just sort of standing there and I'll cut off the legs so that it doesn't interfere too much. The same. Of course, we've got this larger car here. I'm going to use a thicker line. A thicker line is help to push objects closer into the foreground. So sometimes I like using this technique too. More depth. So this car of course is closer. I want to indicate that it's closer. Look at the extra details here as well. I can just hatch with a bit of a few little downward strokes like that. Hatch away like this. Now that we've got part of the wheel here, these wheels or I've had drawn them in before, but not with too much details so I can reshape them. Adding a little more a little bit more detail like this. Okay. Restate that rooftop like this as well. Bring that all the way down here. By darkening this whole area of the car. You see that it actually starts to bring it forward. Which is really important because we've got all these buildings in the background which I've used one particular pen width. But having a combination of these thicker lines, combined with the darker, thinner lines just adds to the overall believability of the same perspective. Here's a bit of the computer though, the window up to you, whether you want to actually go this far, not to detail the car, which he called the mirror. The car also has a bunch of things here. You've got the door the door here as well, which comes down like that. Again, it's up to you, it's up to you. There's infinite amount of detail that you could continually add in. You can continue the Adyen, but you've got to at some point stop and That's that's enough. Okay. Good. Let's have a look at using another pen now. So I think you mentioned before that I have some flat dark aligners that I like to use. I've got these three here that are a little bit darker, a little bit flatter. I mean, like this one here, it's almost like a bullet tip or a bullet tip marker, but like a flat tipped marker. And what that does is that it allows you to do this sort of thing. We can color in large section like this. I'm getting extra contrast into that area. If you cut around that car, it does help. It makes it stick out, makes it makes it look more. Sort of pops out a bit better. And you can do it here as well with the figures just cut around those figures like that. Notice that I'm not coloring in the whole areas were on kind of just leaving some bits and pieces of white in there too so that it doesn't look all two. Doesn't look too dark and the same color in there. Something like that. That could be a polar or what have you. So we kind of just finding bits and pieces. Several Look, I've got two other ones that I can grab out as well. I've got this smaller two millimeter one. I think this one is a three millimeter, two millimeter. So they're just different sized, different sized nibs really. On top of this window, you've got these patterns as well of the just all these little patterns like oval shapes. I think that I've realized, I've not put in some section here of the the pillar and not only that, the railing on top of that building. So just drop that in. Sometimes the quicker you do it the better. I don't know why, but you can do it too slowly. And you make them look very perfect and you've got to make all the other ones look perfect as well. I'd rather end up with a loose impression rather than sit here for many hours trying to get every little window and everything incorrect as long as they're in the general. But that that you want them to be in the buildings, got two floors, you're completely fine. So even for these windows, I am going to simplify them down and I want to draw everything in for those windows. It's just too much, That's simply just too much in there. By simplifying those details as well. What happens is that you end up creating, end up creating more focus in the foreground. These buildings here. I'm putting in a few downward strokes like this, just to indicate the shadow pattern on those buildings. You don't have to do this. You can do it in watercolors. I'm just doing it to remind myself later too dark in that area to keep the other bits. Like to preserve that light in there. Again, here we got more of these windows. Just, just draw a few little rectangular shapes like that. That's all we need. Just a few rectangular shapes on more here. Even downward, downward lines like that. Completely fine, little downward lines. They create. I'm window like shapes. Window like shapes. Of course in the base as well. This is where we were thinking. There's a bit of darkness there. And we can use this liner again just to cut around. Add a bit of darkness in their lives. They use a small bit of darkness in their head around these figures and make it look like there is a bit of darkness to that bottom error that shop front gotten to getting some of the windows here for this building. So we'll do that. Okay. We've got to get in some of these darkness as well. I just thought I'll just indicate a bit like that, not only there but also inside the Windows like that. Darkness and the entire car stopped, just bits and pieces like this. You can see there's actually reflections on some areas of the car. There, the wheels and even like here in the lights and stuff like that. But be sure to preserve a good amount of the light on the car as well. We don't want to just eliminate all of it. This is the section that I was thinking of changing. I might leave that actually lighter and get that shadow pattern perhaps to a bit more to the right-hand side, right? Right front, but not covering that car. I do like, I do want this car to be lighter. And the reason being is I'm hoping that will actually create a bit more contrast with the background as well. So of course here there's a slight bit of light on that side, but I can just indicate again, just under this darkness here. Draw out the shape of that car. This helps