Urban Sketching in Watercolor: Copenhagen Boats and Buildings

1. Introduction: Hi and welcome. In this class, we'll be drawing and painting a coastal landscape from Copenhagen, Denmark. You learn how to draw in pen and also how to use a variety of wet and wet and wet and dry watercolor techniques. Planning your painting is important. We'll go through how to simplify, emphasize an MIT areas in your reference photo to create a more interesting and unique composition. In this scene, we use wet on wet techniques to paint the colors and soft details. And the first one, this can be a challenge for beginners, but don't worry, I'm going to show you how to time your brush strokes to create soft blended washes. It's implied light. You learn how to gain control and layer effectively to create a soft atmospheric seen. It's easier than you think. Trading fine, sharp details. Just as crucial as it creates shadows, contrast, and interest. But understanding when to add them is crucial. I'm excited to get started. So join me in this class. We'll be painting this beautiful scene of Copenhagen in no time. 2. Materials Required: Before we get started, I want to talk a little bit about materials that you're going to be needing for this class. And let's have a look firstly at the paper. Now the paper I use here is basically cotton watercolor paper, 100% cotton watercolor paper, fine. That is really the best material to use if you can get your hands on some of it. And the reason why I like hundred percent cotton paper is that the washes blend together more seamlessly. You can use wet-in-wet watercolor techniques without the paper drying too quickly. It's where we get this nice granulating effects, especially when you're painting water as well. Being a drop in some paint in layers over is really important. You don't want that previous layer of paint to lift off. And that can happen when you're using some cheaper types of paper. Okay? So this is in a medium texture or cold press texture. So what you want to get to stay away from hot press paper, I think that's just to smooth for what we're doing here. It does dry inconsistently. Of course, you can just use other types of watercolor paper as long as you've got a bit of texture in it, that's, that's the most important thing. Let's go ahead and talk a bit about brushes. So if you check out these brushes here, I have a bunch of these ones, these mop brushes and the mop brushes, as you can see, have a larger belly down the center. And this allows the brush to pick up a lot of water. And why is that important? Well, because when we're painting large areas like this, we don't want to be going back and continuously to keep picking up more paint. You want to go back every now and then to make sure you've got enough on the brush, you wanna go back unnecessarily. So if e.g. I. Use this little synthetic brush, this is not going to pick up much water at all. And I'm going to have to go back 20 times 1020 times, paint this same area and it's going to make an area often look overworked. So I tried to paint any type of area, whether it'd be a boat, be awarded, be some water, some of the sky. Try to use as few movements on the paper as possible. If I can paint something with fewer brushstrokes, that's ideal. So I've got three of them. And for this, for this demonstration, I'm going to use mainly these two. And the reason why is because they are pretty much small enough, but at the same time hold enough water so that I can get in large areas if I use this one does still work, okay, but you just gotta be a little bit more careful as you can see, wherever you touch onto the paper. And you just kind of to make sure you cut around bits and pieces with more carefully. Okay. The tips of these brushes become quite pointing when you put them into water. And that's a really important thing when you're looking for a watercolor brush, mostly work is actually done with those brushes. Here is a little synthetic brush. Talked about this for a little bit as well. This is great for getting tiny details. Maybe you just want to sharpen up in the air. I put a bit of darkness in the background. You might want to put in a mask or something like that. I've got this one here, which is great for that little rigger brush, doesn't pick up much paint, allows again, legal details. I've used that there to get in some of these these areas, these sales and mass ropes running around, little highlights on the windows. That kind of thing is excellent. This here. Little flat brush and the flat brush, I use this to get in shadows, little washes anywhere that I want to create a bit more of a sharper. Contrast works well too. As long as you're not using this to paint a very large area. Because again, it just doesn't hold much paint at all. So let's talk a little bit about paints. And a lot of the paints here in the water and in the sky, basically cerulean blue and a bit of ultramarine blue, maybe a little bit of purple in there as well. Just a tiny bit of purple or neutral tint is too dark and down the base. Okay. But I would say they're more on the cooler end. I've dropped in a tiny bit of a grayish color in the sky there just to try to indicate some clouds. Can see what a warmer colors here in the buildings. I've got some yellow ocher bit of quinacridone, burnt orange up the top there. Again, just a bit of yellowy orange color. So very warm colors on the building. This one here is more of a teal color. And of course here I've got some color which is buff titanium. Ok, But don't get to bob down in terms of the colors. Just remember in terms of the buildings, they are more warming color. An earthen color like burnt sienna is also really good. I use that at times for the roof so that it doesn't look too warm and it's just a little bit of the earth and color, but it's still, again, it is a warm color, but just a little bit more muted down. And another thing you want to know as well is I use a little bit of this stuff, bit of whitewash. This is how I get in little areas of highlights