Watercolor Essentials: Tone and Values Made Simple

1. Introduction: I'm Darren from watercolor mental and welcome to watercolor essentials, turn and values made simple, do you want to have some paintings have that three-dimensional feel and depth that a photograph has. Sometimes through painting, you can feel your right there in the moment. Getting the right tones or valleys will prevent you from creating flat and dow paintings. In this class, I'll help you understand how to create depth and ambiance to the use of light and dark colors. Tone or value is the essential component in any form of drawing and painting that includes watercolors. It allows the expression of detail, time, and place. For example, a night scene will have many dark tones contrast that with light ones. Whilst the biasing will mainly have lot of tones contrasted with a few darker ones. In this class, you learn the essentials of tone and how to apply simple principles and techniques to sketch and paint 10 different watercolor. Since this class is aimed towards beginners with 10 demonstrations, which I'll help guide you through step-by-step. There are scans, drawing, and tracing templates included as well for each demonstration to help you transfer your drawing over quickly. Easily. You can follow along to my real-time drawing and narration videos for all of these demonstrations. In this class, I explained every technique I use while I'm painting, such as using watercolors to paint petals on a flower, or to create a Docker contrasting background. I'll also discuss color choices and the strength and specific mix of pigment I'm using to help you get the right tones. If you have a pencil, some watercolor paints and paper, then you're ready to go. So join me in this class. Let's create some paintings that you can be proud of. 2. Materials Required: So I wanted to talk a bit about materials, what you're going to be needing for this class. So first you're going to need something to draw with. And I'd recommend a mechanical pencil because it's just more convenient way around everywhere these days. And basically anything that's 0.5 lead and above, just sketch in your landscape before you get into the painting. Now, I have some other materials here which I'll go through and it's going to help you to understand is all just in case you're wondering what I'm using. And if you want to get similar results as well, what are the materials you should get? But again, if you have any watercolor materials at home, it doesn't have to be the best materials and the practices certainly more important and you can paint on pretty much any paper. It's just going to be a lot better if you do have some proper watercolor paper. So this stuff here is 100% cotton. It's also cold press, which means that it has a slight texture to the paper. Okay, So you can actually feel the texture is little indents in there and it really helps allow some of the color to spread and sort of mix a lot more evenly. I do find with hot press paper, that area's pull little bit, you do get just some inconsistent drying, which is actually quite nice to look at depending on whether you like that style or not. But it just makes it a lot easier. We do have some cold press papers and kind of textured paper. So that's what I use here, paint directly into my sketchbook here, in terms of the paints that you need, I have so many paints as you can see here, k, This is an overcoat. All you going to need is basically a bit of yellows. If you've got your primaries and a yellow, a bit of red, and a bit of blue. So these ones here are basically Hansa, yellow, perylene read, and I've got a bit of where is it Here? Ultra marine. So those are your basics in there. And I do use a few other colors as well. A bit of buff, titanium, a little bit of yellow ocher. What else do I use? Do I use a bit of orange here? And they're also love using purples in the shadows, but you can mix some purple with your blue and your red. So the primary is your main ones. A lot of these colors and not so necessary when you sort of get more into it, you'll find some colors that you enjoy and come back to more often. Also do love using cerulean blue and sort of greenish light, sort of blues as well. Even Tarkovsky colors too. So that's all I'll talk about in terms of paints now, a little bit. In terms of brushes. Now for most of these sings only use a really small number of brushes. And the main ones that keep in mind, basically you're going to need a wash brush. So a larger brush, it can be something like this, like a mop brush or do have a really large on over here on this side. Okay. But something that you can get a large area of coloring. So basically if you're doing a sky, doing all these buildings, getting in those warm colors, one of these larger brushes is going to really save you a lot of time and create a consistent sort of effect. Now the other two brushes here, just smaller round brushes. This is a number 8 to 10, I think, and this is a number six. Okay. So they're just a little bit smaller and they allow you to get in smaller details or maybe some tree branches, maybe some windows, a little bit of detail on cars and figures and things like that. Okay. Here is a little brush that I have. It's a fan brush. Okay. It's a specialty sort of brush. Once you have these basic larger brushes out of the way, the smallest specialty brushes, they allow you to get in some strokes that would normally be impossible or very difficult to get in using these brushes. So this one here allows me to get in these nice sort of multiple strokes that look kinda like grass, grass growing goal. Even use this to paint bushes to try to get in some inconsistent edges in a funny sort of shapes going on. So I use that also have smaller rigger brush. This is sometimes good for getting individual bits and pieces or things like tree trunk. This rigor is pretty good. I don't use flat brushes too often, but with buildings, I'm known to use them as well. And that helps when you're painting something that has a squarish or a rectangular shape or something that just has a very hard edge, hard straight edge like this one here you'll find that flat brushes can really get them in quite quickly and easily. Now the risk with that also is that you can, buildings can look a bit too stiff, a little bit too perfect. So just be careful with that. Obviously, some level of accuracy is quite important to identify the scene, that context. But you don't want to overly identify. Think sometimes it's best to leave a bit for the viewer's imagination, for them to put in a bit of their own interpretation of blood. They're impersonal interpretation into the scene. So those are essentially the main materials that I have. I do have a hairdryer. The hairdryer just helps to dry off the scene between washes, that does help as well. But if you have all these materials, That's all you need. 3. Introduction to Tone: Before we get started, I wanted to talk a little bit about tone. So specifically, why is turn important? Now, when you look at a painting, you'll notice that there's a lot of different ranges. So light to dark, There's all kinds of different and textures and what have you. But the main thing is that you have areas of light and dark. And here's a few examples of some scenes that I've done in the past. And you can see just some very, very obvious contrast here. If, for example, you've got the sort of dark area behind here and then the lotta area here and then on the ground. So in order to create a sense of depth in your painting, in an order to create a feeling of light in your painting, you need to have all of these tones present in the same painting and you have different types of turns as well. I simplify them down into three main types. So you've got your lightest tone, so things like the yellow here, maybe the blue. Okay, those are your lightest tones, maybe a bit of the white here. Then you've got your midtones. So you've got things like the shadow here, which aren't as dark as the shirt of this person or this shadow here perhaps, or even the areas underneath the roof here. But there's sort of in the middle, okay. And then you've got the full tones, which are basically the darkest areas. But they can also include the darkest of basically the darkest of any other tone that you have on there. So when you talk about a full tone, you can talk about a red as well. That's a form tone red. But one thing you have to know is that every single color has its own maximum tonal range. So when you're using a yellow, for example, you're never going to get that yellow to be as dark as this gray color here, that black, even if you use it straight from the tube. So it can be a little bit confusing, but mainly just look at turn as all the light and the dark sort of areas. Okay, So if you can break everything down into light to dark, you'll be fine. Okay, so that's just a little bit of an introduction. Another thing that makes turn really important is detailing. Now, if we used the same tone, for example, for everything's Every just used a gray and the same gray tone, the same mixture of gray that's mixed from water. So 50 percent paint, if 50 percent water, we painted everything that same color, It's going to look awfully, Darwin is going to look awfully flat. So in order to get extra detail and extra contrast, for example, with the shirt off this person here, the shadow, really light sort of shadow here compared to the darker shadow here and here, you're going to have to vary the amount of water that you mix in with your paint. And that's how you add detail. So, so tone is so important for these reasons. I mean, creates depth, creates detailing the ability to detail all different types of tones and, and variations. And also it creates a sense of atmosphere. Now, in terms of atmosphere, what I'm talking about is, you know, areas that distant and we look at things like air or perspective. That's another sort of a name for tone as well. So I'll give you an example here of a scene I did. And you can see here, if we look into the background, the tone, generally speaking, is pretty light except for maybe here there's still about a midtone. But for most of the terms in the bag, that pretty light and as we move down to the front, they get a bit darker and darker and darker yet, it's how you create a sense of depth in your painting and a feeling of air and atmosphere of smoke and missed that kind of thing. So there's a few things that I would demonstrate for you now, I just thought I'll go through really quick introduction because I think it's very important for you to understand why tone is so crucial in a painting. And if you can choose between color and turn, always focus on tone. Color, I think comes secondary. And as long as you've got your primary colors, a good combination of warm and cool colors. Toad is the most important thing. People often ask what colors using for this area and that area. It's not all that important as much as how dark or how light that color is. That's going to be basically deciding whether your painting looks convincing or not. 4. Introduction to Color and Tone: So I'm going to move on now and I'll do a few little demonstrations just to give you an idea of what I was talking about before, because I think this is always the best way to learn. Okay, so I've got a blank sheet of paper here and I'll talk to you a little bit about colors and in particular, they relation to toe. Now, like I mentioned before, some colors are going to be very, very light no matter how heavy you sort of mix, how heavy that color is. So if you really use it straight from the tube, just like this yellow here, That's about the dark is that you can get even if you squeeze a straight out from the tube. Okay. And then you can mix a bit of water and dow lots in that down bit by bit. And you can see that decreasing ever so. And if you add even more water on the side here, you can see it almost goes completely transparent. Okay, bye. That's the largest tonal value that you can get from this yellow. And that Here's the darkest tonal value that you can get from this yellow. Okay, so let's go ahead and try another color. Hansa, yellow medium, okay, very common yellow that is often used. But let's try something like a blue. So over here, I'm going to mix up myself a very light blue. This is truly in blue. And cerulean is known to be quite similar, I suppose, to be yellow in terms of tonal variation, there's not a huge amount of tones, but I think it's still bit as a larger value range than the yellow. So if we go and this is just as thick as you can get it like that. And then I might drop in a bit of water here and move this across. And then still kinda move it across here. And you can see there is a certainly a larger range. Okay, that'll values that you can get from this blue, from pretty, fairly dark over here to very, very, very lots on that right-hand side. Everything in the middle here. Okay? But there's still not a huge amount of tonal variation, but let's try another color. Let's try ultramarine blue. So I'm getting a very thick mixture of ultramarine blue. And let's drop that in here, the top like that. Okay? And we can see already super dark as the darkest out of all three. I'm using it very, very thickly. And then I'm just going to drop in some water here. And you can see it start to spread out a bit more, a bit more water that's going in with some almost pure water over here and that right-hand side. And then almost again over on that side. So you can see the ultra marine certainly has the highest tonal range. Add up all of these colors. Okay. You can get really dark to very light. So often when I'm using dark colors or when I'm putting in shadows, you know, any buildings that are backlit and what have you. I'm going to be using colors that have a high tonal range because that means I can get in a really dock building are very dark shadow if I needed to or getting a very light. So the shadow as well, the probably the dock is color that I have here is a neutral tint. Okay. Which is basically a gray. It can mix your primary colors together to make this gray. And you can drop that in. You can see that it's almost almost completely black. Okay. And then we can add in some more color of water here in that right-hand side. Okay. That's an even better color if you're looking for something with a high range of tone, something that's capable of painting, something very, very light and very, very Doc. Okay, so now that we have an understanding of a color and tone, some of the inherent properties of some colors and a tonal range. We're going to talk a little bit about understanding light sources. So join me in the next video and we'll go through that. 5. Tonal Exercises: In this video, we're going to be doing a few exercises to help you understand the basics of tone. Already gone through some of the theory and some of the colors. And talking about value ranges depending on the color that you're using. So normally looking at warmer colors or lighter blues like Cyril the ends, but mainly warmer colors, burnt sienna, red, yellows, generally speaking, those colors have a more narrower tonal range and they tend to be lighter as you go down to the caller side of the color spectrum with your blues and purples, even your greens. And of course you've got the kind of brown and black colors as well. Tonal range becomes quite high. You can basically use those colors to paint very light objects, not very dark objects. So we're going to be going through, and I'm going to simplify this one down a little bit and will basically do a bunch of scenes and see how we go. So this one here is just a circle. I've just drawn a quick circle and I'm going to go through, and I've got a bit of violet here, very dark sort of carbs or violet. And basically we're seeing that the light source just due to the shadow I put in, we can see the light sources coming in from the left. So what's going to happen is that we're going to have darker tones running to that right-hand side. So I'm going to go in and just put in really almost the darkest tones here. Okay? And just getting in some small bit of the edge of that circle with the brush. And of course, underneath, well, where we've got the actual shadows. So let's just add in a really dark sort of shadow like that and lift off near the end. Okay. Something like that. Right. And it's all pretty dark on that right-hand side. But what we're gonna do is now just add a bit of water so you can see and now we're going lighter again until we pretty much get the lightest value on the left-hand side. You can even leave part of it white, but I'm going to color it in just so as to keep things consistent. Okay, so we're using the same color. Okay? And we can see already, you know, that that large value range with this cooler sort of color and even drop in a bit more color in the middle to try to get a middle range in the center. But on that left-hand side, we have most of the light colors. Okay? And basically this here is, in terms of light sources, you have to be very mindful of that when you're implying light is where you're applying the light is coming from. You're going have to make sure all the objects that you paying. I mean, it could be a person walking down this other side. So for example, we'll do these person here. And i'm, I think hey, let's put in some of the dock has sort of times on the right-hand side of the person because we want to imply perhaps a lot coming in from that left-hand side. Okay. Because simplifying this of course, because I don't have and they'll putting in any other colors. But as you can see, the darker colors and that right-hand side. And you can even leave it that way. Okay. And then maybe put in a shadow going over to that right there. And you can already see the effect that that's providing. You seeing that sort of lighter side of that figure in white. You can even go in a little bit lighter and just blending some purple, some of the lightest sort of purples there as well so that it blends a bit better like this. Okay. But it still looks, it's still the same sort of deal, okay, here, again implying that light source. So you always have to remember the opposite direction where that light is coming from. It generally going to have a darker shadow. I'm now sometimes you have a light source that's coming from behind a figure. And when that happens, basically a lot of the figure or whatever the shape is or object that you're drawing is going to be very consistent and dark color, okay? Because it's basically, you're having a lot of contrast. The light in the background is being blocked by this figure running through, so it's going to appear a lot darker and then the figures in the back. So we're going in with a pretty dark turn here. And also some people like to put extra darkness in the center and also a bit of light around the edges too. Okay, and the reason why you might want to put some light around the edges. Sometimes, sometimes you might get a kind of highlighted sort of look in this region as well. Especially with the, you've got sunlight or something hidden the shoulders or that kind of thing. Okay, there. And notice that the color of the shadow was almost the same darkness as the body now depends as well, really depends on, on the Seine. Some people do like to. Have shadows that are really dark compared to the body. I tend to try to make, find a balance between them so I don't wanna make them too dark. I want them to be roughly the same value as the actual figure. Okay? But again, it just depends on the light source. Sometimes you might have a light source and that's pretty weak. And so that shadow is going to be yeah, Just it's not going to be a very strong tone. Okay, do another practice, one on this figure here. So let's put it in a bit of water. For that right-hand side, we're kind of imagining some light coming in from that right-hand side of that figure like that. And then getting some darker colors here again. And that's going to look little bit like the light is coming from that right-hand side and see over this one, It's actually mixed in a fair bit. You can always do something like this where you're lifting out a bit of paints as well. And that's going to help increase that sense of light. And that side, you've still got a lot of darkness on that right-hand side. Again, you can go in and dropping some more paint if you if you wish. Okay. But that's sort of sort of thing as well. Basically implying a bit of light coming from behind that figure. And of course the shadow cast to the left of that figure as well. Okay? And I'll go through a couple of exercises here. That's basically you're going to show you how to adjust tone and get different tonal variations using wedding wet and wet on dry techniques. We'll do the wet on wet technique first. But what I'll actually do is actually paint this one at the same time. So hopefully while I'm done with this one, this one will have already dried. So first things first, I'm gonna just getting a really light wash of a warm color and I've got a bit of yellow here. So putting a little yellow on this side, I have some orange, a little bit of this connected to input orange as well. So putting some of these over here and that left-hand side, and it's getting some over this right-hand side of putting a thinner layer. So hopefully this does dry. Does dry a bit faster than than that one on the left. Case, I just mix that around. Too much water in there. Hopefully this will dry off soon. Ok, we'll come back to this in just a moment. Okay, but here on that left-hand side, we obviously we want to wait for these to sink in just a little bit into the paper. And what that's gonna do is basically create a nice Prime surface for us to put in some women wet. Okay, so you've got to look at the paper from an angle and if it's looking, It's a bit of a sheen to the paper. You know, that's good to go. Okay, so this is a pretty light tone that we've got in here again, instead orange and there's not all that dark. As much darkness is. You can get in with that orange him if I use it straight from the tube. Now what I can do is pick up a bit of purple and let's drop that in. And there you go. I mean, this could be a cloud, for example, coming through the sky. And you notice also within these Cloud, there's variations of tones. So this stuff out in the corner, it's lighter, right? But over here it's darker perhaps. And put a bit more there like that. Okay? It's also works quite well with abstracts. Do this sort of effect. Okay? Smaller ones below. So that allows you to get in a darker tone on top of a lighter tone. Normally I use this with cool and warm colors. I'll get the warm colors in first and then the, the cool colors on top. Nice contradictions and hopefully complimentary colors. Okay, so that's one way that you can do it. Now the second way is wet on dry. I'm going to actually dry this off first. So you can see this is pretty dry. And what we've done with all these other sketches, this is all wet and wet. So you'll notice that there is, you know, you can certainly make out the light on that right-hand side of that figure, a bit of the light in the left hand side of that figure there. But because we're painting wet into wet, those tonal variations will be gradual and they're not going to be sharp, okay, So you're not gonna get these edges like here. Now, what do you think's going to happen when we go in with a bit of purple here. Let's have a look. So it stays, it doesn't spread because that paper is dry. But now you can basically getting a little bit of a tonal variation there, perhaps to indicate who knows some mountains or something off in the distance. Yeah. I'm just trying to. Estimate, just guess something that we can put in there. Okay, and look at that. The edges don't move, they stay very sharp and when it dries it will dry with this same patents going to draw it a little bit lata, which brings me to the point of when you're painting in watercolors, everything that you paint is going to draw it a little bit lata, so if you want to get in a particular tone, so for example, let's have a look. Maybe this color here. Okay, If you wanted to draw this this doc, you're going to have to add in a little bit extra paint to anticipate for it to dry lighter. And it's not an exact science that really depends on the color that you're using. But generally speaking, you want to add just a little bit more, not too much. Okay. Perhaps perhaps that 10 percent less water into your mix and it should dry that color that you put it on. And you can always layer over the top as well. So it's not the end of the world if you don't get it in the right tone to begin with. Now, we're doing some little trees. And you can notice here that the term that I'm using here is very, very dark compared to everything else. And so what happens is that it brings that object, that subject forwards in the scene. Always remember that a darker tone, or draw forwards that particular object or subject. So in terms of a scene like this, we're looking at distant mountains. What you wanna do is go in with a really strong purple to begin with, because that's going to bring it forwards. And especially if you aren't these trees to stick out and look like the closer, it's super important to make sure that you get a lighter tone in the background. And it could be some rocks or something like that, that could be bushes here on the ground. Okay. That couldn't be even some other stuff here in the foreground. So other bits and pieces here, okay? Generally speaking, and this is what you'd call atmospheric perspective as well. Okay? And this is a phenomenon that we observe in reality when we look out at objects in the distance, often what will happen is that the objects will increase in corners, the colors will cool down. You'll get lighter. And the edges also will become slightly blurry due to the distortion and due to our atmosphere. So we're going to basically try to imitate that effect through these little techniques that I'm showing you. And they're not masterpieces, but they're just exercises that will help you to apply this technique and be more mindful when you're painting your scenes. 