certainly helps to leave in white and also just to get in a little bit of darkness behind and it shapes their car. You're drawing something by drawing around it. Similar to negative painting. It's the same thing when you're creating a negative shape. Being a negative shaped through this car. Of course, on the ground, we do have some little shadows of the card. I put in a bit of it like this, put it in a little bit there. I want to leave more light under that car as well, just something like this. And then we'll get in a bit of that light pattern running towards the front like this, something like this. I'll do the same for this car there. Because I want to create a bit more just want to create a bit more lights in there. That little sliver of light underneath the car. Hope with that, of course here we've got the figures and we can do the same thing for the figure, is just start drawing a bit of this darkness on the ground. And we can see already things are beginning to take form. Another thing with the trousers and things at these figures, you can color some of the trousers and darker. You can leave some of the trousers in lighter as well. So that just makes it look like they're not all the same. Again, the shadow you can see is kinda coming off on a slight angle similar to that car. Okay. But you want the shadow is running roughly in the same direction. So I'm just going to extend that shadow of the car bit more, perhaps this one as well, like that. Don't be afraid to create these broken shadows as well. When I say broken shadows, I mean, like if you're doing this one for instance, you're not coloring in the whole thing. You just kind of leaving part of it broken edge like that. This one's coming through that figure. And the darkness here you can see draws out the light. Sort of trousers of that figure there. Here too. You can have a darker trouser figure wearing some dark trousers in the background. There. Then it brings to attention this figure in the foreground here. This one here is a bit awkward at standing too close to the front, but I'll get the shadow in there. They're starting to come together slowly, but it's slowly starting to come together. And I'll just draw around this side here like that. Again, this is just darkening that area, cutting around the head of that figure there underneath this building as well. I might want to just start adding in a bit of extra darkness. This, again, this is a really good technique to bring out these figures. That a couple of these figures that are just walking around below. We've got this area of this building as well, which is darker. I don't want to color too much of it in just yet. We'll leave that to later, but some little bits and pieces in here will be will be fine. The shadow on that building. I do want that to be dark, but I don't want it to be as dark as this pen that I'm using right now, it's just a bit. It's a bit too much. Okay. Here we go. I can just use this dark area had around that figure. Another, another bit here that we can draw out these figures. So I'm fairly happy with this drawing now. I'm gonna go in and get in the paint. 11. Peranakan Place Painting: Okay, so we'll go ahead and start on the painting. Now. I'm gonna be using some smaller mop brushes. And I've got these two here. Essentially just choose a mop brush that is large enough to get in a larger color and pick up a lot of paint, but still allow you to cut around features. I think I'll actually go with this really small on here. This is a ten slash 0 brush. And I'm gonna go ahead and put in some of the colors that I want on these buildings. And I want them to really have a nice light color to them. And in-person, these buildings are actually quite lot there, almost a white color in areas. So I'm going to try to preserve as much as that as possible. And as you can see, I'm just making, picking up bit of orangey color mixed with a bit of this pale white colors is called buff titanium, bit of buff titanium. And also start putting a bidding for the background. Background Buildings two. Okay, I'll make the background a bit lighter as well. Hey, there's someone is actually a little darker here on the right-hand side. Don't be afraid to use wet and wet paint as much as you can have love using wet and wet because it just saves so much time. And not only that, you can create some really amazing kind of main sort of blending effects. So just picking this white straight off the pallet, dropping that in and not being afraid of really whether it mixes in with each other. They want to keep in mind the big picture. And the big picture here is whether whether an area is cool or whether it's worn. Okay, So we are using warm colors because it sounds kind of sunlight sort of color. And the other thing we want to keep in mind is how light and dark areas. So you don't need to really hyper fixate on the exact color really at all. You just got to make sure that you've got either a cool or warm color in there. Very cool or warm color. Here. It's actually a little bit cooler. So you can see because it's in shadow. We don't have to worry about that too much just yet. The reason why is because that area we'll go over later again with the sort of shadow color. I made that slightly cooler. We've got these orange soda rooftops here. Let's go ahead. I've got some of this quinacridone, burnt orange, love this color. Drop that in like this on the rooftops. Light orange color. I don't want to overdo it. And you can leave some of that white on there as well. That white little buildings and stuff in the background. They're quite dark in some of these spots like here, in here. So that was the area that I've marked out with pin little bit before just hatched in those areas so I can just color those in like that. A little bit like that. Um, I will just leave the other part of the building to be white. Let's go ahead and do this one. A little