and the water in the mask, these little bits of rope here on top of these umbrellas. And the window sills really depends on how much detail you want to, you want to add in. But it's great for these little finishing touches. Right at the end of your painting. Neutral tint is a color that I use for a lot of the dark areas and a little bit of neutral tint, little bit of purple as well. I tend to mix them together or just use purple or a very muted down, purple or blue for some of the shadows, especially because we've got a lot of this warm color on the buildings. So if you pair that with a bit of a cooler color, it actually contrast and it looks quite nice to complementaries. In terms of the pens that I'm using for this class, you have a couple of options. So you can use a pen like this is a uni-ball Eye Micro pen. It's a 0.5 millimetre nib, very basic. One thing to keep in mind, it's a liquid ink pen, so it's quite watery inside, waterproof and fade proof. Really important because you don't want this to run when you go into it with the watercolors, you want the lines to remain stable and visible through the watercolors. I actually have another set of pens here. And there's so many of them here, but they basically just come in different nibs. These are pigment liners. And they are a little bit different from ballpoint pen in that they have a felt tip. Good to see here, but ever felt tip like that. So it's softer, little bit more loose when you're drawing on the paper. Whereas if you compare this one, metal tip, more rigid, so the line work looks slightly different. Okay. You don't need all these pens really, if you're just going to 0.5 pen, you can do absolutely fine. Makes sure that it is waterproof. Of course, if you've got more, just gives you additional options to get in different types of lines. I use a thicker pen as well to get in some of the shadow, the darker areas in there as well. Okay. But that's pretty much it for materials. 3. Drawing Steps: Hello and welcome. Today we are going to be painting this amazing scene. It's quite complex, but we're going to simplify it down. We've got these boats here in the front and we've got a bunch of these houses and buildings in the background and a few people walking in that area as well. So what I wanna do is start off by working on the really basic components of the scene. And we're going to put in roughly roughly where the water starts at the bottom. And I'm going to use the pen to start with. And what I do is that I use the edge of the pen to just sort of scratching quick little line and I'm not concerned on accuracy at the moment. We just want to put in roughly where the water starts. So yeah, I would say it's about a quarter of the way through the scene. It's maybe got a little bit less in there. But I think that should do the trick about a quarter of the way through the scene. And what we're gonna do now is work a little bit on the buildings. And again, just put in roughly where the buildings start and finish. Okay. So I know there's like another one that comes up here, like that. There's another one here. And we're not even putting in details really fold. These buildings were just putting in some basics, more sort of guiding lines. So once we put in the buildings later, it's gonna be a lot easier. Big shapes first. And of course we've got 123456 buildings, so we do need to separate these out a little bit. 123456, we can probably extend some of these out a little bit wider. The bit of paper that I'm using is wider than the reference photo. So there's really no way else to get into this, but to just go for it. The other little gardening thing I'll put in is just here. So this is the area where the buildings hit the walkway. Now, let's go ahead and get in. Firstly, these boats, I'm going to just start putting it in and it comes in like this and it starts to go upwards like that. How far does it come in? It's nearly halfway through the scene, but in this particular on this particular bit of paper, it's actually wider like I mentioned before, so I don't wanna go into far, something like these should be fine. Okay. It's getting the bottom of the boat like this. That there is something here in the water, but I'm not going to bother with that. I think it just sort of obscures what I'm trying to do. And I'll put it in this little side of the boat like that. It's kind of a it's like a box. If you just look at it, there's really just a box and there's a top here, greenish looking top. But the other side of that box is around about here. You can see some little windows and things. So just etching a few little windows perhaps running through the side there like that. Basic Windows, nothing too fancy. And we've also got a mast that comes all the way up. Okay. It's really goes all the way up to there. And I'm only just going to mark it out for now. I'll put in more of the details later on. But I want to make sure that the i've I've gotten some of the details for the buildings as well, but just a little indication like that. There we go, should be fine. There's even something over here. You can see on the on the boat there's these little bits and pieces near the sides of it. There's even little boxes and things. So again, this is up to you just in terms of how much detail you put in here. But as long as you've got the shape, the basic shape of the boat, you will be absolutely fine. Even on top of the birthday, these little bits of material and things like that, It's all just sort of suspended and going upwards. Even this part of the boats that the ship isn't it? It's really got something coming out the front there. I think part of the mast and the sale here as well, which is just connecting on. I'm not going to really indicate that too much. Attempt that a bit later. And let's get in the other boat here. I'm starting with everything in the front first so that when we do the stuff in the back, we can just cut around it rather than draw over the top and cause a bit of a mess. So here we go. Let's get this one in. I'm