6. Simple Monotone Landscape: Interesting, say in a very complicated scene. But nevertheless an interesting scene that we can use to practice some values. And one of the things that you notice is that the light source is not a 100 percent, uh, parents. So we would kind of have to really focus in and see where that light source is coming from him. If you notice that booty on the far right, you see it's completely illuminated. Okay. So you'll notice also that there are shadows cast from the left to right from that large middle building over to the back section of that highlighted building on the right. So that implies the light sources coming somewhere from the left side of the scene. Same thing goes with those small little figures, the pedestrians and the bottom left-hand corner of the photograph, the aloo dark in some kind of shade, again suggesting that the, that the light source is coming from the left. So we're going to have to suddenly exaggerate things here. Why porn exaggerate out the tones? Now, firstly, we are going to get a quick preliminary sketch in. One of the things I want to do as well is I want to raise that horizon line a little bit. The reason why is because there's just so much detail in here that I think that would be able to just get in a little bit more structure and just kind of narrow into things, maybe some larger figures by just raising that horizon line a little bit. So I'm putting it in like that. Okay, and the next easiest thing to do, of course, is the side building. So let's simplify that down. It's just one shape that comes all the way down like this. Okay. Something like that. That building here on the right-hand side, roughly the same height as this one as well. That comes down and then just goes off all the way to the distance somewhere and then again hits the ground decay. So that's the gist of this building here on the right. Again, it's not a 100 percent accurate, but we've got a basic indication there. There's little signs really, this is just separated out into rectangles and squares and all that kind of jazz. There's a large a tree here also running it from the side. It's kinda hard to see, but there are some figures you've noticed, just a whole bunch of them kind of standing around it. Very small sort of figures. Way to cross the road or what have you. I'm just drawing in a few here over on that side. Okay. And probably the next easiest thing to do is this building right at the center. And you see that it starts roughly in the middle of the page, so I can start drawing a line up. Okay, and the building is taller than all the others wrote about here. Then this Gideon, that sort of section, It's an interesting looking building. There has an edge on that side too like that. And then it just comes straight down into the ground like that. Left-hand side kind of comes out to be like this. And then of course comes down as well like that. And then we're going to put it in a few bits and pieces here. Like that. There's a bit of darkness here. Again, we can leave that for the watercolors, lighter. But again, focusing on tone. If we really try to simplify this down, you'll notice that the really just a lot of dark colors running across that area of the scene, even the right-hand side of that building here, we can do little hatching like that. Okay, so pretty simple hatching kind of pattern. Let's go ahead and draw in a basic outline for some of these buildings here in the background. And again, they don't have to be perfect. Just a indication of what you think might be there. I'm going to bring up these other buildings here, connect them on to that one like that. Again, it's no big deal. The detail in here, we're just trying to look at mainly just the tones running behind there with a very light or dark. And we can really just simplify all this down almost to just one and one time like that. Okay. Normally I wouldn't coloring this much with the pen, but I just want to highlight for you the exaggerated sort of shadow pattern that we are working with now these cars, we've got to put them in the sun. So that's one thing you can do. You can sort of cut around the causing, leave a bit of light on those ones as well as figures and people kind of walking towards the scene here on that side. They're actually pretty far away. But one naught, Let's just put in a few more that are getting a bit closer like that. Okay. Maybe another car perhaps coming a bit closer. Like here. There. We might have a coffee and we get this. It's like a cab or something like that facing sideways and it's just going through the same. It's not a supermarket car by any means, but it is a little college is going through maybe a shadow coming through like that. I also think perhaps a shadow patented more obvious shadow pattern here would be good. Okay, so something like this. We've also got buildings and things over here in the background, just putting some of those details there. And then of course, this big block of buildings here, we can just simplify that down. Because a large sort of toll of building here runs through this. So other complexes running through here as well. More bit of a screen or something like that here. Okay, and then of course next to this one, we now have the last sort of building here that connects on with these bigger building. Right in the center of the page. It's all just shapes. So just very simple shapes essentially. Okay? And they kinda connect dominant form, bit of darkness behind here as well. Okay? Darkness underneath these buildings and what have you. Okay. And here's the shadow pattern coming across like these, these kind of imagined shadow pattern that I've been drawing. So he just drawing in and scribbling a few figures. What have you down that side as well. Okay. And we can also just tried to gain some little shutters here for some of these buildings maybe just caused across like that. Yeah. Okay. Maybe some videos shadow pattern on this building here to like that. Again, but it really, this is simplest way to do it. Now let's go ahead, let's go ahead and adding some colors and bring out the basic shadow patterns here. Now, I'm going to be using a round brush. This is number 10, round brush. And simplification. We're going to be doing this only in one color. And the perfect color for these right now is neutral tint. You can also use, You know what, I might actually use some neutral tint plus some purple. So it'll be mostly kind of a purply because I know this is common. Dopa was very as a very, very strong value range. So it can go from soup adapt to very, very lot. So I think this is a good choice actually. Getting bits and pieces like that, leaving some of that shine on the windows. I mean, even on the top here, this isn't really is bits of the building. So to showing through like that, they're okay. And then we've got this darkness running behind there. Let's lighten up some of these but still keep it fairly dark here. Okay. And the main thing is I just want to preserve if you look on the left-hand side of that building, there be light. Okay. We salt in there down a little bit with some water there. But really running through the center here, you've got a bit of bit more dark color, okay, maybe here, the base, here, the base for this building as well. Maybe here. Okay? And we're going to create more shadow patterns on this building here. Just really basic shadow pattern. And notice that they're not, There's not really much, There's really not much, much color in here. Just a bit of okay, so go through and we'll just put on some more color running to create a shadow. Kind of imply that this building is casting a shadow onto the right-hand side as you can see. And we're going to be consistent down the bottom as well. So dark and off here. Okay. Doc and off there and you're going always feel just walking like that and that's going to be a nice little shadow. Even the cars little shutter running towards that right-hand side. This one here running across the ground like that. Okay. They're always just keep varying the amount of color in your mix. Okay. There's some legs here for these figures and notice it's still pretty dark. I'm going a little darker in the, in the foreground because these objects are closer to us. Okay, you know the figures and what have you and get through and we'll go through this background as well. So you notice all the stuff in the back here. I'm not done as dark as the the bits and pieces that are getting closer. Okay, then we will go through, let's put on a bit of color for this one like that. And this can be kind of, again, the shadows of this building maybe cost on these Fielding here. But I do want to leave a fair bit of light coming through. You can even put in some lights, some darkness and the right-hand side of those buildings to imply that light source, I'd be better. Okay, Let's have a look for these buildings now. They're going to be pretty much in darkness here because the sun is just behind, so I'm going fairly dark. And also because they are closer to us, which will make them APHAB, DACA, lot in off the ones in the background as well. Again, just to help increase that sense of depth in your painting. Often know I'm a lift off paint if I feel like an air is dock to make sure that I'm preserving, preserving a sense of what they're okay. Now for the sky, I'm going to just use a very, very light wash of this purple. It's so, it's so light. In fact, I'm probably using 5% of that actual paint. Okay, now I want to get a bit of bleeding into this region because the bottom and beats already dried. But that's really how lot you have to go there. The only other air, the painting which would be lighter, I would say is the ground just over here and cut around this building. And notice cutting around this side and we've left that white on there. It brings out the contrast and that's on the building. So that really helps. We're going to be dot there and that's sky, but that's okay. We'll just bring this down. It's very, very light and often begin as make the mistake of painting the sky. To dock. You have to you have to keep it pretty light in the sky. What I like to do is also add in a little bit more color in the top section of the sky as well. It's a perspective technique because what happens is as you, as the recede further into the distance, the sky, she gets lighter. So further down the horizon line, it actually gets lighter, marginally lighter. So by doing this, you're creating depth. You can already see that I don't think the kinda look like clouds. If you notice the clouds that are closer to us and normally appear a bit, a bit darker, a bit more detailed in the shapes, a more formed. Okay, so that's what I'm trying to do here. There we go. Now, this is still a bit that standing out and that's the ground. The ground is just to kind of want. So I'm going to go in and let's add in a little bit of this sky sort of color like that, then I have to do this. You can, you can also just leave it white, but it's, it's just a personal choice that I have. I want to darken that down a little bit like that. Okay? And here we have that. We have a very simple sort of a sketch, okay? A tonal sketch. But it's really quite easily implies a bit of light coming from that left-hand side, casting a shadow towards the right. So really from here, it's just up to you how much extra detail and things you kind of want to you want to add in. Sometimes I do like to emphasize, especially underneath the shots, extra darkness. You find them little bits of dark. Kia. Any way for me to create a little contrast to make things more interesting is certainly always welcome as even trees and things here as well. But we'll trees because I'm only allowed to use one color here. Okay? But all these building here, you can see it just pretty much just in a lot. 7. Simple Colours Tonal Landscape: This photograph here, it's an interesting photograph because we've got quiet, strong contrasts and two different tones. Essentially you've got all the light tones here have been on the lot area here for the path or the roared going through to the back and we've got the darkness running underneath the buildings and just behind as well with some of the trees, some of these polls as well, you notice that they have little bit of darkness on the right-hand side. So this is great practice for a tonal piece. And I'm going to go through how I do this in the painting. So firstly, we need to get in the drawing. So let's go ahead and let's keep it's pretty loose as well. I'm going to draw a line about halfway through the page like this to put in the horizon line. Now there's actually a little bit more sky then there is land. So remember to just leave a little bit more up the top. We'll do some interesting wet in wet clouds, perhaps, maybe some wet and dry areas as well down here. So let's, as we leave, we would have that the watt and the paper, but tonally this area of the sky and the ground and pretty much the same, the rooftops as well. Now, we'll go in and I think the easiest thing to do really is just to getting the path. Now we've got a bit of the pod coming in over the side like that and all the way down to the back and disappears behind there came and we sort of comes forwards here. And then branches all the way. Branches all the way up the front of the page. Comes down here. This one comes down and just goes forward right about here. So a little bit right to the center of the page. And we got it. We have a bit of a path. I think what would be nice as well as if I put perhaps a car and HEA little bit further down, It's just I'm just estimating, estimating out and middle concha. It's just a box. Just think of it like a box sitting up there. Maybe we have a car also coming forwards and this side, so putting it in another one here, just like that. So we've got three cars coming through. This car. I'm putting a little bit close down the front and just want to have one that is closest to the front of a scene like this, and we get a shadow running towards that right-hand side as well, but just a little indication of that one and calm maybe in front over there. Now you'll notice that because we're on an inclined position where the hill basically you had a hill at the back, the cars will appear just below the horizon line. And as we get closer to the top, they will tend closer to the actual horizon line over this. That's the way to imply that we're kidding uphill. Now, time to get in house here. So I'm going to roughly put it about here. Just go ahead and put in like a kind of rectangular shape needs of the road just like this. And then we'll go in and put in triangular roof here like this. Okay, I'm coming off that edge and there we go. I've got a little house all hots or something like that around the side of that road. When to make a little DACA underneath those sections. And of course, we actually have some fence posts and things just running across down the road as well. So this is what I'm doing, just putting in a few and try not to be too perfect with how they look as well. It's better if we keep it pretty loose. Okay. But remember to increase the size of them as you move closer to the front of the page like that. Now we've got a couple more things to put in. Are you going to house here to put up needs of the edge of the road? It starts roughly here. Okay. There's a little section of the roof top here. And that kind of just extends beyond the horizon line. And then there's another looks to be as a secondary kind of house behind overlaps and bit like that. Okay. So we do notice that there's a bit of a shadow running towards that right-hand side of the house. Along with these larger shadows as well. This house here behind is going to be interesting because it starts just about on the horizon line. It's not, it's just about on the Just 100 to look underneath the roof. The air underneath the roof starts on the horizon law, but you'll notice over here it actually, and in it goes up again. So sort of sitting out of it, sitting on elevation and part of it's sitting Loa but need to worry too much about that. Go in and just putting that sign there. Okay. That's the sod of the house like that. And again, similar to what we did for that one, this little triangular section like that. Okay, and the edge of the house, here, it is a bond. Well, if some solar is definitely in the house. Okay, And behind, of course we go Some Trees, so little errors to mock him out. Like that is some trees back here as well. Okay. So we've identified all the kind of light areas which are basically the rooftops, the road B to these grasses, golden yellow we looking dried grass and then the dark areas which are underneath the buildings, the shadows mean caused the right, of course, and some of these trees. So let's go ahead and get started with the painting. We'll be starting off with a number 10 round brush. And it has a sharp points, makes it a lot easier to work with. And let's go ahead. Let's do the scarf. Is it a Simulium strip that in and you know, a little bit of neutral tint perhaps as well in here, would love to have some grays if I could mix up some that would be nice. A bit of yellow and a bit of red and a tiny bit of blue here creates a kind of a grayish color like that. And we can drop some of that in the sky. And the rest of it. Making kind of leave in, use the cerulean blue as well. To cut around some areas. We just want it to be nice and light. Softness in the sky. And pretty much the most losses sections of the painting that there is a Cloud I've just decided to put in a lot of cloud at the edge. We can do the same here. We can just sort of get a rough edge for that cloud and then perhaps another one underneath here like that. And so it kinda leave that to dry a little bit. And then I'll come back to it in a moment. So back here, a little bit of gray, bit more blue bit of cerumen in here just to get rid of that lots of paper off. And on the left side we've got a soda light blues in here, just like as nice. What's cerulean? And the sky. These fantastic. And dial it down a bit more, the base like that. Okay. That's looking pretty good. Let's pick up a bit of this gray and see you. I'm just dropping some of that into the clouds and some areas connected on in places as well. Okay. We've got this broken sort of cloud like a fit which is nice or roughly That's all around the same tone, except for the day, which is the lightest of the whole scene. So I'm going to work my way down the page and I'll go to beneath the sea Grant's one of my favorite greens I've been using these days. And it separates out nicely into a so another blue and gold and green color. So I'm going to add that in here, the back like this, that bid like that. I'm going to actually leave in the roof top, we'll just leave it in that color, which is essentially just white. And I might drop in some a little bit more color later, but exaggerate that to also getting a little bit more darkness on this light on the roof is I'm trying to say so. Some of these will go up into the sky like that. There. If it's foreign that an inner is too sharp, you can also soft and down a bit like that. These areas, I can just drop in a few little indications for trees and stuff here on the horizon line. There. You can always get it a bit of mutual tint as well if you want to dock and off some of these trees more, I do find that the trees in this section on a quiet, certainly quite dark. And I like to have these granulation also. So I'm going to just drop in some more darker color and hope that my granulate out a bit. Okay. Drop that in here, a little bit more darkness on that age. Do notice there are some trees on that left-hand side as well. So it's putting a bit over here. And the and it helps to yeah, I just drew out the edge of this building as well. So it does make a difference. And again, let's move down the page. I've got a bit of this color called causal. Quinacridone, burnt orange and diluting that down to like a really light mix. And the quinacridone means at ease, just a really beautiful color to use in lots of areas. Hi, granular sites nicely. And I do want to make some of these Kronecker dine with a teeny bit of yellow ocher, yellow color like that. And we'll just want to get in this kind of golden look to the ground. The ground, but basically the, you know, just, just basically the crops and things here. Bits of grass. Okay. Say it's what I'm doing, a lot of cutting around. And some of this green, as you can see, as you can see, it's actually moving down the page as well. But that's her OT and I'm cutting around the road. We'll be cutting around the road. Okay. Trumping. You will notice as well in some areas that it is a little bit darker, say, and becomes more of a greenish color hue to the left. And we'll just make some more of that orangey may still want it to be fairly light. Okay. Cut around that building like that. Move this console. Orange color. Quinacridone, orange cone you callosum, cut around the cars. Bring that down. Here. You can already see that green start to granulate out. Create some interesting textures. That saves me some time painting and textures that you can't really paint in any way even if you tried. So I'm bringing that all the way down to the ground. Here. I'm also adding a bit of these white. It's a Buff Titanium, essentially just into the base here with the Kazaa. But I'll leave in a good chunk of that road because we want it to be still pretty a lot in that area. And what I can start doing now is basically adding on some weighting with beads. We know that we've got a I don't know, I like a bit of grass or something heading across there. Let's have a look where of where else can we put in maybe some bits and pieces here. Just dropping a bit of grass or something. Just some Winning Wit work. Some quick waiting might work. It doesn't take too much effort. Do have a lot of this green, darker green, then I can just drop in here and see what happens. Will spread out nicely. Near to the, this little shit would be good. Okay, great. We just draw out the edge of these. We're getting a bit more like that. Okay, good. So now what I'm gonna do is I'm going to start working a little bit on the buildings and the cars just put in. I'm a bit of texture to the verb, but I'll draw it off quickly into the building. Now. I'm going to pick up, I want to pick up some scarlet powerline Scala ID. And let's mix it in with a bit of Ben Sienna, because the bent Sienna is going to mute this down a bit, as well as adding in at tiny bit of these neutral tint. And then we have it. I think we've got almost the color of this building. She was a kind of a very muted down red color in the background. So I'm going to paint that in quickly like this and cages the underneath the top of the building like that. Of course, we have got this area here, runs around the back. The comes down like that. Here's towards the left and it was cut around this building as well. It'll be on the foreground. We're just trying to get in that general shatter shapes that don't worry too much about the accuracy just yet. Okay. But certainly be accurate enough to cut around the originally that roof white cup down there. Cut around it. This roof here below as well. There we go. Bit of extra darkness if you think it needs it. This one here, we'll do this one like that. And I'm using about 50% to 70 percent paint and the rest water. So that's how I'm getting a really dark tinier and tinier. The colors I'm using also have a naturally dark tone to it. Some colors, it doesn't matter how thick you use it. It's going to, it's still going to look pretty lot. Example being most yellows and, and most surreal Lean's turquoise kind of colors. So there we go and we'll do this part of the house now just the middle and cutting around as usual when leaving a bit of wives on the edge of that roof. But really all of it is just these columns doc, this dot and this running around going towards the ground like that. Then a good thing to do now is also to start getting in some of the shadows and the shadows and things running around the back so I can do that quite easily. They just join these building up and on the ground. And to move connect towards the rot there. There are some trees and shadows and things off in the background. I'm not want to add a little more blue in there too. Coming through the path, that kind of thing. Then what else do we have? These building here? Bit of shadow, a bit as shredder running towards that Ryan side, but this one here runs towards that end. Rot Saad are the same. Like that. We've got some little pose here in the foreground which I can just join on like this. Okay, and not to forget these cars as well, because we do need to getting a bit of color for the cars. So I'm going to go around the back into the camera here and dial this down, the color like that. And I'll just color