bit more white in here. But again, I don't like to make everything completely white. It completely one-color. That's why I drop in different shades of colors in here, different variations. And through these variations. And they just mixed together in something. Something amazing just starts to happen. You gotta let it. You're going to let it mix together, do its own thing. Because the moment you try to control everything, you lose that spontaneity and the beautiful, beautiful sort of mixes that you get with, with letting the wet and wet watercolors mix and combine on their own. So always good to remind myself whenever I start getting too precious about how something looks, the exact color or my brushstrokes, I'm being too thinking too much about the exact color that I'm coloring in the pudding, the buildings in always within loosen up my brush stroke straight after. So what I'm doing, as long as it's a warm color and leaving some in, some of these white bits in here as well. These white bits are so important. There's a little bit darker underneath there. No big deal. Rooftop here again is a kind of orangey color, so we'll just pick up that same orange, drop that in here. Orangey color like that is actually a bit of white in the roof which I won't touch. Let's go in. I've got a bit of this cerulean blue here, but I'll actually mixing a bit of this ultramarine for the building here in the background. Again, just leaving in some of that what you call it. The white on the paper, blue there. As we come down here, what we're going to find is again, this kind of ground area is gonna be pretty light. And I'm mixing some yellow with a little bit of yellow and a little bit of this white, buff, titanium white. And I want to get a very milky light, yellow slash, milky wash running through the ground. Don't, don't want to make it dark at all. Because in order to create the illusion of light, we need to make sure that we keep this area of the foreground as light as we can. We can go straight to the edges. I mean, I've gotten even some pink or something in here, but it doesn't matter. The predominant color that I'm using here is just basically yellow. Okay. We can even leave part of that car because that car is actually white. So why not? We can just leave that white. Now even with this car here. And we could do something like adding a bit of, I've got a bit of lavender color. So I can just drop in a bit of that lavender color like this. Just to, just to create a different color here. And of course, in the distance in the sky here, I'm just going to pick up some cerulean blue, blue sky color. But it's also represented in this reference. Very light just going through. And building hasn't even dried yet, but it doesn't matter. Just go through, just mix it all together. Light wash of color. This contrasted with the white, especially of these buildings here, create these negative shapes of the buildings. I don't know if that white is a bit too overpowering and we can always go through afterwards and soften it down with a bit of yellow. But just putting this blue first and let it dry and we'll see the what I think it's looking. Okay. Just adding a dab of this. White is some of the areas. It just looks too, too stark in some parts, so I'll just do that. A little bit of white, white in there. Okay. So we're almost done with this first wash. We've got one more wash lift due perhaps to add in a few more details. But one thing I like doing as well is starting to put some little color bits of color for the figures. So we might think for this one here, I want a bit of light blue for this figure. So it's dropping a bit of light blue. That person, we can put it in a bit of red. So this is just read that I found on the palette, something like that. And keep it very light as well. Because remember these figures are still in direct sunlight. Okay, so I can put in a bit there. I want to alternate between cool and warm colors. So this one is kind of like a greenish color. As long as you've got lighter colors in here, you're going to be fine. I just want to put in that. Sometimes you also have figures that are dressed like in, in darker, really dark clothing, for example. I don't think that's a good example, but we can perhaps pick up a darker paint and just drop it in for that one. Let's have a look. This one here. Little bit darker. Just to create some variation. In the back, I'm just going to leave. It can be leaving completely white as well. And again, these darker figures here in the background also help to draw out a bit of detail in the car. I'm going to just dark in that part of the building and touch as well. Here. Let's have a look at a color for this one. Color in there. Okay? So I think what we'll start doing now is I want to start adding in some little shadows on the buildings just some quick. Spontaneously with shadows, softer shadows, I'm going to pick up a bit of purple mixed in with some of these leftover gray on the palette. I can just do something like this. Let me see, might be a bit early. We can get into a bit of a softer shadow is running like this. It could be part of the building, shadow of the building and running to the left, something like that. A bit of this purple here, here. Again, there's this sort of pattern like that running across, but also preserve enough of that light. The building now for that sort of warmth in there. So here you can see there's certainly a lot of darkness behind that building. And this is all, again, can create wet into wet work. So it's really that it is the second wash. But again, we can go in and with the third wash later on if we feel that it's just too light, sometimes it just dries off a bit light. But my intention here is to create soft shadows. I don't want the shadows to be too dark. And perhaps underneath these little eaves and stuff like that of the building, like that. We can darken some