going to start roughly here. This bodes bigger. And just getting the rough indication of the way behind like that. This one here, there's another little boats like here. I'm just going to put that in there like that. Here we go. It's actually a bit of a marking on this boat as well. You can see an essay 98. I don't want to spend too much time on this. Just some little indication. Say 98, something like that. There's even some red bits and pieces floating around near the top. Like that. There's a bit here at the base of the boats. This one has it as well. The other boats to the left has that too, just to kind of a darker section where it hits the water like that. Anything on this. But really it's a little more sparse over here. I'm going to make some things up and boxes and stuff like that. But we do have roughly here with the two boats intersect a mass that just goes straight up. Again, roughly the same location as the other one, but a little bit lower. Something like that. That just simple, simplified there. This burden front actually has got some kind of It's like a, a poll here at the front of it as well. That's again connected to rope that runs up all that stuff I think I would just do later. I don't want to spend too much time fiddling around with all that stuff. Just fill that up with a few bits and pieces in here. Okay. Good. Now I can just start putting in some of these walkway thing here in the back. Roughly put it around here. We'll start it here. Okay, so this is where all the people we're gonna be walking. Just behind here. Okay. Because that they'll show you a little trick later. We can go over some of the lines in the front these boats with a thicker pen, this 0.7. And we'll make it just look a bit more. Bring it forwards a bit more. Here we go. Just another, again plank going across like this. And of course there's a few running down like that. Tend to be more careful with the details in the foreground and closer to you or just anything closer to the front and take a bit more care with it. Because there's gonna be more detail. Things are closer. It's really just quiet, dark under there is nothing else I think I need to imply. I want to get some nice little reflections here underneath the boats of the white, white section of the boats. And the sunlight is seems to be coming from roughly the left top, left hand corner. Top left, you see a bit of a shadow here, but mostly from the top. So there's a lot of these white reflections here in the water that we can do. Firstly, let's separate out these buildings. Again. We do have one slide, just sort of building here. I'm just going to put this one in like this. Okay. Just the roof top of it. Starting here. Just to the building here to the left is two buildings still left there. And you got to remember as well, this building. Again, it probably goes right in the center, but I've shifted it over a little bit to the left. Okay. But if you want to make it exact, just divide the paper roughly into half. And this building ends that taller dark building. The darker roof ends just slightly left to the center of the page, which is approximately where I've got it anyhow. So I've always had to adapt my reference photos. No way you can get something that looks already perfect. I also like to just mix them around if possible. Just to be to that rooftop as well. This masking tape is not the best quality masking tape and it does not stick properly to the paper. But we will make do another bit of the rooftop. There is even window or something like that here as well. For Windows here, 121234. I probably could have had more space at the bottom, but that's fine. We will make do and bring that side of the building down like that underneath this window, just putting a bit of this kind of shade or something there as well. Something just sort of cut off there. It's hard to see, but it's a bit of this part of the roof sticking out. Your shadow to the running to the right side of the roof. And you can start putting in things like e.g. you see these these windows, There's actually some nice darker spots and the windows. And these darker spots are fantastic for just getting a little bit of the detail of the windows. I'm just putting them in very roughly. Mind you there's not Much thought going into them, just tiny little windows that you get on the inside of the frames. You can also just draw out the frames a bit better if you've lost some of them as well. Like that. This just depends on how much time you want to spend on it. And then you can see my style is a pretty loose style. I try not to fiddle around too long with things. Just like to make sure I've gotten a basic indication of what's happening. There is a chimney of some sort here. I'm just going to put that in. It's really just a rectangular shape, square, rectangular shape, whatever just on top there like that. So what we need to do to imply it. We've got the rooftop here. They are cutting through that. And this building kind of runs down like this. And again, you've got a bit of this little window up the top of the building there. You've got another one here. Just kinda squarish shaped window like that. And there's actually a thing running to the right-hand side. A bit of a shade sticks out of the roof top, so that's going to cause a shadow later. Okay. So again, putting some of these windows for little scribbles like that and that should do, should do the trick. Now is another chimney here. It'd be sort of saw that one there. Again, you don't have to put everything in. It just depends what you want. You want three there, four rows. Four columns. 