and a bit of the rod side of that car as well. Okay. Using a pretty dark, neutral tint. Almost the same strength is that okay? Bring it down and then we've obviously got the wheels here at the bottom, which we need to connect up at the base like that simple connection at the base there. And there's also another car in front here. It's coloring that in a little bit. And then at the same time, we can put in the shadows. So that's one kind of hits this carbon and that car runs all the way crazy shadow to the right-hand side. Okay. Roughly. All these as very similar time. And of course we've got little blue poles running, wooden poles running along the side like that. So taking care to get a mean and somewhat accurately. And of course, a little shadow for these pose is quite important as well. So following that same structure, just bringing that across legalese. Some of them can kinda skip a little bit, but something like that. Okay. And running towards that right-hand side, I don't know what this is. It looks like a tree stump or something. Okay, good. So that's essentially the gist of what we want to put in here. Now for these other areas on the left and the right side, It's really just trying to find areas to put into big texture. So I've got this little brush, Xia, little fan brush, and I'll just be experimenting around a little bit to getting just this, some textures and things like this. Can you just do these little orange and a bit to the left of a gray on the palate. And that's what I can do. I can getting some smooth marks just basically indicating some of his garage and it's a very lot time, very light. It's almost 8080 to 90 percent. And very little pigment in there. Okay. Bit more of this yellow. It's basically they do them. Yellow RCA goes up near is like this. And here, peak mole here on that side. Yeah, so it'll kinda joins up a little bit. I know it's quite simplistic. And that spend more time on it. If you want to get more details. But this helps to kind of connect up the whole scene. So it's important to have some of this going on like that. Okay, Great. So we are just about done. Soften off this back area a little bit of shadow just looks a bit funny. Running across that right-hand side from a soft and it off a little and give it a dry. Come back to it. Okay, some little finishing touches to put on the really dark tones in here. Another thing I do want to Adyen is perhaps a bit of blue for these wind screens. Just an indication here for the wind screens of the two cars up ahead. There's there's one there as well. We can put in a bit of paint there. Just something different because there's no coolness near the ground. So really just looking for some bits and pieces to tidy up. I mean, caused not really much we can do for them. Just want to reshape, perhaps try to reshape that one a little bit. Because you've got these poles here as well. And underneath the the buildings in the back, you've also got like a little bit of little bit of darkness under the roof. You roofing areas like that. Then a little bit here. Just bringing out the doc has bits of the painting. You've also got close doors and things. So that's going to be a dole. Then one here. Shape this car little bit better. Put it in a few, little, few little birds up and up in the sky. And the other thing you can do, some of the trees, you can, of course, getting a bit more detail by using the side of the brush and a bit of neutral tint to dock and off areas to get it as just mult takes choose. Here in the background. That's probably too much. The habit. Mole, the dry brush technique like that. They're running around smaller branches maybe going up like that as well. Okay. It's more of a a bit of practice as to getting it you'll largest and darkest times correctly rather than Amy for complete accuracy and all the shapes. But I hope that's helped out. 8. Boats and Sunset: Painting: Okay, I will be doing a quick little boat. Same is three bytes here. And it looks like the sales. Down on all these buds. I really like the reflections and how they sort of, you can see that the mosques sort of reflect into the water, these wavy sharp reflections. So we're gonna go ahead and give this one a go. And the drawing would take too long at all. We just look at the horizon line, it's about halfway. Halfway. That's just draw a line halfway through the page in the background. We've got all kinds of things in here. And really what I'm going to do is simplify down. We know we've got lead to buildings like these tiny little buildings running across the background like that. You've got a bit of a hill, the couple of trees, a lot of it's just gonna be reduced down. Okay? But if you look really close in the background, there's actually some hills running just on the back like this. And there's one over here as well, kind of hidden in the midst. So I'm going to just carry this one up towards the back there. Okay, that is done and we're going to work on these three buds now, we need to work out the position of these buds. And if you look at the backside of the birds, you'll notice that the kind of a rectangular like shape and they kind of finish about halfway down the water areas. If you look at the horizon line there, halfway roughly halfway down is where this boat finishes off the back end of the boat anyway. So we can use that as a guide to draw the shape of that boat in like that. Then of course, some little details on the boat. And at the end of the day, we just look at this as very simple shapes. Okay, so that's one in, and I'll draw a generic mosque going upwards like this bit of darkness into the back of the boat. Okay. Like that. The shadow here underneath the reflection, I'm not going to bother too much with it. I'll just outline generally it's location or something like that. And we are essentially done. Okay with that. One, will go on to this other one here, to the right-hand side. Pretty similar height-wise. The back of it finishes ran about the same point as the other one as well. It's a slightly different shape to the back of his throat. Something like this. And it kinda comes out like this. There is a section here and the back like that. The side of the boat here, here. And the front of the boat here. Just like that. And we'll get the mast going up into the sky. Here. That section, there are a few little bits and pieces of that boat as well. Make that a lot of it is white except for the back and the side. Then I'll just put in at the last one, roughly here in the center. This one is the easiest to putting because it's sideways. It's not too much three-dimensional shapes that we need to get him something like that. It actually goes further along towards the right-hand side, but I'm not going to bother too much with that. So we're just getting a little bit of that side was ankle that boat, There's some windows there. But again, I'm just indicating them quickly. The mast up like this, the mass is going to be a little shorter than the other ones because that boat is of course, further back in. We've got objects further back. They're going to appear smaller. Little indication as well here for this, for this point here in the foreground. Just a little sort of reflection there, something like that. There's also some smaller boats here in the background, little ones. And I'm just going to outline just like that small little areas and we pretty much ready to go. So first, I will just go in with some warmth. Got some puzzle orange, lovely granulating orange that I got recently. And it's the early granulating orange that I am aware of. So I'm pretty sure. As curve is orange, It's quinacridone burnt orange. And they used to make these color actually in the automobile industry. I don't think they actually make it anymore, so it's quite a rare color. I don't see many paint manufacturers actually offering this color. So it's something I thought I wanted to try out. And it's, uh, it's quite beautiful the way that it granulate out. And it's not, it's a little more subdued, so it's not as vibrant. And out there is a pyro orange, purlin orange, that kind of thing. So there we go. And just putting in a few little indications of these houses here at the bottom. There's not much in the area. They just did a little bit of color. The car was all here in the background is just to indicate a little bit of this kind of sunset. Okay. Now, I want to make sure I wet this down. I don't want it to dry. As I move up into the sky, I will be picking up a little bit of purple. So this is imperial purple. Put that into the sky like this. And then also what I'll do is be using a little bit of cerulean, cerulean blue off the top. So then that all nicely together. I always like to put in the warmer colors below first. I find that the warmer colors just have a higher tendency of mixing into some form of green, which I don't really want to happen. So I'm taking a bit more care with that. Now I've got a bit of carbs or purple here and I'm just dropping it in to indicate these distant mountains. And also what we can do is use them to kind of cut around some of these buildings and things that bottom. Okay? But actually as we get down to the bottom, that's going to need to be a lot stronger. So what I'll do is while we get in these, some of these background shapes here. And perhaps you might want to add in a cloud or something like that. Input in a cloud here as well. Okay. Larger sort of shapes. And while the paper is wet, it just melts in. Looks quite beautiful. Let it do its thing. Now. Moving further down the page, one of the things that I mentioned was I just wanna make sure I create extra darkness here. I'm going to pick up a bit of undersea green now this green is a combination of quinacridone gold and ultramarine blue. And it creates a beautiful granulating color. And it's separates out amazingly into some kind of blue and green, any sort of mix. So I'm going to drop that in here. And you notice I'm doing a little cutting around some of the buildings, that kind of thing. Just dropping in that color as such. Here. Here. Okay. Making sure that we've got extra darkness at the base. And we have extra darkness at the base. This is of course going to bring forwards some of these objects and the objects, but they basically houses and basically houses. So there we go. That's looking all good for now. And what we will do is we want to bring down that Cardozo. Love your carbs or orange and I'm going to have carbons orange and maybe do just use any other orange that you've got. But I'm going to just drop that in at the base here. And you'll notice it's wet in some areas still in the buildings. Don't worry about that at all. We just want to have a flowing kind of wash from the back downwards. And you've got some boats in here as well if you really want, and you can leave them out. New white like this. Certainly going to cut around these larger boats as well. In case a little bit more orange, but it's amazing, subtle. And it dries off with that. It has this golden, beautiful golden sort of color. That extra touch that I just can't seem to get with other oranges. So carrying this all the way down, keeping it very, very light. It's not much rain here or down even into the shadows here. And that's really dark, that cobs all He doesn't matter. He calling it color's orange, It's quinacridone, burnt orange. Fill here. Here. Okay. Now around this stage, this is where I want to just adding in a little purple into the water. And especially here at the front, we've got a combination few different PRB was actually on my palette. I'm going to be using this up like that. Especially in the foreground. Having it blend a bit here and darken is going to help with that perspective. Okay? Looking through, now, of course, this is what I'm doing. I'm just putting some little indications of softness in the water. This is a good time to do it when the paint is still wet. Just drop in small indications like this. Then here in the background, here, here on the sides as well. And Destic router. And I'm not gonna touch that anymore. I mean, we can also put in a bit more at the bottom, but apart from that, I do want to keep it quiet. Basically swash. Okay. But you can always go in through the back and darken off more. If you like, add some more of these waves. And two, you feel happy with the final result. So at this stage I dry it off a little and we will get back to finishing the painting. Okay, we'll be adding some of the cooler colors now on the buds. And I've got some ultramarine blue, which I'm going to use here for the back end of this boat. And I'm actually going to make it pretty dark, almost the same darkness as the reflections. And to do that, I can actually add in a little bit of little bit of neutral tint. So there we go. We got to back area like that of the boat, and then we've got a strip that just runs across like this to that front end and the North. So this bit here that runs across sot of the boat and goes up at the end. It doesn't have to be perfect, but just that inflection at the end is quite crucial. But I've left a bit of that white on there. So you can see this grid of sale or whatever it is. It's darker as well. Okay, so a little bit of that blue in there. We'll do the same thing for this one here. Just a quick stroke here for the actual boat. And Peter darkness underneath there. Here, here and here. Okay. So that's about the bottom section of it and the top I'm just going to really leave as is. And we know that there's actually a little a sale here as well on that boat. Okay, fantastic. We'll do a bit here. This bird has a little cell on it to 100 and know what it is. I'm not an expert with birds. So back into the boat. Bit of that darkness here and a bit of that backside here like that. And then of course, line here, line here, just leaving a little bit of that white in the center again and finishing it off here, the front and more neutral tint I'm going to use just the basics are color here. We can also use a bit of a brownie color here for that back-end of the boat, something like this. Bring that down but we want to leave a fair bit of the white on there. It's actually a little more little warmer here. Put in a little bit of a warmer color. Okay. And then inside the boat, it's actually just a very light, cooler color inside, just like that. Man is a window here. You kind of just finding areas that you might want to darken and lighten essentially. But a lot of it is just what okay. So we've got that in now. I'm just going to start putting in shadows underneath and get your neutral tint bit of ultramarine. Okay, and we're gonna do this all in one go. That's the bottom of the boat here. And of course, that side here, we're going to just getting more color here. The bottom, the edges of the bird do have this kind of You can see that the waves just sort of flay out a little bit from the sides like that. You might have some bits of the water just showing through bit of that previous color there, the orange. And then of course, we've got the sale, which I forgot to put in, but we can do it now just in a dark neutral tint coming up at the top like that. Then the boat there. And of course, this reflection of the section there, the mast. Keep forgetting the terminologies of what this is. So yes, this thing. So anyway, we're going to go in and put in this sales mast here. I really need to learn my boat terminologies. Afterwards. I'm going to have a read. So we're gonna get into this under the underside here as well. Just this darkness that blends little with the boat. Again, leaving a little bit of that orange showing through. Now the shadows. You'll find that the boats in the background and not going to go and extend down as far one. And we have a little bit like that. Okay, tiny bit, however, this mask will continue down like this case suggests, take a bit of care. You only get one chance to do this. So you have to be pretty deliberate, pretty deliberate, and accurate when you're measuring it out. Okay. Here's the other bit here. And again, following that little guideline that I put in for that shadow, That's pretty dark now this is again some neutral tint. And I'm trying to blend into the boat and the edges of that boat there like that. Okay. And we will carry this down again like this. Okay. It's not perfect, but good enough. And we will get in the mast, which kind of started out here. Okay. Stops on top of the boat there. Then we have a reflection again, just carrying down the page like that. Okay, By this point we are, we are almost finished, okay? The only other thing you might want to do is add in some little bits and pieces on the boat. Little areas of darkness. And I often dry brush as well. Use a little dry brush to indicate some details on the boats. And there's some windows or something like that. Another thing you can put in is these little rails and stuff here. I think if we got a little smaller brush like this, would help a little brush to put in small details. And if it blends, then don't worry, because I think it's going to look better if it blends anyway. There we go Just a bit there. Some of these are kinda connected obviously that it's connected up a bit there. You do. Notice also on top, the masts have sections which actually come down and connect onto the boat. And the trick would bes is just to leave them with a kind of broken edge in areas so that we don't make them look too obvious and sort of stick out. Kinda makes it look like the light is catching on as well. Really helps if we do this. Okay. Dr. Rush is your best friend here with a dry brush. Okay. That top bit, I've indicated that too much as you can see because of matter there. Okay. We're almost done. The only other thing that we can add in as again, these little smaller boats here and background which I will just put in some basic details is not even much there, but just to indicate that yes, there are perhaps some other smaller boats out there off in the distance. Okay. And you can even do some that weren't drawn in as well. The bits and pieces here in the background you can pretty even Windows and some of the buildings if you'd like. I wouldn't suggest one suggested to do too many of them, just a few here and there. Of course, a bunch of birds and will help bring the scene together in terms of getting that sky to connect on with the land, creating a bit of interests as well. Okay. And and we're finished. 9. Boats on Harbour: Painting: Okay, so to start off with, we are going to be doing a sketch of these boats. And one of the things that we want to have a look at before we even start sketching is what are the areas of highest contrast areas of light and dark? Essentially ODE, I guess in terms of contrast where light areas interact with dark areas come very closely. See in the middle here, basically where that second, third boat from the left is. There's almost a very high contrast between the white strip that goes across the front of the boat, across the sides and in the bottom of the boat. So you do have obviously the white of the tops of the boats and contrasting with the blue beneath. And also here in the water where we have a darker reflections going through the water. And mostly. 10. Flowers: Painting: Here's the same with very, very obvious contrast, and I thought this would be a good one to do here. And we do have almost like a sliver of light just running across dive from the page and there's a shadow account of cost was left. But really almost everything in the background is dark besides that allows, those are some little bit of softness and the flowers in the background. So let's have a go at this one. And I'm going to get in the cup just a basic indication for the opening of the cup right here. Now you're not going to be able to see much else. Certainly say, have a look at it and estimate rough ER, the rough size of it. And I'm gonna go and read about that and I'll put it in the bottom of the cup. Say roughly you read here. Okay, comes up. She comes down more like this. But look, it's a cup. There's many of them, so we don't have to get it perfect. Long as it looks like a cup and you'll be fine. So main goal here is just to practice tones and understanding light and dark tones to bring out some extra vibrancy in your scene. So there we go. There's a basic carpenter. This one kinda comes all the way down. It actually goes further down, but I'm not going to I'm not going to bother too much with the specifics here. Okay, Now we have some flowers and these ones are just some other little daisies. And so we can just putting a bit of detail like that just for the pedals. Now, very quick pedals is not much. Then I want to put in there apart from just a few little ones. And then you've got some here in the background which, you know, you've got the center part of the flower and then the petals coming off them as well. So putting in a few in the distance, there's actually many of them. And the challenges to keep them separated just enough so that we can paint them in almost individually, but still have enough of the shape that joins them together roughly. So This little, these little stems and things I like how they come out from these tiny little dots, these little branches or something like that. So these are very nice and might even get another one coming out here and there's not one day, but let's put one in there anyway. Above here we have kind of yellowy sort of flowers and then more of these daisies over here. Most of them are just white in color, so there's not that much that we need to do. And we're just going to leave out that white, then initial wash and perhaps use some titanium white in some sort of Tao. Bunch of down. Really had that sort of middle section and that's about it. The rest of it is just these tiny of a the yellow flowers. I'm not sure what they had actually, but they're quite beautiful. And then you've got these kind of stems or whatever you going over to that left-hand side. Another flower here. And another one here has like a few kind of pedals still attached. And again, this sort of come down another large white flower there. Okay, So mostly these are white flowers, so we don't need to do all that much to them. They're some yellow ones here in the back. We can change the colors around too. If you feel certainly that they too boring for you, you want to add some other colors. Certainly, certainly do that. Okay, So that is essentially the shape that we're looking for. There's not that much to it. And in the background, essentially that's all pretty dark, but as long as you have the cup, general shape of that copying. And then we can use that and basically cut around the cup for Omega and k. So we've, again, we've got these kind of wooden boards in the background. And, and I know some of them just sort of cut through here and here sort of thing. Okay. And then we've got the it's kinda like a table then the copies on coming through here like that. Okay, and that's, that's about it. I mean, you might want to draw out the handle of the cup a bit more. But apart from that, there's not all that much that we need to add in here. Maybe the flowers, the shape of that cup. Okay? And we can get straight into it. So some little colors. I'm using a number 6 round brush. And I'm going to pick up a bit of lemon yellow. That firstly, I'm just going to clean off this brush. There's a lot of previous painting there. Go to be careful. It's a bit of yellow here in the center of the flower. And some of them here, here, here. Now you can also just splash a bit of paint here and there on the page and just let it sort of move around a bit as well, okay, But notice just the very basics of bits and pieces in here. You'll notice also that there is these little, these tiny little flowers I've descended here, which I can just do a bit of autonomy of capping to getting some of these flowers quickly, something like that. And we do have these other flowers he was around just putting in a little dash of color here. They test take. We do also have some greens. So I have a bit of this undersea green here. Actually. I'll use a smaller brush and maybe a rigger brush would be better for these actually bit of undersea green. And use this to join up some stems and bits and pieces. That's true, Doc, we're going to pick up some lotta colored green. This is basically just sap green. That's better. Okay. Good. It's getting a few little stems and things we mix in a bit, a darker green as well at times they came but you want to just getting a few the stems running through the same. And we can put in a bit of purple in there as well, just a dock and some of these stems. But keeping it very loose, as you can see, very, very loose. Just to getting some stems to join up with the flowers. It's gonna make sense this way and using the, using the end of the brush, holding the end of the brush as well. I'm just trying to say to draw in these lines so that it's a bit more. So you can essentially just a bit more looser and connect them up in between. So a squiggly areas in the back collect grease coming out here. Okay. Something like that. Remember a lot of these flowers, like I was saying before, they're going to be done. Kind of negatively painted. Do have some purple here. I'll slowly thinking of just putting it in a little bit of this going to be this purple and in some of the areas. Okay. Just like that. And then the base as well, It's pretty dark, but we'll leave that for later with the DACA sort of pigment. I'm going to pick up the smaller number six round brush now. And I'm going