of those spots. But I want to create I want to create sort of sharp shadows on here as well, if possible. So something like this, you can see it better, these sharper looking bits and pieces. So that's not possible until we wait until later once things have dried. But I do love the soft shadows where I can get them in at times. They can look quite magical. And here is the little modification that I wanted to make. I just wanted to create some softer shadows here on this building. Don't want to completely obliterated. As you can see this bit of a shadow pattern. Even here on these back buildings, we can get a little shadow pattern perhaps like that of some buildings running from the left to right, casting a shadow on these white of those buildings. Okay, if it's too light, continue just adding in a little bit more color. Patch of color in there. Remember to preserve the orange in there as well. Moment it starts to look good, just leave it here. And of course I'll, I really like this light pattern here and the building is white light just coming across that building. So I can be very careful with this now and just start putting in a bit of that color that I'm just tapping it on. This is what I mean by there's sharper looking shadows running across like this. Suddenly it can be caused by this part of the window or features to the left of the building. Here as well. We might have a bit of that light coming out and then we've got some darkness under here. Okay? So when you mix this kind of purpley color with the warmth of the oranges and the yellows in there, you get something quite special. But you've got to be patient and you got to just let it do its thing. So I'm hoping that turns out a coat and that drives the ground. These are all pretty soft shadows, so there's not really a whole lot of it required there to get in too much accuracy or anything like that. Hey, but I will leave this to dry. And what we'll do is getting some final finishing touches, some final sort of shadows to bring it, to bring it all together. That's all dried off. And again, like I said, we're gonna go through and pick out some bits and pieces that we want to darken, just add in some final highlights, shadows and things like that as well. For example, here we can go in, I can just pick out the legs of this figure and just connect them to the ground a little bit. Something like this, maybe a bit of darkness to the right-hand side of that figure as well. They're just connect that to the ground, off to the ground like this and onto the shadow and the shadow on the ground as well like this. Whether you want to restate the shadows as well, is up to you. The watercolors I find tend to be, you can get them a lot darker than the pen, depending on what pen that you're actually using. But little bits like this. I find that they help to anchor the, anchor the figures a bit better. And especially with these ones off in the distance where it can be quite tricky to see into pinpoint exactly. So what I'm doing is adding in little bits of darkness to bring everything together. And of course you've got a bit of the hair you can just drop into here for the figures as well. Like this. This is the kind of finishing touch stage of the scene where we're really just. I'm trying to detail, add little details and you have to be very careful with this part because if you had too much detail, I find what can happen is you disturb the, the beauty of that previous wash. So you gotta, you gotta be pretty sparing, I suppose with how you're doing this. Even in the car, you can actually see there are shadows. Shadows running towards the front of the car for miss them out before it like that. Keep it keep it very light. I'm also indicate almost indicate the shape of the car as well. Okay. Little bit of that. I wanted to leave that enlighten them back into the car. Just the source of the light has to be a parent. The other parts of the car can be darker, but that back-end of the time it needs to be pretty light. Maybe. Just fell off those tail lights a bit. Underneath that bumper. Here. Here. You can sort of play around with those bits. Touch as well. Can this shadow here on the ground? I'm just go in and restate some of that if you'd like. I've I've done that. But again, it's not necessary. It's just maybe a few things. For example, the, these little bits of the handrail. You might think it just looks a bit weak so we can put in a bit of darkness here. It's just a little round brush, tiny little round brush that I'm using where I'm adding in that paint. Really trying to just touch and go over it so you can see I'm not really staying in there for too long. I'm picking out little bits and pieces and then I'm moving along straight away. Because if you, if you go in there for too long, what's going to happen is you start disturbing that previous wash and you want all those layers to show through some way or form where you might see a lot of these vertical lines for these railing for the roof, you might only put in a few of them. Um, my emphasize some little points. Okay. Some of these buildings in the background as well, you'll notice there's actually bits of things running in the buildings out in the back. And it's up to you whether you want to indicates some of that. Just dry brush. So just pick up a bit of paint, dried off, draft the paint brush and dab on a few little indications of windows and stuff like that. It's really quiet. I mean, the building is pretty pretty light anyhow. But it breaks it up, makes it appear as if there's more detail in there then in the case. And as long as it appears that way, That's as much as you want to put in there. Otherwise, it will just look out of place compared to everything else we've done. Even in these rooftops here of these buildings, you'll see this little bits of darkness, little bits of cooler color running through in here. I don't want to