1234, okay, for Windows. Then this four directly underneath. Okay, so just putting these windows in. There, we go from some windows and underneath, you've got just a darker area. As you can see by the reference photo, it's a fairly, fairly dark in there. What speeds things up is if you've got one of these darker pigment liners that not a dark, it's more like a bullet. Zero point on the front. Sort of play around with this one a little bit. And two smaller ones as well. They're not necessary. It just for me, it just saves a little bit of little bit of time, especially with these dark sections like this, as you can see, I can now getting nice little indications of darkness running through. It's probably best I go with the I go with some of these pen first the pen work. Not only that, but we've also got some umbrella like shapes that I have to indicate. Okay. It's an umbrella there. Simplified down. There's a shade. Oops, just getting this side of the building here. There's a shade here as well. The front of that restaurant or what have you coming down around about there. Okay. Split that building into half like this. And just putting the roof top, the bottom of that roof like this as well. Let's start sketching away. We've actually got another part of the building here. Again, it's kind of a triangular shape. This is just shapes. So just looking at it as shapes, I mean, these rectangular shapes here don't know what they are exactly, but they are rectangular. There's a chimney here even on the roof. So just putting that in like that. Okay. Sitting on top of the roof like that. Is that Chez and I've actually drawn that line a bit too high up there, but that's okay. We can just go over the top of that. Again, there are how many rows? 123455, windows. 12345. Perfect. I'll just draw this line coming down the page and we'll go these ones as well, one to five. There we go. Some windows. Getting some of the inner part of the Windows quickly. This is why I'm using this pen again, it's just quicker. So I don't have to shade the mean with the other marker, with the other liner. I mean, it's just faster. We do the redo the frames a bit later as well. There's even a darker sort of what you call it, darker sort of entrance here. Just running down the building. So get some of these in on top. Like that. I mean, there's really a lot of stuff going on this. There's people walking through this scene as well. There's umbrella thing that runs down all kinds of shapes in here. And I think just putting in a few people will get is going to be good. Okay. Just the bodies of them like that and just maybe they're walking through the scene. Busy. Okay. Underneath that umbrella there, you can see some of them just walking through a lot of overlapping stuff going on. Okay. Yeah. This one kinda just covers the walkway a bit. And I'll put it in another person or something here in the back, perhaps just underneath it. Okay. To have a look, Let's get into the other the other bits and pieces. So I'm just going to extend this one out. So we need three more. One. Make the center one a bit larger to k. Here. Again, I'm going to have to just widen. These are touched because of the paper size I'm using. It is just a bit wide, wider than the reference photo is anyway. So I'm going to have to just do this to improvise what I have going on. Even this building here, I think I'll just make it up part of it because I've lost part of that building already. So just you just make it up like this. So actually more space than I need and here, but that's okay. Getting top of these roof, the roof areas, you've got these kind of square looking with rounded, with a rounded top like this little windows. And they sort of stick out of the roof like that. You've got some more here. Let's get in this rooftop, roughly here. There's even a rooftop here, another Rooftop, a chimney there. A few more of these bits and pieces on the roof. This there, There's one. There's another one. Here's another one that I got a window open to the left there. That 12363 sets sets. Windows. Probably started here around this pen downwards like this. 123. This is going to be interesting one, again, you don't have to make everything look like the reference photo. I'm just doing it to show you how I estimate it. So I've drawn a few little indication lines here to indicate indicate the flaws. So I've got enough room for the floors and also for the Windows. You're making sure you've got enough room here as well, is to put all three rows and three columns of these windows. I keep referring them as columns, but it's pretty much how it is. Just three squares, sorry for four. Columns and three rows. Okay, They are these umbrellas which we got to put in first so that I don't accidentally colored them in. Okay, there's another one, there's another one here. That these umbrellas, beautiful. Umbrellas sort of add a bit of interest and it's nice. It's this sunny feel to everything that came. Maybe one we'll just put in another one here while we're at it. Barrier. Got all these people just again, walking around underneath and just a matter of indicating what's happening without too much work. And all I need is just an indication of the bodies and what I do, I put the head facing forward so it looks like they're walking forwards or in different directions. As you can see, head facing that wave moving to the left kind of thing, simplifying it. Down. There we go. We've got another doorway here. There's actually four doorways, 123 and they just go directly underneath these windows. So it's actually quite easy to do. These are actually windows. I think they look like doorways, but these ones to the right, these three here, another set of windows. Okay, so let's go ahead and do this building now, separate that one out. And they actually little bit shorter than the reference photo again, because the reference photo that we're using is a bit taller. That's okay. I may have to just change this around and add two rows instead of four. And I can just change, change a few of these around as well just so that they're not too out of place and have too many little windows in here. I just want to simplify this down like this. A third, let's put in a third, one, third row here. That just little squares or rectangles to mark out what's happening. Here. Again, I've had to improvise and make up a few extra details here on the right, but that's okay. We can put in some windows