to get in a little bit of color for the cap. So at Foleys, it's just a cooler color. I'm going to pick up a bit of ultramarine, mix that around here. Pick up a bit of this brown and ultramarine. Struck this into the left-hand side of the cup. Okay, that's that's all right. Just a bit of color like that. Fantastic. I'm going to go into the flowers and tried to get in some indications of the edges of the flowers and the background as well. And for that, I've got, I'm going to be using color-code GSI, and also another brown raw umber. I think this looks very nice if we mix it in with a bit of ultramarine as well. They granulate that both granulating colors. So you can get some incredible variations in here and add in a bit of neutral tint and some parts too. So here are the kind of flower petals and you can see them like that. And that's where you just want to do a tiny bit of cutting around work like this. Just draw them out, Okay? And hold the brush a little bit closer down to getting those petals as well. The detail on those petals. Okay. So not a huge amount of detail with just a bit, just enough to imply something there. But more of this old tra and the neutral tint as well. I love this color, just granulated out beautifully and it's very dark in the background. So I'm going to just go doc are way more so up the top. But here the sides we need to bother too much with that. It's just kind of like a lot of brown color. Here I can put it in a little bit of these Rhonda and the side like that. Okay. And keep working around this area. I'm going to bring this, bring this down and adding some more ultramarine. Just dock and off a bit MOM can putting a bit of this neutral tint as well. Nature of tens is very useful. I'm going to use that to cut around the cup, right? Maybe we go with cutting around that cup. And it goes all the way down into this kind of almost like a lot. A spirulina blue down the bottom. Okay. But before I even get into that, I just want to finish off this area doc and it off a little fist like that. Okay. Destic. Leave a bit of water in here so that it just mixes for lights are on. Radha is some more color off the top and I'm picking up more of this neutral tint as well. I can pick up a bit of violet, really dark sort of violet. And that helps, again to draw out some of these flowers. Okay? They stand out, really stand out. And you might think of picking up a smaller brush to if you having a bit of difficulty controlling, which I was early as suits kind of finding a balance between, between both. And you can also lift off some of the paint for these flowers laid out to just create a softer edge. Okay, which is what I'm really thinking of doing bit lighter but just doing some cutting around in the moment while I can. You'll notice through the center areas like this as well, that the background will mix in. So we have to make some of these coloring to join it, leaving some of the stems and things. But at the same time, we also coloring in some of these areas, joining them up nicely. Okay. Kinda, gotta do both. Finds a bit of balance in this section. And we're looking over this side, then cut around this. Wow, I like that guy. This is more of a violet, the kind of color nouns turning out to be at the top. Notice how I've let that mix as well. Bit softer in these sections here. I want that background and come down a bit, but yeah, I don't want it to just destroy all these bits of green that we've put in an LEA for the stems. So, you know, you're taking little bit of k in those areas, but at the same time, we want it to mix me. One error is to mix. That's the beautiful thing about watercolors, The Lost and Found edges and some of the wet on wet to fix. Unpredictable and beautiful way don't wait to fix. And in a way you can't predict what's going to happen, but just not exactly, always will dry a little bit different. So the background, if we look at the tone that we're using, it's very, it's very dark. But I would say the combination of painting is roughly 1.5 pigment to 1.5 water to one, perhaps about a quarter of pigment to a three-quarters water. But given how dark colors I'm using are because they're mostly neutral tint and a bit of purple, bit of this sort of brownie kind of color. Essentially. It's going to look really dark, even if you use a little bit of it. Compared to say, if you use the if you used a yellow or something like that, which is dark and down quite heavily. So that's difference. Going through to the back here, I'm just putting in a bit of dark color at the top, seal it off a bit, and just create a bit of interest. But it's extra darkness is suppose those top segments bring it down here and beautiful flowers and things that we can cut around and doing bits and pieces with. Again, as you move through this section, you can pick and choose some bits that we want to color in and some bits that we don't. Okay? But it's important that some of the background does blending with it so that it just looks more joined up, more cohesive. Destic. Here is a flower in the front. And then we'll add tiny little flower brush for this smaller brush that might help kind of like an angled brush. Very dock in this section just behind the cup there. So I'm using this brush to just cut around some of that dock, this sort of dark section there and that cup almost the dock is that I can really get it is using almost pure neutral tint. They're just cutting around that cap. Then comes close here to the white the cup. Just finishing off like that. Okay. And then we've got becoming around the left-hand side like this. Go right down the bottom of the cup. Okay. I'm gonna grab the other brush. Just print some of these color around. It's really dark up this, these areas. So I want to be faithful. We will fade from to the reference photo and getting some extra contrast in this section. Okay, so I'm, I'm really using quantitative neutral tint and also some causal violet mixing, which is a very, very dark purple, has an extremely large range. And you can already see how much of a difference that's making just by dropping little bit of that through the letting it do its thing. And of course we coming down further now to the bottom of his cup. And I'm just adding in some more color like this. And as we get down to the bottom, this is where i icon of, you know, we want to make it dot, but at the same time, we want to make sure that there is a bit of that yellow as it would be a lie. But the and nice cerulean blue that just joins up at the base. Because that's going to be out kinda light source, this cerulean blue. And this is a funny sort of thing now because that's going to probably have to redo that. And I'm going to pick up just surreal Ian. I mean, I've got some lavender as well, which I think will work just as well. Okay. We've see it. Stein can blend upwards because I left that age slightly. I'm touched before sloppy wet, I mean, coming across and just cutting around the cup here. I'm being careful with the shadows will I don't want it to mix too much though because I'm probably going to have to redo it anyhow. Okay. Some of it will make scene like that. Let's just see how it looks. Okay. Very interesting. Just polishing off from the edges there. And you can do it over here as well, just around the edges of the cup. The cup also is not exactly this color. It's actually a little darker. So it helps to put in some just a bit of blue bluish color running around here. And this is a mid-tone. So it's, uh, it's certainly not as dark as, as certainly the flowers or some of these stems or stuff running through. But it's kind of in the middle of the super dark tones and the super light tones here. So a little bit of, little bit of darkness like that, like that. And then we've essentially just got the left-hand side of the cup just softly underneath the stock bonus soft area. He is soft enough that be handled as well. Well, once some of it to mixing. Okay. Let's get a little mixing going on like that. Bottom of the cup like this. And do you notice also in the background that this area here is Dhaka is a line, just the strong line just separating out, just separating out this section out a bit. So I'm going in there like that. You've got another one up here and kind of going through the wall. So the bit of water, what have you? I notice I'm using a bit of dry brush as well, using this edge of the brush to do some of these work. The side of the brush. Because I want to get into some super dark tones running through yeah, like that. Okay, So right now we've got a lot of contrast, just a lot of contrast through this area and a lot going on. I'm going to just merge some areas like these kids and have kind of dirtiness running through there. He is just a bit of an extra darkness and that edge, I like that edge here. And I'm going to just create extra shadow behind like this. Okay? Cup goes towards the back like that. So you can certainly see that shadow move all the way towards the back section, then k, Looking good, get 0. So just like with that painting, I'm going to put a brown on my brush, just a bit of oops, that's supposed to be dry brush, but bit of dry brushing like these, maybe with some neutral tint mixed with a bit of the brown. And then just drag the brush over some sections like these to getting some texture for these pizzas, wooden planks of bolts on the wall like that. So it's just extra texture. What Norway areas but yet some pots. So she's lot of pots really makes a difference. I'm using the edge of the brush like that, wipe it off a little bit to dry off the brush and then goes straight in some interesting textures, we can get someone to the table as well and testing. So in terms of how much detail you want to put in some T sub t, You can go in and define more like what I'm doing. We can just leave it and be happy with what it is. What it did before. Okay, last step I'm gonna do is just add in a little tiny bit of extra detail with some of these stems. Okay, just a little bit of darkness because I feel it needs a little bit molten in some sections in case. I'm just going to dry, brush a little bit of this. And the stems and things running through. Soft enough as well in pots. I kinda just with my finger. Okay. Help to create a bit more darkness, slight, slight dot bits inside the, near the top. And also certainly inside the cup. There's a lot of darkness that we do need to just implies. So I'm going to go around these flowers like that. Okay? Maybe we could just see the edge of that cup and the darkness that's inside it. Okay. Something like that. And we can go into some areas here as well and just can just draw out some of these flowers and bits and pieces. It's a darkness in some areas like this, the layering is just so important. It's what gets you the extra detail and contrast. So now I've made it pretty dark here and the cup inside the Kaaba conscious sort of stop it up. Brought up. He actually carries on. And depending how far you want to do this, you can keep on going, but it just, you know, certainly carries on in some spots and some areas goes into the background. I came merges into the background. And this is all that pot of creating a scene that merges and has life to it that not quite short times where one pot begins in May, another pot stops. Okay. Okay. Okay. And I'll call this one finished. 11. Melbourne Street: Painting: For this same, we have some really obvious areas of darker tones in here. Firstly, you can see it in the tram here on the right-hand side, underneath the top part of the trends, little white areas but to the left side as well, the shadow on the ground, the trees behind the tram on that right-hand side as well. They pretty dark shadow is almost crossing over the road from the trees. Also some areas of darkness underneath these shops and what have you. So you've got quite simple contrasts here. And a lot of these terms are actually are the mid-tones or full toads in terms of the shadows and the dark areas. And I'm going to show you my technique in terms of how I getting old those mid-tone shadows and still preserve a favorite of detail. And then in the last stage at, in their final sort of dark bits and pieces in terms of the light tones, I always go through and put them in first so we can go over the top of this second layer of darkness. So firstly, let's go ahead and get into the drawing. So I'm going to start and look at it in a roundabout here. It's about a third of the way through the paper where the buildings or the back finish. So I'm gonna just put in a quick little line just like that. The easiest thing really to do at this stage is to just penciling the general kind of outline of the buildings here in the background. We've also got this tower here in the background, this clock tower. And actually underneath this building is actually being renovated or restored or something like that. So there's actually a few more bits and pieces of detail there, which I'll try to indicate. Lighter though I don't have a reference picture for that. But really at this stage I'm just trying to mock out some little bits and pieces, some little details of the buildings in the background. But what we have, of course, is this tremor. And the important thing is to mark out the bottom of the trematodes starts, say about in the middle of the page, right about here. So we've got the back air, that's where the buildings start, the vendor and the tram actually starts right about here, then comes forward. Like that. It's really just a box. If you look at it, it's just a square shaped object like this and then it just runs towards the back, just like that. So we've got a little indication of maybe some doors here. Looks there is little window here as well. And we've got, of course, the center of the tram underneath this section here, the kind of little indicator that tells you what kind of tragedies is a very common in Melbourne. Everywhere. Quite iconic. The wind screen. So now the windscreen ends about halfway through the tram so we can just draw a line roughly like that. Okay. And there we go. We have a rough indication of this of this tramp and now, okay, there's little bits of details and navy goes some lights and things here at the bottom which we can and then just drawing quickly. Okay, But really the bottom of the tram, it's all quite dark. And that carries on. We've got this shadow sort of running over to that left-hand side like this and a carryover all the way like that. So we'll look at the shadow. It's kind of coming out a little bit like this as well. So drawing in that shadow does help to getting a more accurate shape for later. Okay, so there it is. Over there. There's also a car here behind. So remember, just make it a fair bit smaller too. Okay, Just a box really, just something like that. And then we've got a bit of a shadow underneath like that. They're okay now the car is around the same height as the hits the horizon line Bay where the buildings are. Okay. They're not a 100 percent exact as per the reference, but they are fairly close enough. Use the Beck into the wind screen for this car, Couple of the tail lights. And then the shadow underneath like this. Like that. We've got some overlapping shapes in front as well. Now the car is SOD of it. There are of course going another one, sort of peeking out the back like that. There. Okay. There we go. So with three cars here and that left-hand side, a smaller one here in the medulla makes you expand that out a teeny bit more smaller one for this larger trend here as well. And of course, the top of that trend does also have some small details on it like this, which I will just add in like that. Actually has a little prompt at the top which get gathers. George electricity from these y's are just run all the way down the street. So to see some of them running down like that. Okay. And you'll notice the shadows as well for everything, they all just run towards that left-hand side like that. Some of them run through the car like that and then some of them just run over on top of a curve here. Okay. So I'm just putting in a little bit of detailing. We've also got some fetus here, which great to add in, to add a bit of context and life into the same. Make sure you don't make them too big as well, just a little bit taller than the cars and they're the ones at the back. It'll figure here in the back. There. You might even think of putting a larger figure here, perhaps just waiting to cross the road or just on the way, like crossing the road like this as well. Is the figure there? Oops. There. Now the shadow running across the ground like that. Okay. Did it is side coming in from this angle. It looks to be like a traffic island or something fantastic. And of course you've got trees and what have you, what are these trees? But we do have buildings behind those trees. And I want to go ahead and start drawing a little bit of these little bit of it in but not too much detail. We don't need all too much. In here. We notice this whole big set of buildings on the right-hand side finishes roughly around the center of the page. So I'll draw a little line like that just to mark off that extra saw to that building there. And the rest of it we can can you just make up? I mean, a lot of it goes through the buildings and the trees anyway. So we don't need to necessarily add in too much detail. We've got a lot of trees and these abstract shapes that sort of cover everything up like that. So I can make a bit of this up later. Good thing though is having some of them, almost like having some of these buildings peek through and having somebody who's signs on the buildings and stuff like that. But apart from that, it's not a massive deal. This clock tower in the center aisle drawing little bit more detail like this. Okay, and I'm going to have to make up the train station as well because we're not unfortunately, there's just not a reference photo that I can find which will show me the middle of it. Okay. But this certainly small windows and things I remember kind of coming on the front of that building like that to train station. So I can just kind of a quick little scribbled air to get in some small details. And then of course, the top part here, I'm just separating this out again into another square, looking at the shapes within the there we go. Something like that. Here we're going to have a couple more buildings off in the distance. Looks mostly like this. Big a building here in the background as well. Notice the tone of that building in the background is actually a lot darker than the actual Tower in front. So you notice the sand here, it's actually pretty dark, so that's going to help bring out some of the lights on top of that. And that would tell us, or some of these things can be used strategically and they are already present in this reference photo, but they may not always be in. Sometimes you have to make things up and change the shadow patterns depending on what works for you of picked this photo because you don't really need to do any of that at all. It's, it's a, it's a nice sort of seeing that I think sort of stands alone on itself. So, but just as a general reference, you need to do that at times for other reference photos. Trees here, another tree Docker sorta shape here. Underneath as well. You notice that some darkness under there. Now these shop fronts, they have these little air that comes out like this. There. You can see it. I'm going to come down more actually like that. So what can draw that in? And notice how it comes down. It's around halfway, halfway points on the paper. And here is where we can actually just put in some general details. All of the buildings already. Okay, there's not that much, really, not that much that we need to add in here at all. Just some little indications in the windows I think are a good a good thing to add in here as well, a bunch of these little windows and, and what have you. So here's another one here. And then we might have another. One here, here, here, here. Few more buildings off in the distance. Say, doesn't matter all too much, you just gotta make sure that we've got something in here. Okay. That could be a sign or something. But apart from that, I'm pretty happy with how this looks in underneath years old, just pretty much darkness. So there's not a huge amount of work to be done there, but I do feel that the figures will add a great deal of interest in the same I mean, we've got that one there, especially. But I'll keep it simple. So first step, what we wanna do is actually start adding in lots of colors in here first, and I've got a number 10 round brush that help accomplish this. So if we go through and I really just put on our lightest sort of colors, I'll start a bit with the trim and unknown. It's not completely white. I'm going to put a kind of creamy sort of color here and that left-hand side of the trend, but I wouldn't do it for the other pots. Great thing is that I can make a little bit of dark color here, which is basically did a blue mixed with a tiny bit of Rwanda or burnt amber. That can be fine as well. We're going to get a darkness underneath like that. Okay. I just thought sometimes it's good to have a little bit of a grayish color interacting with some of these creamy sort of colors in here, if you can. Here and there. Even in the windshield you noticed it's actually not completely white. It's actually it's going to bluish tinge to a coolish tin. So I'm just dropping in a little bit of coolness in here, but not overdoing it and oh, okay. Would be the coolness underneath like that. Then it's also OK, sort of blending, do its thing together. Now, let's have a look at what's going on in the background. So over here we're going to put in a bit of grief and trees, just a slide. Washington is just a little bit of undersea green, which is a doubt, a really doubled down. Slightly muted green. Okay, but it granulate out beautifully. But it's not as strong as a, say, a not strong but not as vibrant as a sap green, which I normally use. But I've switched over now to try to use more, I guess, subdued colors and then play around with the saturation of everything right at the end to add in a few really saturated colors. Okay, so that's the sod of the tram there. You'll notice I'll skip over parts of the buildings and stuff in the background like that as well Here. Okay. And I can just cut around is trim and sort of find some little contrast. But I'm not trying to put an all too much detail at the moment. Okay. We're just putting in a little bit of color and I'm going to continue over on this top section here. That's putting some warm colors. I'm going to use some orange. I've actually got already some warmer kind of orange colors leftover on the palette. So why not dropping in some of these here to kind of mixing with the greens and what have you just drop a bit of that into the background. A slightly muted down yellowish color as well. There there is a bit of yellow ocher running through that. Okay. And a tiny bit of this white is just a bit of buff titanium here running on that top right-hand edge. Okay, and then we've also got, of course, some of these buildings here in the background. Just also good. Again, just dropping, if you go to a bit of a cooler color, dropping it and little bit of that here. Yeah. Sure. To cut around some of these buildings in front and with the buildings in front, again, that's just pick up a bit of yellow and a warm McCullough. Drop that in like this. I don't want it to be too obvious, so trying to keep it super muted, but definitely a little more muted than, than usual. Okay, like that. And down the bottom as well, it's going to have to be warmer. Just to be warm. I like these. Okay. Fantastic. Wyatt, on that right-hand side and then some more of this green, which is basically a bit of undersea green. So I'm dropping that in. And allowing it to mix and mingle do with sine think. He's tram, just being careful to cut around that top part of that trend as well to create some contrast. And having looked back, so more colors would have conus you in that left-hand side there. And as we move over to this side, I'm going to pick up some more of these warm, kind of orangey color that I've got and just drop that straight in. It's a muted sort of color. You can really subdue that down a lot and just add in some more. I've got a bit of this buff titanium which I'm just adding in very quickly. Not too much contrast or anything at all. Okay. Drag that down. Like this. Okay. As you get down to the bottom, It's always good to just adding a bit of extra darkness, a tiny bit of extra darkness to create further contrast. Okay, and while I'm here as well, Let's pick up a little bit of Ciceronian to add into the sky. 30 lot mix. If it mixes into the buildings, That's good. Kinda want it to do that too much, but just a little. Okay. So that's all done its thing up there in the sky and think there's anything else I really wanna do there. Across the ground. Again, it's a pretty warm colored scene and there's a lot of lights on the grounds. Or I'm going to just use the brush here to bring down some of this color. Perhaps warm it up with the little yellow. This is just a bit of yellow mixed gain. Some of these warmer. It's basically Buff Titanium mixed with a little bit of yellow. Very, very light mix. Okay. I really want to aim for a high level of contrast here and the ground. So this is going to look fairly weak as we put it in. But once we go through later with the shadows, it will make sense and will create more contrast. But