overdo it because again, we've gotta be careful. We're not getting rid of all that beautiful sort of warmth and orangey color in there. But a little bit of that is good. Okay. Anything like that? I think that was a good idea as well, just to get in a few of these little strokes and things in here, because the starkness, all this white here just looks a bit too. It looks a bit too stark. So I think having a bit of that helps to merge everything together. It makes sense. Creating a harmony between all the, we want to join the foreground, midground, or the background and doing this sort of thing. Blending areas like this where we've got lost and found edges. But then we've got some very, very obvious contrast here. For example, being the car in the foreground and in the midground building here where we've got all this darkness in the back. But then we've got a bit of merging. If we look at the figures here, that really brings together everything, the looseness of it away just helps to join everything up. Let's have a look. What do we got here? I mean, that there are little bits of detail, for example, on the tops of these have not really done too much. You look at that just a few little brushstrokes there and you've got an indication of that already. So I shouldn't really use a smaller Brush, if you've got a rigger brush, this works quite well. To sort of get in the middle indications of the windows and stuff like that too. But if you use something like this, it's fine as well. Just little round brush. Normally when I when I travel, I do some sketching at home or when I'm out. When I'm out, I just use three brushes, even two brushes a lot of the time for this painting, I think I've used these two brushes, and I've used two brushes. So really goes to show if you practice minimalism in your painting, if you take out some of these variables, it makes your job so much easier. Rather than fumbling for your millions of brushes, I'm getting lost. You can make you can make it work with very little. Just wanted to add in a bit of darkness and that right-hand side of the building. Yeah, I do feel that there should be some sharpest shadow here. I don't know whether I should do it, but we'll just try it. Why not? Just indicates something like that and just get some of these maybe shadows running across the building like this, keeping the light of that building as well. Underneath these windows, you're going to have a bit of shadowing here, here, running towards the right-hand side like this here. I mean, this could have a bit of a shadow here as well. So I'm just creating a bit of a darker shadow pattern on this building and sharper shadows to contrast with the shadows as well. That good. Let's put in I think I want to just quickly dark and admitted this building here in the background. And the reason being is that it seems to just blending with that building in the front too much. And also by darkening it off, it will create a little bit of contrast for the building in front. Okay. But I don't want to overdo it, just something like that bit of dry brushing. Some line work like these just indicating perhaps it could be a window or a floor or something like that. There's no birds in this scene, but I want to add them in because as a compositional technique, I always find that it helps to connect up the sky with the buildings. It's kinda the same with these little arrows and stuff on the buildings at times. Even when these buildings may not have any of them, I tend to add some of them on because they just create a just create a bit of a connection between the buildings and the background. Otherwise, you've got this sky in the background. And then you've got buildings but nothing in between. So it's kinda like what I was talking about here where we're creating little connections, even the cars and the bigger this to join up the foreground, midground. And the background overdid it a bit with those birds, but that's okay. We'll have to just live with that. The distance that just gets smaller and smaller, almost like little dots that you might even want to pick up. Some final bit of gouache, white quash that finishes off. On the highlights. Squeezed off a bit here. Squash. Put in a bid for the yeah. The shoulder to the left-hand side of that bigger like that. You can drop that in sometimes on the Windows, edges of buildings and stuff like that. And you can just drop in a bit, just these magic sparkle brings out the figures in a bit of what's going on. Wet into wet. But mostly I do it do this while the paint is actually dry. More predominantly dry, may have lost a bit of area of white so you can go in and just re, regained some of it like this. If you've got a poll, for instance, like here or here, and you just want to draw it out a bit better, you can. That's what that gouache is for the separations of this building as well. Just use it sparingly. And yeah. Just use it sparingly. Don't don't overdo it. Was you end up with a gouache painting. I tend to combine Washington, whitewash and watercolors. Very often. I find the touch of capacity in a watercolor painting has amazing contrast. And it works quite well. For some of these assemblies like Windows as well. Lost a bit of that white and we can of course just bring it back fairly easily like this. Okay, and that's finished. 12. Class Project: Your class project is to draw and paint your own urban landscape. This can be a saint featured in one of the class demonstration videos, or based on one of your own photographs or scenes that you've observed outside. You can also refer to the skin drawing and painting templates attached below, which 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. This provides you with an opportunity to compose and plan your painting. Once you've finished the drawing, use the watercolor steps and processes included in the class demonstrations to complete your painting.