like that. I'm more windows again, just connecting up. And I find as you get to the edges of the paper, you don't have to worry about the details as much anymore you have to do is yeah, I tried to sort of try to blend it out. It's sensing the edges so that the focus is more on the the actual scene itself. Simplifying these down or just putting in a few little areas or doorways at the base. Speed things up. I'm going to again use this pen to put in a few bits and pieces for the windows that I have another one. Smaller. Better. Takes just a little bit less time, but yeah, if you don't have one of these, just use a normal normal pen that will suffice. Okay, it's just gonna take a little bit longer than how I'm doing it here at the moment. That's why I use this little pen just for little dark spots on each window. Mostly trying to be as accurate. I can only going through with it in one stroke. Okay. You'd be surprised just how much of a difference this makes. Just to indicate the detail of the window, give it more of a identity. That now even on these top ones, you've got also similar sort of story here. But there's not as much as many windows like these ones, that one there, this is, this one's just dark there and then you've got a couple of spots there. You just Just taking it easy really. This window here is also quite dark. I mean, if it's all quite dark on this whole building up the top, but we'll do that later in the watercolors. I don't want to start detailing everything to excessive, excessive point. But I do like to use these pens and what have you to get in darkness and obvious areas of contrast in here. Before we actually start painting the scene. This is like my most, one of my most fun parts of it. Just going through and trying to add in a bit of extra contrast, as you can see here. Which is cutting around these figures. Makes it look like there's something going on in there. Even underneath here. Now you've got pizza of shadow in here. And underneath here as well. Simplification. Just almost two times. Really light, which is a white area of the scene and then all the dark areas. And you can also see where here there's a door behind this character, character, this person walking about. That. Here as well. You can see just a bit of darkness run through here. Now the other bit here, it's cutting around that umbrella. Again. Peter, the bottom like that. There are people looking like this people anyway, just walking underneath. And that's gonna be just implied through cutting around them like that. Okay, there's even a doorway here or something just behind the little bits of darkness. They draw out all the light without the, without these bits of darkness in here, it's not going to look quite right. Just trying to outline some details of this boat bit better. No matter if the numbers disappear a bit, but just something, something more interesting. Maybe anchor that these boats to the ink in them, but sort of connect them to the water a bit like this. A lot of this will be done with the watercolors later. So don't spend too much time here. Just a little shortcut so that you don't have to do all of it later. Okay. Coming around here to the right-hand side again, there's some more dark bits here. A person walking around, maybe add in a few more doorways and things in the background like this there underneath the umbrella to help draw out the umbrella attached like this. Little bits and pieces like this. Underneath the umbrella, I will just outline some of them are touch. It gives it a bit more strengthened presence. Thinking also in here there's darkness behind this boat. In this section. Only way I'm going to have to do it is through this shading with the pen underneath the top. It's also some darkness behind the boat here as well, but it's just cutting around the white of the boat. Want to leave some of the finer lines and the boats as well. They just give it extra detail. Darkness in that boat. A little bit underneath this rooftop. I can just feathering and a touch of darkness here. Something like that. Good. You can see just underneath is little bits of shadow and things. And I can just put in some of that in areas. Just helps to match up what I've done. Below, so there's not so much, all of a sudden, it's thicker lines. We want some thick, thicker lines up top as well. Okay. But the shadow is, I want to get in without proper watercolors. K edges of these buildings. There. There are little lines on the buildings as well. These kind of comb the tiles. The pattern of the tiles, which I will indicate some of like that. This one here is more sort of slanting towards the viewer. They could have indicated a sense of perspective, funny enough. Okay. Buildings just look a bit more three-dimensional. As you move towards the edges, the lines start moving more towards the sides of the right-hand side. You can see here the lines are moving more towards the right and just trying to increase that effect of it. Here they start to slant more towards the left. Okay. You don't have to draw all the men as well. See how I just skip a section like that as well. Maybe this one needs to the left. I'm going to be sharper towards the left, curved more towards the left is what I meant to say. This part of the building. Let me have a window there as well. Just didn't draw in. Okay. I mean, here's the time. If you'd like to just go in and I'm adding a few extra frames and things for some of these windows to detail the touch more. Okay. I mean, I don't have to draw them all in, but just a few here and there if you want a little detail. In areas where the frames kinda stick out of the window, touch these white frames. It's hard to get the mean. But they actually do make a difference. Try to cut around them in the watercolors afterwards. So it's good to leave a bit of room in between the windows. So when you go back and do this sort of thing, there's enough space. Some of the doors I think could be noise, so with a bit of a frame to them as well. I mean, they don't all have frames, but I think I'd put some of them on. Manually. Kinda makes them look more realistic. Going on here. Really should be darker in this section like that. Little detailing on the boat that some of these little lines and things are running through it. And I didn't really quite pick up before, but they help to you just add some detail to it. Very light. Touch with this stuff. Good. Okay, so that should be good for the drawing. 