at this stage it always just looks too light when you add it in. A little bit of color for the cars and other sum right here. So let's want to put in a bit of this red. So that car like that. Don't want to, I don't want to add too much contrast. Of course, there are some other class here in the background, which truck and then color like that. This one here in the middle is really just touch it color here like that. Poverty and leave this to dry and we'll come back to it. Okay, so now that everything's dry, you're going to go ahead and add in all the remaining tones and basically all the darker tones and shadows try to get most of the midtones and even some of the food times in all at once. Okay, So the other thing I want to start with first axes is actually the tram. I just not for any particular reason, but I think, I mean, I guess I started with earlier. So I'm going to go in with a bit of ultramarine mixed with a tiny bit of just, just a little bit of rounds. So we'll drop that in like these can, if you've got a bit of neutral tint as well. And that will help darken up this mix a little. Okay, so just bringing it across, That's going to be just the top section of that. And sram. Then of course we've got a little shadow just underneath here. These are pretty dark tones that are most of the darkest and the entire scene. Okay, so carry that along even to that left side of tram kind of joins on like that as well. Okay, Great. And we do have little bits of darkness running down that edge there of the tram. They're also got Sandman Doc and bits on that left-hand side as well. But I'm hoping to just imply a little downward strokes like these, some of them for the windows like this. Some of them just cutting through. Okay. Something like that. We'll do notice as well underneath the trend is going to be a bit of darkness. So this is now the opportunity to getting some of these DACA sort of time like these. Bring that across here. Across the bottom. Here. Here. Okay, Fantastic. Now a little bit of water and lots of sort of wash connecting it up like that. That's going to be nice. And also running over to the left-hand side of the transistor. Bit of darkness like that. Okay. I'm just going to darken up this little sign underneath here. Second advertisement, so on actually. All right. Okay, fantastic. You might even want to use a smaller brush that helps you out. Um, I have another number 6 brush which you can also use if that creates interest. And that allows you to detail that it easily, more easily. I'm going to mix up some primaries as well. I've got a bit of red Hanukkah, yellow medium over here from It's getting a little bit of this blue. Whenever the side here, d is just to mix up another doc, a koala here on the side that's hopefully going to approximate the kind of grayish color. At the moment it looks more but brownie sort of color. But it's starting to take a bit more of a bluish, cool, a tinge to it, which is nice. So want to get some more that cool, a color that cool. Okay? And also some of these green, some of these tiny bit of green here in the background like that guy. And I'm just not putting in some of the background details. Okay. Just for these trees that cutting around the back of the trim and one of the things to remember is to make sure you're leaving in as much of that wide as possible. On top of that tram we can actually use. And I've got a bit of neutral tint here. And that neutral tint is going to help as well. To draw around the edge of the Tran, kind of ends around about here. And what this allows me to dock and off some of these areas and that Ryan saw connected up to the tram. Okay. Then of course we have things like these branches and stuff like that was just goes up and cuts through all this bits and pieces here is even cars and stuff in that section as well. Which I don't think I'll really get the mean, but just a bit of darkness running through that background areas, fine. I'm going to leave this figure for a moment. We're getting some more details on that figure later on. But for the time being, I just want to focus on this area to get into some more darker bits and pieces. As we move towards the back, decrease the strength of color. And this is going to help push back that, that area of tree are the days more water in that mix. And you're going to be able to get a lot of tone and more paint. You're going to be able to get a doc a time. So just always remember that when you're painting. And some of these paints are going to already have a very naturally doc time to begin with. So there's not much you can really do to lots of them except just water them down. Okay. But rather than looking at the colors, I'm just looking at whether it's light or dark. I think that's one of the most crucial things to remember. Here. There's a sort of a building and I'm just going to cut around that tree and just get a little bit of that sod in like that. We sought that building lots coming in from that right-hand side. So we need to imply bit of just a bit of light coming in like that. It is coolness in there again. Okay. Now you can actually start putting in some of these bits and pieces of the buildings like that. Just these are really just loose windows or what have you then not anything too detailed or something like that. Great. Cross the back as well. You're going to get a brief lot that cuts across that building there. So I'm just going to cut across, they're getting that lot very quickly like lat, bit more ultramarine and perhaps I can dock and down this side of the building. Few little brushstrokes. And this building behind as well. You just a little touch a darkness there. Like that. Darkness on the Sage of the building. I'm trying to get it all to connect up nicely. So that's my whole aim here. And all of these times kind of run together, but we've got bits of lights on there as well. It's just managed to peek through. So I think that it does the trick for that right-hand side. For now we're going to move over to the left-hand side. And that's getting a teeny bit of coolness. He and I remember it's going to be very lot still. Say, I'm seeing some coolness here on that left side of this building. So you've got the right side which gets a bit of light bouncing off, but for that side just behind the corner, it's not going to be catching much of the line, so I'm just going to dial that down to a cooler sort of color there. We can just change up some of these other ones as well to have that in there. Some of them can just have a little indication like these for Windows is you can see just some little bits and pieces of the top like that. And those can we have there? Okay. Some buildings over the distance or something as well? Could even be smuggled. Okay. And as we get down to the bottom, this is where I'm going to create a bit of extra contrast. This is neutral tint. We're using here, neutral tint and a bit of ultramarine cut around and leave a bit of that color running through the entire mix. Now you've even got darker spots on there as well. Okay? But there's quite a lot of contrast in here, what a darkness. And so I'm going to just use that cut around some of the cars that we've got in here. The figures as well, like that, just a simple little brushstrokes and we have some objects here in the front as well. These little not sure what it is. It's a control panel or something there. Okay. So that's bit of that darkness in there. Okay. Excellent. I'm going to work on the cars and just getting some more darkness underneath as well. So we've got these wheels and I'll just join them up nicely like that. Underneath them creates a bit of shadow underneath like that. And we can have some here for these car as well, creating a bit of darkness underneath there. There's also a shutter here for this trim like that. But it was shown as running towards the left-hand side and it extended out a little more, actually coming out all the way to here. Okay. And some more shutters of bits and pieces maybe running in from that side of the same to. The good thing is that you can get in some perspective on some little bits and pieces like these just running across the ground while the paint is still wet so that it will kind of hopefully just joins together a little bit nicer. A little bit more naturally. You do it this way. Okay. Good. Sdk. Of course, got this figure on that right-hand side, little couple of legs like that. And join them up and create a bit of a shadow here to that left, left-hand side as well. The bit of darkness, maybe with the head as well. Leaning forwards. I'm realizing some bids, you just need to be darkened up Molson dropping a little bit of this neutral tint on the knee. And letting that sort of sinking as well to this section nicely. Here. And it has tick. Try to just redo that shadow a little. So then I've got a little bit of light running underneath the cow there as well. Behind the cod is also some soft shadows. You can barely see him, but I'm going to put them in anyhow. They just run a cross like this, almost as if they are caused by the buildings were the outcomes but in the booleans. But I'm running all the way towards the back. I'm like that that will help me kinda cut around the roof top of that car as well. Also the tram slightly. Okay. And then of course underneath there's a lot of darkness just at the back of the scene. So I'm going to just use some neutral tint for this section to dock and off that area shaped some of the cars and bits and pieces. You know, another thing is that you can work on these little bits on the tower, the Clotel say something like that. Getting a small, then we indication of what is going on in here. Little weed does or what have you as well. Now, I'm just making some of these windows up. But it's simple enough to drawing my fancy self, haha, I want a bit more darkness, a little bit more cutting around the tau us and we can just drop in a bit more blue and paint coolest sort of paint around that right-hand side like that. Help to draw it out and adheres. Well, we could do that. Same sort of thing. Okay. It doesn't matter as long as it will kinda connects together. You're fine. Okay. Now, let's look at the fetus here. A little bit of darkness underneath this one, legs. These are pretty much mostly just pigment with a little bit of water editing very dark, and run run those shadows to the left-hand side as well. And the cars can do with a bit of work. And I came. And the rest of it is just really just touching up areas that you feel. You might want to work on a bit longer or I guess detail a bit more. We've got, for example, or something like that. We can get the branches in, running through a bit, DACA, that sort of thing. That can always be a, can always be good. Will be forgotten to put in a tree here. Just going to put it on a dark country. Soften that up. You can add that in here. Can be as sharp as sort of shape once it dries. Okay. Mm-hm. When screens you could you could put it mean to be the blue something if you want. It's not too necessary. Other figures, again, bit of more color or whatever you want to, whatever you want to do for those color, for that figure there. Okay. Windows, you might think a bit more reinforcement in some areas, but more just identifying what's happening in here. It's always a good It could think. Okay, you know, smaller windows running through. And it could be like little windows here as well, just dropping some color into the sides of the buildings. Like that to imply a few little windows of things going on on the sides of the buildings being these very quickly normally on, go a bit longer. Take it a little bit longer. But it's not a huge do for this sort of style of we going. And as long as we got the times, the, the main times in here, we've got some light times and we've got some meat time t, and we've got some fu times here, here, for example. It all comes together quite nicely and it looks cohesive sort of paintings, putting a few, it'll just something here flying around the backgrounds. I think we're done. 12. Mountain Landscape: Painting: This is a really interesting scene and basically we've got a few different layers and thought this would be interesting and helpful for you to learn how to layer different sort of tones on top of each other because we have quite a different layers of trees you can see in the background. For example, we have firstly, the background of the sunset and the sky. Then we've got some mountains in front and just slightly darker than the sky. And then we've got another layer of trees, which is again slightly darker, band the mountains. And then another, and yet another layer of trees even here, which is slightly darker than the previous background. And then we've got one here and o the foreground areas. So there's almost maybe three or four different ways that we can add on top. And I'll show you how I will approach the same so that you can get into all these different turns in the air. And it helps you to practice as well, tended to be mixing and how to, how much water and then mixing and to each, to each layer and a case. So firstly, we want to just get in a quick sketch and I'm going to just put the horizon line or read about here, which is the third of the way through the page. Not much drawing is really required for this one. And we have grass and all kinds of things here. Kind of just comes off and near the water. Ran about here. Okay. And ran the middle. You'll notice there's a lot of warmth here and the water as well because the sky is reflected in there. There's a few little rocks and sharper edged objects here in the water. So it's always good to add in a few of these, they're just going to be really kind of dark areas. Some of them are clumped. And what have you you hear the back. You'll notice the center here. It's pretty, pretty lights even around here. But then you've got some dark and beads here and here. And then of course here as well, which is just all the grasslands and things like that. We've got a little shrub here. We've got a shrubs just popping up everywhere. And this is how I do it. I just really indicate quickly because a lot of the work is going to be done with the brush and later on. So we don't necessarily need to draw everything in just yet. It's more just outlining where things are. And probably the next easiest bit nice to put in with the mountains come in and you can see, leave a bit of room on top for the sky, but you can see it kinda coming like that. Come down and then around the center of the page, it kind of dips to around here. Okay. Just connect this up there and then you can see it kinda come up again here. Oh, and the distance, distance like that. Okay. There's even multiple layers of mountains you can see. So we decide what to do. I'll probably simplify it down. But even through here you can see this layer of mountains here is actually in slightly darker than the back ones there as well. So quite interesting. Now, again, that's putting this tree line here that back again. And notice how quickly I'm doing this as well. Not really bothered too much about the shape of it. It's just more of the general location. So then we go into the brush. We've got an idea of where to put everything. It's a clump of trees, little shrubs or something down here as well, which we can get him maybe with a bit of quash and a bit of winning work. Okay, that actually comes in around about halfway through the page here. Okay, so that's all the drawing that I really want to do for this. We're going to get straight in to the painting. And firstly, I'm going to be picking up a larger brush. This brush here is just a large mop brush, really helps to get in all of the I guess the lots of washes. I mean, you looking for really large washes too. So first thing I'm going to be mixing up a little bit of this yellow here and a bit of this quinacridone burnt orange as well. So it's basically just little bit of Hansa yellow, quinacridone, burnt orange. Okay, I want to get in orangey, yellowy kind of thing. If you've got a gamboge yellow, that works well too. Okay, That looks nice. So little bit over here like that. And another thing you can do is pretty wet the page. It's not a prerequisite, but sometimes I like to do that as well. So there we go. Just put it in a bit of that bit of that then maybe a tiny bit of this is just a bit of red that I thought would be nice on the top as well, just to kinda, kinda of a slightly pinkish hue perhaps. So I'm excited with a bit of this. This, this here is just a bit of buff titanium. Okay. It kinda of an off-white color. Okay. And the sky is predominantly it's predominantly warm though at the top. Notice it kind of almost goes to a bluish color. Very, very slightly. It's just cuz down very slightly in the corner. And I think that's due to just a bit of this, this cerulean that we could potentially put in there, even if, you know, any kind of cool color will be fine, but just loose ruling and I think we'd be good up that top. Blended in like that. Okay. And testing. And more slowly in here. And now for the mountains. And again, we're just going to get in a very light wash of everything. First one, I have to get into the shop and so that actually later on there's not much we can do at this stage in terms of sharpness. We're just trying to get in just some basic colors to begin with. Okay? So let's put in some, I'm going to go with a bit of ultramarine. Ultramarine mixed with some purple here on the palette. And I'm just going to put in a little bit of that color here for those distant mountains here, here as well. Okay. Like that, as we move down the page, Amal just dropping some green, just a quick impression of some green here. This is some undersea green like that. Just mix this around here, there like that. I'm moving down to here. Again, I think I'm going to go with a bit of undersea green, just a little bit darker, softer, edge like that. Now, going back to that orangey color as well, I want to grab some more of that orange and a little bit of red and some yellow, just a warm color here to mirror the sky. And it comes all the way down to the bottom of the page like this. Course. On the left and right-hand side, it's just cool down. So over here again, I've got some ultramarine blue and I've got kind of mixed up with a bit of purple. And I can just drop this in very lightly and over the top of the paper as well, you might see some of these little, little light bits of color. Lots of bits of paper show through. Just leave that don't worry about the paper sort of skipping in areas, the paintbrush skipping over the paper. It's actually a good thing. It creates a lot of interest if we do it that way. So just going to put it in that wet little impression of the Bushehr in the side. Okay? Okay, so continuing on now what we will be doing is working on these background shapes. Now essentially, we just want to put in the mountains in the distance and I'm going to be using just some ultramarine Qia. Stay light wash of ultramarine and perhaps a bit of little bit of purple mixed in there. Just a dull it down a little. Just as long as it's a cool, a sort of color. And we're going to follow these kind of one in the back okay. Where we put the amounts into fours or something like this. Okay. Coming down like that. Now if we of course go down a little bit further, it's no big deal because we're going to be going over it in another layer anyhow. Okay, but we want to make sure that this layer is very, very live. I'd say the mixture is about one one-quarter pigment or probably less than one-quarter pavement and three-quarters water, probably even 80 percent water. Okay. So depending on how long you want it to be, make sure it's pretty light, but it's darker than the background. The sky. That's the important thing. You'll notice as well that I've done a slight bit of feathering further down the page to kind of just to make sure that it blends out smiley down the bags and don't want it to cut out with this really sharp line. Another thing you can do is dropping a little bit of water into some areas once they've almost dry. And what happens is that you might get some textures and slight blue shaded areas as well, which I think are quite desirable to create. Just some micro textures and things in the background encouraged this mixture to move around in granulate a bit. Okay, so I think that's about it. I don't want to do really anything else for that for that pot. Now, I'm going to give this a really quick dry and then we'll get back to it and do the treelines. Okay? Now I'm going to go and pick up a little bit of these undersea green. It's basically just a duller sort of green. I'm mixing it with the 10, just new bit of purple. And I'm going to go in and put this layer of trees in and over in the background that's actually use. You can use a whole different variety of brushes. I do have this fan brush here, which I think will work quite well. I should be able to get in some shapes without too much, too many lines and things I guess going through just wanted to be required loose here. But at the same time, you're going to make sure that these trees are still large enough. And this darker than the background shapes, but at the same time, dark enough to come forwards. Okay, see slowly increasing the concentration of paint as you continue on. I think that's the most important thing. And so going through it's put a bit more here. I'm mixing a little bit of this ultramarine blue here as well. Okay, Fantastic. Coming down. Let's bring this down a little bit further as well. Just further down the page, actually, please. Okay. Here's some more there in the background. It's not all too much detail back there is just a few bits and pieces and just making sure that it does come forwards from the mountains as well. Super important. Notice I'm using just a mixture of blue to blue and a little bit of green together to get these row of trees. This over in the corner. And this one down still a little further. And I'm dropping a bit of color, a bit more color in there as well, just to darken up, sometimes it draws off and you realize it's not actually dark enough. And so you still got that opportunity while the paint's wet. Depending on how the weather is, where you are living. Just making sure this whole layer is Dogen those mountains in the background. Yeah, you, you might want to put in more detail for the trees. For me, I think that's fallen out. I wanted to kind of stick out old too much. Okay. Continuing on. Great. Now I'm going to start working my way into the foreground. And the midground actually where all these bits and pieces over here. So just this darker section of land is, it's mainly just green. And I'm going to go in here and dropping in a bit of this green is dark green now it's going to be fairly dark and I knocked them mixing a bit of purple in there as well. And the good thing is just having bit of connection as well between those trees in the back. So that it is just a bit of wind, wind effect, but I wanted to stop all of a sudden. Okay, so the mixture of paint I'm using is about half paint to half water, maybe two-thirds water. Okay, So this is coming forwards and I'm leaving just the Buddha yellow in the background. They're just little bits and pieces like that. And I know that it sort of stops right about here. And this is dot her as well. I'm, I'm comparing it to the background. It's quite, quite dark compared to those trees in the back. So again, just further increasing the, the tone and therefore the contrasts. As we move further down, you've even got, you know, in the, in the in the water, like I mentioned before, just these little rocks and things that I can just painting quickly like that. I'm just using the same fan brush, but it's also, you can use other brushes too. Okay, now I've got a round brush which works pretty well in a flat brush. I think a flat brush would be nice for some of these little waves and things, just new indications. So pick up a bit of And this darker purple paint and I can just drop in a bit like these that combine that with the bit of land in the background. And remembering to preserve of course, this bit of orange, yeah, super important. That, yeah. As we move down the page, It's member to leave that background coloring of the water. I don't want it all the same color. Well, the same time, more importantly. Okay, So here we go, Just a bit running through the back and you might even have some running through these little sunset area here as well, just to keep it consistent. But notice over on that left-hand side it gets pretty dark. Two turns into a greenish sort of blue color, which I'll just mix up ultramarine and a bit of fun to see green and getting a darker section like that of that water. And then we'll come down here to the front. Good thing about this flat brushes that it just makes it so easy to get some of these little sporadic wavelike effects running through a case. And now what we will be doing is just going through and getting 0. The final touches, basically the really dark areas or reinforce some of this stuff here and the full in the midground bit in the foregrounds and these rocks and also some of these trees here as well. So I'm going to grab more of these undersea green college, the dark green column is putting a bit here firstly into the these shrubs and trying to get an indication of the leaves and the areas that are coming off as well. Like that. Just quick little bits and pieces, okay, so that we've got some also just some previous colors