4. Painting Steps: We're going to start off with some light washes of color. And I'm going to use a bit of orange. First bit of orange for this house here, this building here. Round a bit of the frames and things like that. So you just leave a bit of the white on the paper and use probably about 20 per cent paint or less, 2010 to 20 per cent paint. The rest of it just water for this because we want to make sure that it's very light. We preserve that light on the building. Effective. Probably gone too dark here, but doesn't matter. Just make sure you've got lots of water in there. Ten per cent paint probably be good. Concentration c, I'm just cutting around a little bit of that. Shade. The frames of the building. Okay. I can see all types of colors. And this one to the left, it's kind of, I'm going to make it a pinkish or more reddish color. Maybe with some burnt sienna in here as well. Light. Just water that down if you feel like it's too dark while you put it in, just make sure you just lighten it while you can. Okay. It's dries very quickly. This here is probably just burnt sienna. I could do a little bit of yellow ochre. Doesn't matter a whole lot, just as long as you've got some warm colors in here and even here, just a beautiful warm color for the shade that humming along there. Okay. We just really putting in a bit of color in there. Warmer color. I had to just drop in a bit of other color running through it as well. Keep it more interesting. Maybe some green touch of green running downstairs here. So that's just connected up. Notice how I blend the colors as well. I don't like it to sort of blend together if possible. One to the left. That's really quite a vibrant yellow. I'm going to use some of these color. This is hansa yellow. And you can see already it's very vibrant, but it's not going to stay completely like that. I'll just add in a few bits of this other yellow. Otherwise it will detract from what's going on in the rest of the scene, but I do want it to be pretty light. But you just drop it, drop some of these dive of coloring to dirty it up a touch. All the rooftops are kind of this burnt sienna color. Most of them are anyways, so I can just put in a touch of that color while while I'm there. Okay. Touched color there. This rooftop is not burnt sienna, but I'll put some of it in there anyway and go over the top of some darker color. But we can almost use the burnt sienna as a base color. And then to finish it all off. Other darkening it down or darkening it down and or cooling it down or warming it up, but still docking at darkening it down as well. Okay. So example here would be this. I'm going to put in a touch of purple or something. Okay. Touch of purple color. That building. The top area. It just comes down with as well. Just let it spread in there if possible. Problem. What we're doing here is we're just getting in some colors, lighter colors. We're not trying to detail at all. We're just looking at the general tones that we have and thinking to ourselves, well, some parts of it need to be darker. There's some parts of it needs to be lighter and that's the main focus here. You're looking at there. So these two little roofs here are darker, whereas the rest of them the kind of lighter, especially that one. That said, I do like to just add in a few other just messier bits of color in there like this at times. And that it just makes it look more interesting rather than have the same color going through the whole scene. Whole rooftop. I mean, we've got a bit of blue here, a little bit of relief for the eyes or this warmth using turquoise light, wash of turquoise again, the washers here are very light. They're even just ten per cent paint. Mostly just water. Okay. This one's a little bit more paint, but keep it light. Very light. The buildings and the sky are pretty much the lightest part of the scene, except for the umbrellas. The down umbrellas, I'm going to get in a light wash of some kind of a light wash of color. These buildings. I'm gonna go grab this orange and red, mix up a bit of an orangey red color, more, more orange in there. Okay, It's quite a strong warmth, really, isn't it? Let's just do this. I don't want to spend all day on it. Some more on the rooftop actually. Maybe. Okay. Little umbrellas. Pick up a bit of, I'm going to pick a bit of white. This is, this is a color code, buff titanium. It's basically basically a bit of yellowy white, off-white color. And I'm putting in a light wash of this over the umbrellas. And this is top here as well. I think we could add in a bit of brown and top of that top there like this. What else do we have these little cells as well? Brown for this area. I can see that these poles, these mass and the ship a darker. So I'm gonna just, while I'm here, just darken them off the touch like that. Also, the area underneath the walkway has some darker bits of wood like that. So I'm just mixing a bit of brown, tiny bit of brown in this section. Just to get rid of the Give, get rid of the white of the paper. A bit of color in there. Okay. Some more. This turquoise color through here, actually. Good. Some more orange, something down this side. Good. Okay. Let's have a look at what else we can work on. I'm going to put in the sky with some cerulean blue light wash of cerulean blue. You want this just really ten per cent water, sorry, 10% paint. The rest of it just water. I just want a thin, nice thin wash running through here. No funny business. The top bit I tend to just do a bit slightly darker, give it more concentration at the top. Like this. The reason being is that this is usually the closest part of the sky. Then as we move downwards, it just starts to be watered down and we've got more nice lights, cerulean, blue color. I'm going to cut around some bits of the houses and things as well there. This is just water. I'm not picking up any more paint as I move down towards this area. If anything, I'm just trying to shift some of that down. For some reason. Cerulean blue just dries so quickly as well. So you for me anyway, I really go to work quickly to carry this down. Picked up a bit of paint like that. There. Some of it, you can see it's starting to spread a touch, but don't worry about that. Just getting that wash nicely, you'll be fine. Let's have a look. Double-check if it's smooth enough up the top. If you need to add in any extra paint to help create a bit of a gradient. Sometimes that top part of the scene, it just starts to look too light. There we are. A bit more here. You can put in some clouds as well if you'd like an anticipated doing this, but I'll mix a bit of purple. And I can just do something like that and maybe put in a bit of cloud or something, just a lighter sort of cloud, I suppose, like this. Here as well. Not too much. To keep the sky a bit more interesting. Just melt in nicely and create a bit of But with activity up there in the sky, bit more interests in granulation. Good. I think I'll leave that. I don't want to mess around with it too much. It's getting some of the ground and I'm going to, we're just going to mirror the sky with this cerulean, but also with the purple as well. I want to just getting a bit of that darkness. And what we wanna do as well is I also want to just create some little reflections in the water of the boats. You see the reflections of them come out a bit like that. Is just white in the water. So we have to preserve that and make sure that we kinda got a bit of a mirror image of the boat there. So you can see these waves and reports and things running through the water in areas. Tough, toughest part is just the toughest part is just getting the concentration right here in the water as well because we need it to be darker. Darker out the back here. I'm just going across and feathering this through, leaving some of that white in there. And K. And this more darker looking colors here in the front. Even pick up a bit of this other blue. This is a bit of ultramarine blue as well here for the base. Purple ultramarine color. That's fine. This reflection is probably a bit too much. I'm just going to reduce it down a touch. But you can actually see a lot of it here in the water. These bits of white, tiny bits of white anyway. So we're just leaving some bits of white in there. I'm just trying to make sure that I've got enough color in the water as well. Okay. And pick up around a flat brush. Flat brush just gives me more wiggle room in terms of the detailing. Detailing and that sort of getting in touch with this coming through. The same, same old purple. Okay, but trying to blend these waves on reflection water better. Oh, joins together a bit more. On the side of this boat is kind of a bluish tinge here. Bluish purple tinge. I'm going to get in This guess that little shadow, I suppose, are cast on the right-hand side of the boat. Maybe. Kind of dark, but not as dark as the water, makes me think we probably could do with extra paint here in the back section. These few little darker strokes here and there to increase the sense of these waves and things as well. So have a look, small little waves and that here as well on this section of the reflection. Now wanted to look sharp, but still have natural looking waves running through it as well. And making sure the waves at the back, a smaller little waves at the back. And as you move towards the front, you get more sharper looking waves and darker waves as well. That is literally just building this up, but keeping that white of the paper there as well. Really important. Some more darker waves surrounding this area to know. Quite important. Here on top of these lighter looking ones, just darken off some of these waves a bit as well. Adding some sharper and darker waves. And putting some more out here, the left-hand side of that button underneath it as well. The neat the boats, you actually going to find a bit of extra darkness in terms of that shadow? And that's why I went through the pen a bit earlier to indicate some of that, to save me some time. Putting it through this, a few more brushstrokes. And they'll come a point where you think to yourself that actually looks that actually looks fine now I don't want to don't want to go into there anymore. Finished. Okay. I think that's looking okay. I'm going to work a bit on this boat that's putting a bit of shadow here on the right side of this cabin. There, I'm going to darken off. It's just purple and maybe a bit of black mixed in there. Purple and black to get in that cabin. Should it be darker? I think that's the K like that on the boat as well. There's just some darkness in there. I can imply with extra brushwork, please. The edge of the boat as well, the sides of it. I want to just darken off a bit more this window touch, touch a bit of that color onto that window. This is just pure black. Here. You can just kinda flesh out little details of the boat. You want to imply. Like that. This masked as well. You've got bit of darkness in there, just running up vertical vertical mast, leaving a bit of the brown on the left side of it as well. The shadow is more on the right-hand side. The mast to work a bit on this other area and the other boats. Here on the right. There are some little colors in there. Like I've noticed a bit of red here, just a touch of red. So let's put in a bit of that straight off the pallet. I've mixed it with about 50% water, 50 per cent paint to get a bit of darker color in that. Orange here as well. And I'm wondering detail, some areas that are mainly just getting some darkness around the edges of the boat like this. Kind of like what we did there for the left. One. Just