in there, some of the lotta tones as you can see showing through. And then we've got DACA juicy at times. Which Appiah afterwards as well. Say, it's good to have a combination, as I was saying, just making sure that we've got a nice range of times. And he has some DACA beats bit more DACA under here as well. And I'm just sort of looking at the reference picture very generally and try to find some small areas like that. Okay? Even neutral tint mixed with the green and get a really dark green. Not much water in here as well. There's probably about here very little water, 10 percent, 20 percent water to paint. And now we can do this sort of thing. We can get in some and Dhaka contrast can just basically can draw the brush off a bit on the, on the Ital. What have you then go in and Japan getting a shape of some trees basically just stick out like that, is the dark color. Drop that brush. And the reason I say draw it off is that it just allows you to get in a hay kind of funny edge like that kind of Burkean age. And it kind of skips over the paper. And I think that's important to imply just a bit of looseness in there. So that is not 0 shop everywhere, maybe could be branches, leaves, that kind of thing. There's going to be painting this loose. Different brushstrokes really add up and make a difference to the overall scene. There we go. Some more neutral tint as well. And it's putting a bit on the Neith, some of the plants is even somebody like that. Just anyway, looking around where you might find a bit of darkness. Don't be afraid to put it in. And it helps to also form the edge of the bank. Okay? But if darkness like that, okay. If you do find that the trees are sticking out too much of these little bushes, he can go over them again just quickly while the paint's still wet. And of course we do have some rocks and things just in the water, which I'll redefine like this. And trying to make it pretty and pretty basic as well. I don't want to do it. Okay. But smaller ones like that. Yeah. And then we might have larger ones running through in areas. Notice as well, I'm just sort of touching guard with the end. With these rocks were not trying to getting any complex shapes or anything like that. I think a more spontaneous you are the better it actually looks. Okay. And again, let's getting some darker tie-ins for some of these little ripples on the water. Because we've got against this layering effect having a few different times running three. Okay, interesting. I'm also going across these yellowy sort of area, orangey area through the middle. Go through do these ones as well. A sharp sort of reflections and bits and pieces in the water. And the bits of why this do showing through as you can see. So we have almost 33 different tones, three or four different times running through this water. That's why it's so important to Layout. Okay. This area is pretty much drawing now for this kind of bush or what have you, so you can put in another layer. Another thing is if you have a rigger brush like I've got here, I tend to have a bit of fun with this, or if I've got a little fan brush and I'll use these before that fan brush. And I'm mixing some little quash. Knew what gosh. Okay, with some green. Often though you sap green because it's a very vibrant green. It mixes quite well with the, with the goulash. And here we can get in some finest strokes, finer details like these that just make it a, make it stick out a teeny bit like that. Okay. You overlap them a little like that. So that just gives the impression of these just the little leaves or whatever you have them, the bush textures. And always keep a tube of white gouache with me all the time. It's such a useful thing to have when you're doing kinda shapes like this. And you want to get in a little texture. Really makes such a big difference. Okay? Try not to do with them. Okay? You might have in the background little ones as well, little bits and pieces here and the bank, just little bits of grass or what have you going through. And it helps when he got some of that kwashiorkor create some kind of darkness, a little bit of darkness, little bit of white. So looking at that, Look at that time that, that's almost the opposite tone to this here. So you've got really, a lot, really dark colors running through the same. Okay? And that's how you create contrast in here. That's how you create an impression of them, of lights and interesting mixes of times running through here you have to have these colors and these tones just right next to each other kind of mixing around a bit. And obviously this is not super accurate or anything like that, but you get the idea as a general exercise. You can certainly apply these techniques and get yourself a very interesting scene. It's full of depth. Okay? So I think that's about it. We'll call this one finished. 13. Soft Landscape: Painting: Okay, We had this lovely scene here with this soul tree right in the middle. And you will notice the tree has pretty much the only darkest tones. So we're going to be using a lot of darker tones there with very little water. And I'd say about 80, 80% percent darker pigment, either a neutral tent or purple mixed with a ground. And to get those in right at the end is also some sharper shrubs and trees here, which are just basically wet on dry. So there's not basically any soft edges or anything there where you might find some soft edges. Basically here in the grass, a bit of the darker shade areas in the grass as well in the mountains in the back. So let's go ahead and get some of these in. So we'll firstly just draw the point halfway through the page. So just about here. And you just to line running across that halfway part of the page. And this is going to just allow me some time to put in basically no town time but gives me indicates that we are putting the mountains. So there's a mountain here in the back and it just comes down here like that. But we've got this large shape is large, kind of Mount Sharp in the background, which I really love, which we can just getting a basic indication of it like that. Just goes all the way up almost to this point here to mark out where the largest point is and then go from there makes it easier to draw that finishes coming downwards like that. So there we have it, we have the mountains that there are some distinct ones in the background there, but I'm not going to bother or too much with it. The tree I think we will put here around about the same place, but perhaps a little bit more left. And you can, having more fun with this. You can just use it as a bit of a reference, but it doesn't mean you have to put it in exactly as it appears. Okay? But remember, we do have some edges here that kind of just curve around like this. Really just branches, maybe some leaves in there, but I'm just putting the general shape of that tree in like that. But the base of it, of course, is going to have a lot more darkness. And so that's why I'm using just drawing in a bit of a dark a trunk here to indicate that essentially. And we can go over again with a bit of watercolor and docker pain later. Okay, but I want to preserve this darkness on here and it will help you as well as you're watching. Sometimes it can be tricky to see exactly what I am doing if it's drawing, if the drawing is much too light, you'll notice some dark sort of shrub here on the side. There's some here as well. Okay, So putting in a bit like that is a good kind of guarding point. Okay. Do you notice there is a shadow? And I'm just running across like this, but this is the shadow cast by a bit of grass running around that sort of back section, like a kind of undulating grass and a planes over there. Not sure whether it's quite beautiful. Now, the next bit that I want to do is this section here where the grass finishes and then we've got to essentially just sand. And if we cut, so we look underneath the tree and probably easier if we look just underneath the mountains, that middle part of the page that we drew in. If we cut that part roughly into half or a bit less than a half somewhere around here. That's about where the grass ends. So little point here where we can just draw in the edge of the grass is a good idea. Don't go too far forwards and leave and lit it until I sort of go up and down like that. Okay, and I'm going to put in like the second row that here as well. So sounds like three rows, 12 and then three, which gets the sort of darker section is running through. Okay, it does help to just putting a bit of this to start off with. And then on the front, we don't need to do all that much. So essentially that's older, the drawing that we need to do. So let's go ahead and we can start putting in little bit of color first. And firstly, I'm going to use a number 10 round brush. Pick that up. Number 10 round brush. And this is going to allow us to get in a softer shape running through the background, basically for the clouds or the really lots of sections here. Little bit of yellow. Very, very, very light. Yellow running through here. The way to the back. Home is lift off that paint. Just a tiny bit like that. Then. Maybe good. Fantastic. And then I'm going to pick up a bit of red. It's a bit of purlins scholar. And I'll drop in some of it in the yellow like this. Okay, so we've got the sun around about there and then we can dropping this lovely red perylene, scarlet, some orange in here as well. I've got a bit of this. What is it? Quinacridone burnt orange. More than Scholar. And you keep it very light as well. And you don't feel like you need to go to dock in this area. And while this yellow is wet, this is why I'm trying to just getting as much of these colors. I can just sort of blending, joined together. Soften this whole area down with almost pure water mixed in with the beauty of this other color like that. And we'll bring it all the way down the mountains as well here. Please. Read more here. And that edge there. Fantastic. Okay. And now time to put in a bit more vibrancy into the sky. I like a bit of orange or something on this side. Okay. Rid of orange here, we just dropping them like clouds, orange clouds just kinda running across the sea. Nail those 10 slightly bluish up the top edge corner so I can drop in and blue, this is Sui and blue. Tiny little bit is truly in blue in some of these areas and they might help to combat combat, but basically offset a bit of the woman colors in there. So we're having that around like that. Be more of that orange. That's true as to dock actually spread this rabbit. And Destic. Be more than red, would be nice. Pinkish red car. Mistake. And I will carry this down the bottom of bead and dropping some of these warmth. Again, this is just some quinacridone, burnt orange rod at the base here. Now the thing that lobby good is yellow ocher. Little bit of yellow ocher into this region to leaving a bit of space on the top there will have to do the mountains and just a moment, but I want to let that dry off the touch first. So quinacridone burnt orange, a bit of this yellow RCA, trumping that in. And I carry this down the page like this. I'm I going to be the color coach at g of a GSI, which is a granulating brown sort of color, which I want to drop in there as well, perhaps some of these green, which is undersea green, It's a nice granulating green color, which I think be nice for some of these bits of grass and what have you here. Okay, just running through the golden sections. So I'm doing a few things at once. Okay, but they be yellow. It's always important to try to put that yellowing first. Okay, as I'm doing here. And then over the top, that's where you want to drop some of that green in some of the dark colors essentially. But down the bottom it's very, it's almost like a, it's like an orangey yellow, like a really doubled down on NGOs. So I'm just mixing a bit of this color up, which is basically a bit of brown, orange, and a bit of yellow at orca download grace. Okay. And I'm going to just cut a bit around those that section there, that bit of the grass or what have you. And just drop that in here. So we have some warmth running through at the bottom. Okay, but it's pretty basic for now. And just the essential, essential colors running through. It's always good to do a bit of tapping around like this if you've got a bit of Bit of paint that you can sort of think around. Just some DACA be It's usually I'll pick up some browns or even some neutral tint, something like that and just give it a tap over here to get in some sections of congruencies and things like that. Too much. Okay. And of course we need to put in these mountains in the back and I'm going to be using a bit of purple. This is a bit of imperial purple. And we're mixing it up about 50 percent water and 50 percent paint. Okay. We want to make sure that these mixes dark enough so that it doesn't spread too much as well. And because that paper has done some drawing already, see you noticed as I put it in, it does spread, but it pretty much stays around about where I put it. So I don't want to to document, but these will dry off. Lighter too, so don't worry. Okay. As we come down the page, again, just finish it off down the base. Like that. I've got all these bits of white Vietnam. I'm going to leave a mean. Sometimes they can indicate with warehouses and things as well. You notice around here as well, It's pretty light. The purple is a lot lighter because near the Sun Li area, it's just illuminating pot of that area of the mountain. So I'm just going to go lotsa in that section over here. And then two, it sort of gets up to this section here where we can dock and off again, please. This is a little bit of darkness. Then. In fact, this mountain years actually a little softer than that. It's kind of like this. Soft purple. Just kinda like runs across the scene. Like that. Great color, great sort of granulating purple of color. So now everything is starting to dry off. I'm going to go ahead and start putting in some of the dock at times and yes, so this is just a bit of undersea green, a little bit of purple. So I can just add in some B2V basically, but a shadow areas on the grass and shrubs, soft the shrubs, that kind of thing in here. Remembering that we still have the shop and shapes to do later on. Okay, but this is just some of the stuff, the bids, especially for the, these undulating bits of grass here as well, It's good opportunity to add, to add the Min. See this area here is kind of draw it off too quickly. So it's difficult for me to soften off this edge. We can still do it over here, dropping some here. See this area hasn't completely drag it, so it's a lot easier certainly to getting this darkness in here. It's just purple and green mixed together like that. Okay, fantastic. The sod of the brush is good as well to sort of create blending effects. This time. And getting a few bits of joining areas at the bottom, we get some. So I'm just like smallest shrubs and sticks and things like that here. Just move upwards towards the same. But it's not all too complicated in here. They're just really bits and pieces. Okay? It can use a little fan brush as well. I use this quite often. Getting some sharp blue shapes and things helps to blend and connect up areas. So you see that's a bit of grass that it's kind of connecting upwards to the other section of grass. I mean, this gets wet into wet, so it's going to be softer, as you can see here, a lot, a lot more softer. Okay. Then you mix in a bit more darker paint and then we'll get a sharper sort of darker shape like that and running through. Keep the mocks kind of inconsistent as well. That some of them out the back which starting to dry off as well. Yeah. Here. Right under the tree and all that kind of thing. Yeah. Yeah. Here. It just sticks and things here, the ground up in the foreground. And always re-wet this area with a spray bottle. But I'm not going to really bother with that for this one. What I wanna do is also just try to lift off a little bit of paint here. This area has kind of draw it off. And it always plays if you've got a bit of tissue. She used a tiny bit of tissue here. Wet, this area with some clean water just around the areas that you want to soft and off and just lift. Anything is that this does damage your pressure little bit. So if you've got some, you've got a brush that you don't really mind missing up a little bit. And I've got these little flat brush. This is very quiet. Hadi, so try this one. Just a bit of water here with it off like that. This would help soft and some of the edges and perhaps recover a bit of the white of the paper. And she's using 100 percent cotton paper as well. It's a lot easier to do this. And much easier to do this on cotton paper. Because paper is just a lot more. Hadi can take quite a few washes and bit of punishment. Okay. If alpha, beta, these, yeah, PPF apps running throughout the top there. Ok. And you can already see it's a kind of bringing out a bit of this sunset in the background. And you can always add in a little yellow in there as well if you want to just brighten up some areas quickly and just dab off like that. Okay. But I wouldn't recommend adding in any Gua Sha anything like that. You can just work with what you've got like that. So that's a generally and a bit of a sunset over there. Now, the rest of these has almost dried and it's the point where I start to pick up a smaller brush. I've got a little rigor here, which all we use, essentially just neutral tint to put in a bit of neutral tint and perhaps a bit of brown to gay in this tree. Okay, and remember it's kinda shop a shape as well. So you're going to have here, these branches here if you notice them that just very dark and they don't create any of these soft edges and things like that as well. Okay. Maybe a little on some of these areas that haven't dried completely. But you can see in the dry areas, it's quite dark and the paint doesn't mix and spread. So that's the effect that I'm aiming for, especially coming down the base. Here. We're kinda hits those shrubs and then maybe there's some middle DACA shrubs here, even here like that. So these are the dark has the darkest tones really. Here's some other ones. We can put it into some darker B2C as well. No shadows, anything, they just darker bits of grass and delighting bits of grass here in the background. Because some here as well, maybe a little bit here. And be good to have. Being here as well in the foreground. Just, just turn the brush on this side and getting a little bit of that. Here. Think a bit of a spray would be good. A spray bottle. This will help me out down the bottom. What more? Ray this bottom product that and perhaps a logic brush, something like this, best actually. Neutral tint. And yeah, He's still preserving a favorite of that green. But underneath the green, you've got these dark and B, it's okay. So you can see spray the bottom and little mole. I feel like it's just it would be good if we had a bit more color down bottom and a little bit more strength, something like this. That's better. You're trying to make it 25 aren't as well. It's tricky. And it's just nice to have a funny little dog a tone than what it is because this this area down the front, It's actually a little darker than this area at the back. If you look, it's marginally dark and down the front and the back, you see this sort of sun catching onto some of them at the back region is. So we need to imply that here in the front and that's how I'm doing it. I can drop in a few of these little darker bits as well. Okay. Games outlining the edge of these bit of grass or what have you there? There's even bits here where the yeah, just sort of connects on, creates this sort of dark is section in areas as well. So we can just use the edge of the brush, the side of the brush and do something like this company. I didn't want to rewet this section again, so I'm just doing this for the time being. And that should be enough. Little rigger brush again and again, just using some neutral tint and a bit of brown mixed together, get a very dark sort of color. And we can go in and I'm just using the edge of the brush to imply, yeah, just some dark, scratchy sort of shapes in here for the The SUM than the leaves and some images. It's at the branches and stuff sticking out. Okay. This is the way to do it that make it very, very quick. We didn't have few bits like that. And then over the top, just grab more of that, paint and connect up. Get those branches moving through and defined bit more. Use the finger as well to just get in there and and a bit more color. Scratch out some highlights on that. Notice there's even some little trees and things here in the back. Very, very shops or the trees running around and distance and what have you. And some of these you can even turn to houses if you just put a little and little bit of a squishy shape at the bottom likely is like that. Looks like a house. Could be could be like a little half. So who knows one? This little trick? Comply. The bits and pieces there in the background and the font distance. Few more trees off the trees running in here. Maybe some up here. And forming an edge to show that this is like a mountain going up. That Yeah. Okay. And bunch of birds here and there in the scene like this helped kinda connect up the sky with the ground. And I'll call that one finished. 14. Sunset Scene: Painting: Okay, For this video, we're going to be painting a loose sunset scene and would have basically a lot of, lots of tones in the top section near the sun over here wasn't DACA sort of clouds over on that side loop to be sort of suddenly from the back. And here is a bit of a sort of smoky, maybe misty sort of wool McCullough down the middle section. And then we see the front area, which is probably the doc has section of the entire painting apart from some of those class. But I'd say these are more photons. We've got some maybe half times up in the sky. So we're gonna go through and do a little bit of a sketch. And I think through the sketch, we can also plan out how light or dark you want everything to be. I think that's always a good stage to start planning what you wanna do. Now, what I'm going to do first is put in the area of the horizon line and just around about where those mountains, right, or the distant mountains or in the back finish off and they finished not about halfway through the pager that kind of a little bit higher than halfway. Okay, So putting it in a little, just a line up there, like that. There's not really much drawing needed in here at all. Okay, so that's about where it is. And of course here we've got some little shrubs and trees, something here coming in from the side. Then we've got a little bit of this mountain. He had little hill which comes across, disappears off variants at a distance and a k. And then we've got, of course another let me have a look at another section that just runs across here. Yeah, but you've mainly just got this, I guess, this little area over in the background and then some other bits and pieces here in the foreground. And some shrubs and things like that. There's maybe a shrub here, is no shrub or something here in the foregrounds. These are good for making literal shadows for later on. Okay? Okay, but I think that's about it really. There's not too much drawing a needed in here. And it's really the horizon lines. So I want to get straight into the actual painting and I've got a round brush. And it's basically a number 10 round brush. And I'm going to go through and firstly, getting the warmer colors, the warmer hues on everything. So whichever this palette, so that colors really close to me. I've got a warm colors over in the top. So I've caught, I've been at this a little bit of a Kronecker to that orange here. Okay, I'm going to put it in a little bit there and their eyes and lines, and it's a kind of a dulled down orange like that. And then also I've got some Hansa yellow. And I want to make sure I've got enough of that Hansa yellow here as well. So just keeping it really, really light like these. And remember, we can actually lift out a bit of that paint light up. But we want to keep it as pretty much the inverse is a lot is we can run this section here. I'm making sure making sure we're essentially that it's almost all entirely water. Okay, so a bit more of that orange further down and get it to blend in a bit with that yellow like that. Okay. Some more of that yellow and just up the top here. I'm keeping it pretty light still. Okay. More of that orange, I'm thinking just over that right-hand side as well. And perhaps a bit over the left-hand side to here, so that it blends out to a lighter blue dark a color actually on the edges. And also because I want to add in some blue through this area as well. So just popping a bit of that orange while we can It's a lot of water in here. And then I'm going to pick up some cerulean blue. Let's keep it pretty, pretty light, just like that. And then we'll just drop it in to create some little contrasts in that top section like that. It's always good if you want to pick up a bit of this, a little bit orangey, you can drop little bits into the sky like that and just get that blue to mix intuited touch. Okay, So you have some interesting mixes. Sort of drop it into this orange as well further down the page so that it mixes, does its own thing. Okay, let's have a look here. I want that to mix nicely there. Okay. Fantastic. Over the top like that as well. All the way to the edge of the page. Like to put in a bit more