adding some darkness to the inside. This is a bit of black. And I've got making stuff up here, really much in there. But you do find there are these little masks and things which I'll use a rigger brush here. Just a little rigger brush. Cleaners, more popular that paint. It's moved over. Now. I want to add some shadows to the buildings. And all I'm using is really just some purple and a bit of black mixed together. I know that this building here does need to be a little more in darkness, especially this rooftop of it. So this is just a bit of color. I'm adding in here to the top of the roof, but I'm being careful to just leave some of that background wash on there as well. Still. You're getting all so these sharper looking shadows on the right-hand side, but I don't know if it will still get a bit of a shadow there, but it's kind of a softer one is the paint hasn't completely dried here. Further down. Um, I will get more of a sharper shadow here. Okay, so if the paint is still wet, you're going to get these type of r10 shadows. But here e.g. or may not have eaten, may not be completely dried as well. Same deal that they kinda runs a bit. But that's okay. Rooftop. It's little shadow on the right-hand side. Shadows coming through here like that. Underneath here. Lighter wash of purple for this stuff. And here's, we'll see that little shadow running towards the right-hand side of these windows. Just a touch of color for that. The exaggerate some of the shadows underneath the rooftops. Here. It'd be like that. Here. They're sharp, a shadow there and there. Those ones. Give it a quick dry. Just some more quick little shadows. I'll redo. Redo these quickly. Make them sharper. Shadow underneath the windows. Get that from time to time as the light hits the top part, the building like that. Another something we can put in there. There's not really many exaggerated shadows running through the scene. And you can do stuff like make it come over a bit more towards the left. I'm thinking if the sun is a little more to the left, you might get some more. Some of these shadows like this, more dramatic shadows with an angle. I will change it up just to do, just to show you. And also, I think it just looks better with some of these dramatic I'm affects the shadows just coming over a bit more like this. Look, we can just imagine that part of the part of the building casting a shadow to the right side of the building like this here as well. That just looks more interesting. Maybe to keep it very light as well. Very, very light. Was just giving it a quick wash. That's all you're doing. Maybe there's a shadow in that building as well. From a building to the left. Obscuring part of the rooftop. Important thing is just a member, you're keeping this sort of sense of light in there. So you don't want to get rid of all the really light sections. You just want to imply bit of shadow on the side where there isn't light. And I think that looks a bit more interesting already. Okay. Final, maybe some little quick brushstrokes through the water. The front, some sharper looking brushstrokes that just run over the top. And I'm just picking up bit of darker paint, darker purple paint and just putting feathering in a few brush strokes here and there. And hopefully this will create some extra contrasts. Then we'll go in with some. Gouache. Just a few little bits and pieces like this. I don't want the waves look to all over the place as well. And I like this, the calmness of the water. Remember if you want to make the waves at the front little bit bigger as well. As you can see what I'm doing here, you make it a bit bigger. As you move towards the front, they just become to the back. They they become smaller. Randomize a few of them, otherwise it looks too neat. Water I think just looks a bit more realistic if you do it this way. Some feathery bits. Okay. Finally, some white gouache. And I'm going to pick this straight up the pallet with a tiny bit of water, ten per cent water to activate it. We'll use the flat brush again, a bit of that white gouache. This is to bring out some tiny highlights. E.g. here there's a bit of the book coming out and it really just disappears off to the left, like that. Like that. There's bits, few more running through the scene. I'm going to be running down with it since I couldn't bring myself. Let's get a bit of this rigger brush and k, and we'll start off here and just bring some of these down like that. We don't have to draw them in completely. We can skip over the surface of the paper. And it just makes it look more realistic as if it's catching bit of the sunlight. That's the trick to it. I kinda went a bit overboard with the other, that one there. Let's do this. It's funny the most, the faster you do it, the better it looks. Now, we're doing this all, all with the stuff in the fog in the foreground. Because it's the final step, really. Just highlight the mask to bid with a bit of white highlights to the left of it. This. What else can we do? Little things like this? The umbrellas, bit of highlight on the left or the top of the umbrellas as well. Just bring back some of that light areas anywhere that you think you can regain a bit of light, sometimes even in the reflection. So e.g. here, I wanted to make it a bit sharper. So I can just create a bit of light here in that reflection here. See, not only that we can get the reflection of the mast and the water as well. Wee little windows you can see this like leaves frames and really it's up to you how if you want to do this, even you don't need to. But I'm now as you can see, you can bring out little highlights for the frames. Not doing it to all of them. Just a few here and there. Especially where we've got maybe extra darkness in the background. I just want to bring out the touch of light. Without too much phos. These can be great, little way to do it. Some of the building as well, these division areas of the building. You can put in a brief indication of those. Right. And I'll call that one finished.