darkness in the corners as well. It's nice to just have an extra bit of darkness at the top. I can't pick up a little purple and drop that in, in some pods as well like this. It's not really in the reference, but I thought one on this document down a little mole K. And so very granulating colors, all the purples, even the oranges. Aquatic tiny lighting as well that I'm using here is a green, a little bit of that coolness down the page here. And k, I'm trying my best to preserve and preserve that nice orangey, warm color here for the sun set area. I think that will be fine. I don't really picture anything else I want to do. You can again, like I said, just add in a bit of darkness at the top if you want. And as we move down the page, also what we have here is we do have some kind of dark clouds. I'm just using a bit of purple, little bit of purple here to dropping around the horizon line. Wow. The paper's still wet. And this here and then it's nothing too defined, but some DACA cloud here. And there was a lot to remember. This is going to draw a significantly larger as well. Okay, So just drop it in. It kinda carries all the way towards the end. And I'm there actually some of it comes up like that. There is some little softer bits of clouds and things here. So he's dropping a bit like that. Yeah. Yeah. Beauty clad like that. Okay. And Destic. It all sitting nicely. Campaign. Fantastic. So that's about the sky, Don. I'll move down further and I'm going to pick up some more current acridine orange and drop some back in here for DC area of that mountainous region in the back. Okay, and just drag that across here as well. And it's going to be a darker section. They all have to get a bit more, little bit more color later. But I want to just have a solid and warm kind of orangey yellow color running all the way through here. And basically I've achieved that by mixing a little bit of Hansa yellow medium with a bit of the burnt orange stick. Bit of softness as we move down the page. Like that. Female, bit more orange anemia as well. Bit of yellow. But then enter in the back. I just wanted it to be fairly soft as we move down this just just creating a little bit more color here. And also what's good is if we put in some green, I'll put a little bit of the sea green here, just kind of a dulled down sort of green. And I'm going to use that with the quinacridone, burnt orange. Thanks. I will have some undersea green and areas like here. And remember this stage we're still looking at very light colors. This is just to indicate the foreground. Here. Daca, the front, like this. Remember a lot of this we're still going to be painting right on to wet down like this bit of backing paper here so it doesn't leak through to the other side. Here we go. So really it's a mated sort of grain, but it does separates out very beautifully later on. Okay. And test take, I've also got some sap green, which is a lot more vibrant sort of green that you can draw Payne 3 some areas as well. Maybe up here, this edge like that. All right. Excellent. Now while the paint is still wet, I do like to pick up a bit of collaborative extra commas and the browns, maybe some of that green just mix a bit of that green and brown together and get some color and just tap a bit of that in case two to get basically just a little bit of color running through. And want to ever do it. Flick. It's like a brush like I'm doing here as well. So inconsistency is in there. Thank you. I'm pretty messy when you do this and go overboard. Okay. This will just create a textured effect here in the foreground. It's very subtle, but it will make a, certainly make a bit of a difference. Okay, that's enough. If you've got a little fan brush as well, and recommend you play around with the fan brush to put in some of the little bits and pieces as well. So you might think, let's put in some little bits of grass like this and coming up in areas. This will help to indicate some softness and some details in the foreground. This can be tricky to put the staffing, but remember to keep it very light. Very lots of stop putting a bit more purples and blues. And in some of these areas as well, notice some of them someday or is thought to drive it in T and U in the front. Okay, So I'm just trying to get to it. Some of the other bits and pieces before it completely dries off. But you'll notice it's mostly quiet, doc or DACA down the back, sort of areas here. And then it starts to get lighter as we move into the scene. Okay. But a bit here and it kind of trying to get the sort of golden look up ahead. Okay. But we would certainly some dark areas and scratching us here in the foreground. Okay. Good. And I'm going to stop picking up. Maybe they'd have purple with the this little fan brush, little purple. And a little bit of neutral tint maybe mixed in there. Let's put in a bit of brown just to dial that down a bit. Maybe like a shrub or something. You notice this air is con of drawed already so you get some extra sharpness and detailing out in the Back Bay which is good. Some more purple, maybe a bit of blue. It's really just getting a dark color through these, some of these trees and shrubs and things. And this can be a bit of a tree, a shrub. That touching, touching go just like that. Kind of mocking out this section here of the air, the hill. Okay, helps. And the good thing is that you can just create nice shadows running across like that, joining on to the trees and shrubs at the same time. Yeah. So Witton will look like this. Could be a beautiful shrub or something like that. The shadow here. Okay. So committee bit more HIO, beauty of indication of something, some kind of tree here. Now this shrub or something. Okay? And we've got some more here in the corner. A little bit more here in the corner. What have you? And a lot of dry brush work is well, it's not it's not perfect. It's just trying to get into a bit of that color to mixing with the gold in here. Well, I can putting a bit of color in that background as well like that. Now the thing is that little line at the back for the mountains, so we can do that while the paint is still slightly wet as well, like that. And so that it just looks like it's blending a little bit with all that missed and stuff in the center there. Okay. So looking around and seeing if there's anything else that we want to apply and change around in here, doesn't really look like it's all visible too much. I'm quite happy with those clouds. I mean, we could probably add a bit more darkness into this, these trees and things. They all quite amazingly soften down when they dry. So you'd have to go a bit stronger even this one's kind of, it's almost disappeared here I say this will help create a little, and there was like a little boundary here. And of course, this area starting to dry so I can start putting in a few these little marks like this to indicate some shop a sort of bits of grass and things like that. Then even kind of like make out a path here or something as well. That's another thing you can do. Just, oops. Something like this. Yeah. It makes it look a lot more three-dimensional as well. You have some of these like shop as shrub, like shapes and things running through the scene. Okay. So often maybe this area. And if you want to put in a bunch of birds, you can put in a little few birds up in the back there That's guy's pretty dried so I can just drop in a few little indications like that of some basic birds up here in the sky. I like to pick out these little highlights as well. And they help indicate some of the, maybe just catching some, some meta someone or something. Left out a bit of white here. Externally. That's okay. Could just be something here in the background noise. Okay. And that is pretty much it. That's finished. So we've got all pretty much all of the lighter the kinda of times that we've got it and then we dropped in thicker pigment to get to in a little bit of these. And Dhaka shapes in there. 15. Tokyo Street: Painting: Here's an interesting scene from Japan. Actually it's Tokyo scene. And really like this because there's this kind of tunnel view running through and we have a very strong contrasts in these same as bone order to practice tone. So we've got the sort of brightness coming in from that left-hand side for the SAT, this building. And then of course you've got the darkness all the way through that center section, almost like if you draw it out and do that whole square section with a bit of a light at the end. Then on the right-hand side is going to be a lot creeping in. But all these signs and what have you, we're a fairly doc so we can get all that in with a bit of a midtone and get some food turns in the train that's running across the top section. Darker tones for the shadows, some of the figures here. So let's go ahead and start drawing. And I'm going to go in firstly with this building on that left-hand side. And the photo reference is actually a square shape. So I'm going to have to enlarge bits and pieces. Okay, So here that's the edge of that ran about the age of that building. And we know that it comes in a random at here as well. Okay, So we're going to be rooftop here. And then we've got like a first four here as well. Right there. There's a shop here. It looks like it's just got a little shade that comes out like that of the edge of the sharp. There's no middle shutter, not a window in. Perhaps, perhaps this is actually a door. And then you've got another section here which looks to be a larger door as well. You've got a little sign here as well on the ground. Okay. And of course we have a figure walking into the scene here. Okay. So just putting a new indication of where I want to put that figure in. We do have a window that comes straight through like that. Few little bits and pieces with a railing there. Okay. And there's also a sign for this shop. It's little rectangular sign like that which connects to the side of the building. And that's about it for that side of the building. So the rest of it here, this becomes interesting because there's obviously all this, all these things here in the front of the store that you could be a chair or something like that. But here it's almost just like a wall and you can see it and just go behind that sign like that. And it comes all the way down to here. I'm going to extend this out a fair bit as well, just to make and make sure that I've covered up this whole area. It's another sign here on that side as well. But then we've got this this train. So it seems to snap that photo just at the right time is that train comes across. But I can get it a bit of that top section of it. And it's really just the side of the triangle. Can't see much of what is essentially going on at old in the age is little, little bits in pieces in there for that side of the train. Like that. Fantastic here. And just some more windows and what have you like that which is nice. For another kind of doorway or something like that. You see you have a top sections. They're these little sections of the door. And there you go. It's more of that train. So just the little bits and pieces, you can almost, almost can't tell that there is a train or lyse sort of concentrate. He can't see at all too much. But there's all these little bits of wiring and things running towards the top section, which helps to also indicate that it is, they're fantastic. Now this whole area here is very dark. Sort of just goes all the way through this tunnel area towards the back. And then you've got that roof top part of that section here for the train tunnel. So it's like the edges like this, but it forms a little tunnel as you go through here. And the great thing is that we have these kinda areas of shadow here that run through underneath. Of course, there is another kind of sign here as well at the side, and I'll just put it in the scene. Quickly like that. And that creates a little shutter is all running towards that left under joins on here as well. Okay? So we can start putting in some, some figures and people. So a lot of little bits of detail and things going into the background, but we don't need the moreover, the fact we got to remember that this whole section is pretty dark. Yeah. So that's going to be the main focus, focal point in this scene, this tunnel and the contrast between the light and dark areas. We have some figures in the front is a little girl here on a stubby she's on some kind of like scooter or something? Yes. I can just put in a bit of a dress and legs there. And you can really a 100 percent C, but she's got was coming and forwards like this. Okay. Very basic. And then we've got another figure here sort of reaching out is a bicycle like this as well. There's a lake, the other ones kind of hidden behind there. And then the names, of course, coming forwards here like that. So it looks like this, this person's riding a bicycle. Okay. Thank these figures here at walking around in the background, so he's one. And then we can put in another figure here, getting a little closer to the scene. And of course we do have another bit of shadow running here too, which is interesting. So cross from this sign in the foreground here. And it's really just a really big pulled. It goes up into the sky behind this sign. And this actually forms part of the it's it's like a little lamppost or something. Yeah. Isn't that so it's just a little little lamp area. That's one. And then we can get an another one here. Then if this kinda connects on to the, to these two lamps and the streets, someone here as well. Nicely street sign. And beyond you see kind of a poster on the wall, rectangular poster. And a lot of this stuff here. This could be another poster or a billboard or something here in the foreground. And then you've got, of course, these other buildings, which I'm going to try to indicate. Okay, and that comes down and select the edge of that building is a kind of a shade cloth here. Didn't see that before. It looks like a restaurant or something like that. So in food on the edge here, like that, I'm going to be some darkness in there for sure. And then we've got, of course, some more of this section here, which is just the another sign coming out the side of that building like that. But it's a lot of this is just quiet doc. Anyhow. Okay. Fantastic. Putting another figure here in the background there. And a few more, maybe walking around. He ends up being the distance that I'm kinda overlapped would be with each other. Little indication of the legs and some at the back as well. Here it's mainly just trying to get their heads in the body. I think that makes the biggest difference. Okay. Okay, fantastic. So we're looking good. I think for the sketch, I'm going to go ahead and get started with the painting again. What I want to do first is again, just add on all the real light colors. So really I want to begin with some orange for this area here, which is basically the side, This building. Little bit of orange, and then here as well at the top. And if it's too dark, you can always mix in a tiny bit of this burnt sienna as well, which is what I'm doing. Just a dull it down, a touch like that. Notice as well, kind of in the Windows zooms and that you're gonna get a little bit of a wooden frame. What have you? So we can draw some of that in here. On top. Bit of this brownie sort of paint underneath as well, just to getting the kinda little shadow shape there. There's well, might get inhibitor these blue collar as well. For this shade cloth. Some coolness running through like that. Really underneath it's just kind of a wall. Mccullough, hey, like that bit of the brown again, using that here and to darken up some of these areas. Okay, cut around that song as well and getting a little darkness behind that figure. And imagine bits and pieces through there. Okay, so it's hard to connect this onto that right-hand side over here and leave that sign. Oh, that sounds song partially white as well like this. Okay. And we'll go along and again just dock and this tram up the top and be like this blue color. This little cool color, very cool sort of color. And dock in this down like that. Are we dropping a bit of extra color lighter, but I'm not worrying too much about it just yet. And underneath the bridge is where I want to focus some DACA tones, bottom gravitate of purple and neutral tint. I think this would be a nice color combination just underneath here. K to get in some DACA bits k that will help pushes some of these. And area Beck created an effect of this kind of darkness running through. Okay. Getting it quite accurate as well so that it's nicely matching with everything. More warmth me a little bit more darkness back here. Notice how I'm cutting around the fingers as well. It just helps to do it this way so that we can get in the color for them a little bit lighter on. And of course here we have the signs and all that, kinda like Chaz over here as well. So you can have some fun just, simply just pick up a few different colors that you might want to indicate. For example, these could be more like yellow. You might want to put some yellow on here. Model on some red here. Where's it? And I'll put a sign here somewhere. Here is no sign here. Beta read for that sign that could be a bit of red here as well. For that sign. And a bit of coolness to the left-hand side like that. Underneath here, bit of coolness here. Then a lot of it's more cooler than, than warm, but you do have these little bits of warmth and mixed in here. So that's why I'm gonna mix it up a bit in this section. Create some extra contrasts. Okay, so bringing that up, that's just trying to cut around these little lamps as well. And this whole wall is almost like a burnt sienna MOOC. So I'm just putting in some burnt sienna for that. Carrying this down the page. And we got elements of just this stronger tones running through and areas and strong Hughes, I mean, just like more vibrancy. Just jump out at you had some spots. But I'm letting that sort of sinking as well so that it's not too vibrant so that the call is kinda mixed through this as a bit of white that I'm using here. K. Let's have a look. Join that on nicely like that. That's kinda read as well. Okay. It more neutral tint in a bit of purple mixed together. And what this is gonna do is allow me to get into a bit of this shadow across on the ground. So I'm cutting around the figures. You might want to use a smaller brush and just hoping to a number 6 round that now and we just want to put a shadow and maybe running across like in there. Okay. So the trick is, is yet cut around those figures. Being careful enough is to leave out some of the lakes and things. Okay. Actually goes all the way across here. You have a look. Kinda shatter that just runs across like that. Moves downwards here. Bring that sort of around there as well. Soft the shutter. And then you put it in their rooftop here. This section of darkness soften that up as well. I don't want too much detail just yet. Okay. So look what else we can do to be more purple bit of neutral tint, still preserving that lights. And the figures and the little people that are walking around here as well. It pays to just start adding in a little bit of detail on the ground and joining up the shapes of the figures and that kind of thing here. That's a very basic sort of bicycle. They're just putting in the shadows of these phases like this. Okay. Little bit of that shadow running a curse the ground, the figure here as well. Like that. Good to put in a bit of love through some parts of the figure it out there. And this figure here, maybe we are bold color is slightly warmer. Okay, so what I want to do also is while this area is still wet, is to get in a bit of this cool color running across the ground here. It's a little bit of this cool color and I'm creating some little lines and little line a fixed as well for the sign like that. Okay, maybe leave a little highlight three then I'm going to move these purplish gray sort of color through the page to create a darker shadow down the front. And I want it to be almost as dark as that area in the back is not true. Not too dark, but around the same tone is back there. Leaving this whole area of whites, as well as you can see, really creates, really creates a big contrast. Normally, I'll use a light wash of color in that section. But if we leave it white, then just able to get a logic contrast. And it looks funny to begin with, then you really tempted to painting because it just looks so out of place. But if you just leave it for now and paint the rest of it, you see what I mean? It just starts to come together, but it's not apparent until later on when that happens. Really just have to sit taught and wait for that to happen. There's also a, if you look at this sign here, a little a little bit of shadow going to the left of that sign running through to the back there. It's not an almost exact as well you do it gets mola jagged shadows and things even running in from the edges and things like that. So I always try to create some inconsistency, some Lou, just some little shadows here and there like this. And that's going to help you out because if you make it look too perfect, It's not going to he's not going to read properly. Okay. These tiny little scenes imply that the little bits of shadow and what have you, they imply that there is objects that are outside the field of view. And yet they're just create more interest. Say ruby, color there. Just trying to create a little bit of contrast underneath. It's almost like a shadow underneath the shade, areas like that. Okay. And of course I forgot to do the sky, so we're going to put in a bit of cerulean blue just into the sky. And I'm using quite enlightened mixture of it. I don't want to overdo it. Something like this. If it mixes in the building, don't worry, just continue on. Okay. Just a light wash and then I actually just add more water and shift that around there. Okay. The buildings and the train here have actually dropped off a little bit. So. Not all too much I can do about that. Just rather wait and see how it turns out this perhaps supported me to blue back there as well. Indicator an air back, back in the distance for the sky. A little warmth. Perhaps a little orange just off in the distance like that as well. Just a warm up that area back there. Okay, good. And that's looking fine. So while some of this stuff is, of course drawing, I'm going to go and add in a bit of color, some of the figures, and we don't have to add in a color to all of them. But I think a little bit of color on some of them is going to certainly help. So I've got a bit of neutral tint here and colorful the heads. These sort of heads air hit area like these kind of implies some hair or something like that on some of these some of these figures. Okay. And if you put the you say, Well, notice that's pretty much the dock is a term that I've used so far. Okay. I've lost this figure here economist. So we can always bring out the head by adding in a bit of darkness up the top here like that. And that can be the leg there. It's not super obvious, but you can see there's something going on. Sometimes it could be holding implying like a bag or reef case or something like that. Some of them you might want to add a bit of lots of comments, like a bit of blue in the mix. So he is just a teeny bit of blue through there. Okay, now leave a bit of watt and that right-hand side of the figure, a mix it up and just pick up some of these other color hue, which is sure what color it is, but it is a Walmart's let me warm and mix running through the background and then get some legs at perhaps some legs running down the back. Therefore, the figures, these figures here, it just, they all pretty much in darkness underneath. But because this area is actually still width, I can actually dropping a bit of darkness here for the legs. And the great thing is that it allows these little subtle darker shadows to show through. Like that here you can see that the paints, the paint's dried and so you've got to shop a shadow going to lap it here. It's a softer dark shadows and they look a bit more abstract. Okay. Fantastic. I wouldn't dock and down this person's leg a bit as well here that we've got to figure over here, which I'm going to add in that beautiful blue. There's still a lot of blue here. For the torso. It's too much just lift off and continue on the legs and just a dark color, really just neutral tint running through like that little bit of hay to the back of that figure, some some hair for assemblies Because as well earlier in the distance, they kind of look like they go spiky hair because it's so Witton width. And then the rest of it is really up to you. I mean, if you want to leave your fingers wide or you want to add in some color, I might add in a bit of color for that one. And you can cool it down and then warm it up in areas and then just leave and just leave some white for the other ones as well. That's completely fine. And okay. And now I'm going to put in a bit of darkness here. So this can be just the windows of the train that's running above. We've got quick I'm doing that is just one brush stroke, one brushstroke to keep this style in line with everything else underneath the bridge as well. You do notice that there are these little sections here too. And I'm going to just indicate that like that. Some little lines running across the top section there, the roof. Okay. Maybe some running downwards like this as well. Yeah. Bit here. Sometimes you have to do this, especially when we've lost some of that pencil work. Well, just outline a little bit more in the watercolors. And it's kinda just, we basically just drawing. And on the top here, beats of the cabling and things which indicate the currently the lines, the electrical components and things. So that will spring to attention the is train a bit more. They're just trying to get a little more accuracy into the train like that. Do notice that there There's a little section underneath here as well. It's kind of like a rail just runs vertically like this. I'm not going to do it. I'm going to imply that all too much. And also, let's put in some shadows a bit underneath that building, maybe a bit on the sign, that left side of the sign. We've got some inside the windows here. We might have a bit, for example, I just running through some of these areas of the roof. And they're not really the simple, but I'm just trying to simplify it down. Like that. Get a bit of texture to these tiles and the roof, I suppose. Like that. Here. Here. Again, some more darkness around these figures. The figure over here, I mean, the Neith of that sign. There might be a doc a shadow going towards the left like that. I mean, history is pretty pretty dark in there any anyway, so there's not really too much for me to do there, but just looking for other opportunities, other areas that we can lighten up. Over here, we've got like a lamp post so I can just dropping a bit of dark and paint, bring that down here. Okay. Like this. And of course they're just putting some of the detail for this lamp. Here. It's just the one we want is a couple of LED light lamps elements. So I just drawing this, drawing them in with watercolors like that. And you can see that's fairly effective. Associate white to that area has dried a bit in. You're able to, to get in some more details. And there's maybe a pond that Sana can't see. Some of it just runs through and we got cables and stuff as well connected. So we can certainly go ahead and add on a little detail through the buildings. You'll notice as well just little verticals and things like this. They're just some dry brush strokes as well to get innovative. This other stuff. And that's it. I think we'll leave it as that. So we've got a few lot of different times. You've got some of these lots of times. And we've got these midtones and really dot times running through here. And that creates this lodge sort of shadowed impression of watts and Doc. 16. Venice Landscape: Painting: This is a very interesting scene here and there's a lot of detail and a complex data on the buildings. But I'm going to show you a simple way to just reduce it all down to just really one value or maybe it's basically just a bunch of middle values. And essentially what we wanna do is just get an idea of all these buildings. Maybe you'd have light coming in on the left-hand side of some of these buildings here to the right. But it's basically this light that's reflecting across the canal here. In the middle part of the same we do have some buildings here and things in the front, but I think I'll probably leave these out. I might just actually bring this scene forwards just a little bit so that we can cut out that building. Okay, so let's go ahead and give this a go in terms of the drawing. So we know the horizon line is roughly here now it's about a third of the way from the top of the page. And the sky is the lightest part of this whole scene. You can see it basically then some of the buildings to the bag, maybe some of the roofs here, but essentially the sky and perhaps a bit of this canal. So how can we get in these shapes? How can we basically getting a real simple, I guess it's still aware of all these buildings. Well, we can have a look at where the buildings sort of disappear off into the background. So if we look right in the center here, we know that there's a bunch and it just kind of small buildings kinda coming through at the back like that. You can see bits and pieces of them. And it's not a really too apparent, but you can see basically they come down and then they can now goes all the way down. Just putting a very simple line just where the canal might finish off to bed a third, little bit more than a third of the way, actually through the page somewhere around here. And then you've got the other side of the canal which is essentially just going straight up the back like that. And then it comes down something like this here. Okay? Something like this. Alright? And that's basically it. And essentially what we wanna do is get in a lot of these shapes of the buildings and make this sort of three-dimensional kind of look in. I always like to start with the stuff in the front first, just make it a lot easier so you can go in and get the rooftop of this building. And I know I just wanna make sure that there's enough room in the background for all the other buildings. So we just have to make sure just out to be very mindful that we are leaving enough space. Okay, so this second building there roughly runs about half the way through this whole scene. In fact, this should be further down about roundabout here actually. Okay, but it's not a huge deal. We can certainly make do. There's a bit of a bush or something here. There's even some trees and stuff here as well. Okay. And there's just putting a little edge of the building. Use something like this there. Fantastic. And again, we've got this other building, Ron front. So just a simple little scene like that, just the rooftop and another one here in the front. Again, the rooftop just disappearing off into the scene at the back there, they kind of just line up nicely like that. It looks like there's a kind of courtyard here. Okay? And there's a house here. Let's just simplify this down. Okay, something like this. It's a rooftop here that comes down there. Like that. There's another building that just runs up all the way towards the side. There's a rooftop to that building as well. And that comes down like that. And really all the back buildings here can be condensed quite simply as well. But let me just get in a little tree here on the side. This whole courtyard here is going to be fairly dark. So we don't need to put in too much detail there. There's looks like there's some kind of path here that we can perhaps emphasize. We'll see how we go later. There are some Lada bits and pieces in here, but it's not too certainly. You don't need to worry too much about that. Okay? So maybe just the sides of these houses. You'll notice that it might be, there might be a little bit of light catching on the sides of them, so it's good to have a few of them in there. And this is like another building out the back. This is going to be quite dark. Lot of these buildings here fairly dark. And the only thing that you might be able to see off them as just the rooftops, which is why I'm taking a bit of care to just draw in some of these rooftops where I can and the buildings here in the back, they become smaller and obviously more difficult to make out the detail on what's actually happening. But just reduce them down to these sort of box, box-like shapes and the distance. Pick out a few rooftops that you might want to drop in like this. Um, you know, there's actually a few triangular sort of rooftops that just duck out, jot out the sod here like that. Okay, so we can get in a few bits and pieces like that. That's a larger building. He kind of comes all the way up this triangle shape. Okay? Lots of details and things. And then of course got this. And look tower here and the distance it goes about the roundabout here. Okay, so let's just draw in top of the tower like that. Look how simple that is. And there's some buildings back here as well that we can just begin simplify down. A lot of these will just be a basic silhouette. And like I said, the rooftops are going to be the main indicator that there are perhaps some houses sides of the buildings, that kind of thing as well. Button really a lot of that is going to be indicated quite lively. As we get up into the distance. You notice it's just hard to see what's going on in the end is just you can almost just see rooftops running through. Okay. So I think that side's done. I'm fairly happy with that over here, you'll notice as well, there are some kind of bridges that kind of go over crossover to the other side of the canals. Like this beautiful photo of Venice. There's another one here as well that kinda crosses over that. So simple and simple does it nothing to suddenly just putting some of these little handrails and things like that you notice is a little shadow underneath as well like that. And then the light just kinda comes and reflects downwards like that. And you might have a few bits and pieces here. You look at these tiny gondolas here that just barely visible. But again, they have a little sort of silhouette and shadows underneath them, which will help. Hope, I guess, give a bit of interests, add a bit of interest in this area. Now there are some, of course, buildings and things here as well. So we're going to have to just draw a little bit of this going on. And of course, these towel which we can't forget, I'm just going to go out and draw it in and we know it sort of finishes quite high up the page, but I'm gonna reduce it down a little bit so that it doesn't go off the page completely. And the little edges of it like that. Then top of the tower, there's three sections in here. The towel like that. Here's all the way down. It's actually got an edge to the side of it. If you look, It's almost you can see the side of that tower as well. So something like that comes down. Let's have a look at what are this is going to be again, just another silhouette of the other buildings. So we'll go in and roughly indicate, I think this is some kind of church. It looks to be some kind of church or something like that or a larger building, whatever it is. There. We've got a triangle up the back of air and this kinda civil look, this kind of finishes ran back here actually. Just behind. Look, just behind the tail. I'm sort of stops around here. So again, I don't need to really detail too much here because it's, I'm just planning to have these mainly as a silhouette running through the same route than anything too. Detailed in this section is the link tower. Here's where we can barely see it, but there's a little towel and buildings and things off in the distance. Notice there's all these overlapping shapes, even these little house here. And that overlaps with another house here. In a just, it's just continually evolving and changing as we go. And we have this rooftop here, which is just like a just a building essentially, it's facing the canal. So I'm going to get that coming in like this. Yeah. Ac and down the bottom here it looks like a kind of a little balcony area resting error or something. Of course, these two buildings here are going to have rooftops as well. It's actually a lot more detail on here, but again, simplify this down. We're going to look mainly at the tones running through here. There's this Bush running through the center area as well. Of course, this kind of why building huge. We might, may or may not actually getting there we go this other building we can just getting coming through this side. And what's like that. Okay. And what else do we have to put in? I think just a few little indicate a buildings here in the background. Sort of getting the sides of buildings in that kind of thing. Keeping it pretty simple as we move further back. I'm like that. So we are ready to get started with the painting. So the first thing I want to do is get in the background colors. And I do want to add in a little bit of warm, but perhaps it just a tiny, tiny bit of wont hear in the background. And I'm going to use a number 10 round brush. And a new favorite colleague, Louise cobs, all orange. Drop a bit of that in here into that Becker in area. So nice to beautiful granulating sort of orange trophoblast do that. They're just a bit of warmth and it's not saturated enough. You can pick up a bit more pyro orange or just a more saturated orange and mix that in. A bit of red as well, would be nice. Let's put that in, in the horizon line. And you notice that you also start seeing some of it in the buildings, especially over on this side, the rooftops and things like that. Okay, bit of sienna does work fairly well too. So bits and pieces dropping very light colors running through this area. Some yellow ocher, this will be good. That's more like it. Then we don't have to worry if we cover these buildings. Because again, we're going to go over the whole lot with the doc a time. But we'll try and getting old a lot times n It turns out that all the light tones more often than not, are actually quite warm colors. And of course, you do have some lighter tones like sorrow in blue, for example, naturally, which is quite light. And also other blues, if you don't use them in much higher concentration, there are also quite, quite lots as well. So it'll be go orange here. I'm gonna get some into the water like that. Again, more that covers all here. Bit of titanium white is good as well. Just light colors. Let that kind of mixing. What would it be green here. Get some of these indication of this shrub. And then of course, the little courtyard here, which is sap green, but I might want to dial that down a little. Let's add some neutral teens in there so it doesn't overwhelm, look too overwhelming. Drop that in there like that. Remember still keeping things pretty light. I'm not just re-wet this area of the sky very quickly because I know it's at potentially going to draw if I'm not careful. Sienna, move the orange is warm color running through that left-hand side. And that's a bit of this titanium, why it's also running through? Yeah. Okay. We go up to the sky. I'm just going to start to add in a little teeny bit of this purplish color like that and some ultra ultra marine, but very light still. Okay. We do want this area to be, yeah, just very, very lot. Given that it is the sky. Can a bit more color on that town. That blue. And then all the way through to the side and I'll get that one in as well, just a bit around that tau. Like that. Ultramarine is a beautiful granulating color texture to it. So even when you use in quiet light mixes. Okay, That is looking good. While the paint is still wet. This is a again, it's a good time to indicate indicates some small ripples in the water. I'm going to pick up a little principle with a number 6 round brush, maybe a little early for this, but I can just try. I'm dry off the brush a little bit and notice the dropping in a doc, a tone in a lotta area like that, but it spreads quite nicely, unevenness shadow underneath the bridge. And if you notice, pretty, pretty basic so to shadow. Okay, but we're going to have to go over it again later anyhow. Okay. I think what's known as though is that we just sort of white for this top area to dry just a little. And once that's done, we'll go in and do the rest of it all wet into wet and I'll use the hairdryer to speed versus lot. Okay, That's all dried now. And what we are going to do is we are going to go through and getting the details for the buildings and reduce this old down to a silhouette. So we've essentially got to maintenance. I mean, obviously the with the dark tone, it's going to be slightly darker and a slightly louder in some areas. Okay. But for the most part, we're going to have it fairly consistent in tone. So we'll work across on this side first and I'll show you what I mean. I've got a number eight round brush slightly larger than the one I was using before. And I'm going to be mixing up a bit of this brown here is basically a raw umber. But I've also got myself some neutral tint here and a little bit of cerulean blue so that we can get in a nice, a very kind of brownie bluish color that hopefully granulate out. Okay, We'll try that on. Okay, That looks it looks good. I'll just drag that brush a little bit. And what I wanna do is just getting some small details for the tau. Okay? And notice I'm just painting the whole tower in like these. It's not even it's not even much that I'm adding in just a little basic components. Notice at the top is the literal air is stick out. Okay. Move downwards like this. Pick up some more paint and yes, it is again, just move down the page. Okay, good. This side of that tower and like that here. Bring that all the way down to the base, like this. Okay. You'll notice also these buildings here on the side. So I'm going to make these just with a little bit more coolness in them. And I'll get in a bit of that building like that. Okay, just to, again, this is a silhouette against the sky. And it may sort of touch this tower as well. So I have to reinforce that tower and little bit more. On the side edge like that. We know that it kind of comes all the way down to the ground there, like that. Okay? But the idea is just to have all these shapes kind of mixing with each other nicely. And you might have obviously air is that stick out a bit like that. Air here, maybe a bit of a highlight for that building in there, that's completely fine. You want to have some areas contrast in this same for sure. There's a little towel or something out in the back like that. But the main goal that I have here is basically just wanting to get in that large shape that just overlaps. And then as we go into the back, you'll notice that the the shade of the tone is actually just getting a little lighter. And that's something that you have to keep in mind as well as you move back. Everything gets just that little bit lighter. That's a bit of this is a little bit of buff titanium I dropped in there. Okay. We're going to leave I'll leave this bit of roof showing through like that. Okay. And then this side of the building coming down, okay. Let's get a bit more of that brown bit of ultra marine down the front. Fantastic. Okay. These rooftops of some of these buildings, I'll just leave in like that. Okay. And down the front, we can add in a little bit of green. I've got some undersea green over here, which is a nice kind of granulating green. And so I'll just put in a little bit of that over here. Change that around a bit, leaving that rooftop here, perhaps adding some more darkness and browns and on this side. Okay. But it all kind of goes and hits further down here near the water. Okay. Firstly, I just gotta get everything else in. Fantastic. And you know, the buildings and the back that just so that there's not all that much that you even want to indicate in there. Just very light washes. I mean, I could even swapped down to this number six brush and just adding a little water and that's it. I don't want to overpower everything. Okay. So let's go ahead and we will move on to this right-hand side of the scene. And again, the rooftops are so crucial because they indicate little bit of light coming in. So I'm taking care to preserve some of those rooftops like here. But then, you know, through the center you do have little bits of darkness and things running through, which is important to imply as well. Okay, so that there we might have like a bit of darkness running behind that building here. But most of it is actually pretty light on the top and then on the size the edges of that buildings try to leave a sharp edge there for that building like that. Of course, in this section it's pretty Doc too. It's just that's like a wall retaining pole or something like that. But then through this area, it's all just courtyards stop. And obviously we've got a bit of that path or what have you that we drew out a little bit earlier. But it's generally pretty doc through this section. Okay, so I'm going to use a lot of neutral tint and just some cooler colors running through here. Okay. That seems to be a tree or something like that, Ryan side, so I'm going to leave that. But for buildings, for example, this here is the side of a building and the roof top here. So I'll get in that side of the building quickly like that. This building here as well. This is the base of another building here as well. So you just finding some bits and pieces to use and you kinda cutting around the shapes of other buildings as well while you're going through here. Okay. More here. This edge of the building and leaving that rooftop as well. So essentially these rooftops that we gotta leave in, keep them pretty sharp as well, like that. Then as you move up to the back, again, it's just pretty light, so there's not that much to put in there. Okay. With you using the rooftops and these white areas to cut around imply little bit of darkness going on in the back there like that. And of course, this slide kinda just connects on in this building is a tower in the background as well. I'm just going to bring a bit of that color up into the tau. Much just a little bit of color there. Carry that along and cut around this building as well. That could be a rooftop in something like that. Here we go. Another potential rooftop here in that right-hand side. One thing that we wanna do is also join up this bridge at the bottom. We're going to be using some neutral tint to do this. It'll be neutral tint is just put in a bit of color. I've got a small brush. I've got a smaller number 4 brush that will help me do this. Destroying them like this. The bridge, that little bit of shadow underneath that breach could have, could have done this one a little better. It's a little sloppy. Show again. There's a strike and then comes down like this. And then we've got little kind of railing or areas like that on the bridge. Okay. A little bit of a shadow underneath. And of course we've got these boats here that we, again get them in quickly with a few brushstrokes, these gondolas. And they've got a little shadow underneath. But these kind of old connect up nicely, as you can see. That's the great thing. It just all these little waves. Ripple was running. Third, you can get in just a nice sort of connectedness through this water and even through the back end as well. If you notice just a little little bit of that running through. And as we move down to the front, I'm just going to make this a little more obvious, darker, fat so that it just looks like a kinda Lazada shaped rippled water repos, that kind of thing. And then again, this drawer out the edge of the canal mole, just like this. And the buildings connect downwards like that. Certainly got a similar thing going on here on the right-hand side as well. So I can just put in a bit of that pathway like that Here. Let's kind of just doc in here as well in sections. Okay, but we've obviously got the edge of that building which is catching the light, which we don't need to detail too much. This is a sort of thing I do as well for the rooftops. You can indicate some of these tiles and things on the roof just by getting in a few little simple strokes like these. That keeping it very, very lot. And you can only really do this once it's almost dried. K note over all of them, but just I think I have some of them that it does help. Okay. He even got some areas here perhaps that you could benefit from doing this sort of thing. And also just gesture was out some detail. Because when we're doing this all in one shape, you will find bits of data will just disappear. And you'd be able to bring it back. Doing what I'm doing here. There's windows and things as well. You notice here there's like a window and like DACA sort of spots. So I've dropped in a bit of color like that. Extent we connected that one up. You won't have the bead here and here, for example, here is a bits and pieces on the sides of the buildings. That could be Windows. Example here. Just a little quick. Marks on the building like this. And you can also use the brush to draw or little and to get some structure to the tower and as much as you want really, I mean, I wouldn't want to overdo it, but it just brings a little bit more forward and makes it look a bit more present with suppose. And again with the darker colors. Using almost out of darkest mixes of colors here. Dropping, summing the sides of the buildings where I want to emphasize extra darkness. Saying things like windows for example. There are little, tiny little windows all the way through a lot of these buildings. So in a trauma getting a little indication of that, It's certainly can be challenging at times. Okay. Notice I'm also just getting bringing out a little bit of detail in the sides of the buildings like that one there. That touches dropping in some colors in the background as well. You might notice little just dark bits. Indications and things like that, rooftops and something like that. And it'll rooftops that you can draw out and indicate more. Now that the paint has essentially dried. Almost draw it anyways. Allows you to do this sort of thing. You know, you've got these air, this kinda courtyard here as well. So there's a, looks like there's a path or something just going out. So I can imply that more like this, draw out some of the features and yeah, these courtyard or what have you here, It's beautiful courtyard. Okay. Doing a lot of this while the paper is still slightly, slightly damp. But the good thing is that you get a balance of detail in here as well. So it's not all the same tone. And we're adding detail, soft details. This side of the building. I do wanna getting a little line here like that. And it kind of just bring out this sought of that building a little bit more. That type of record else do we have down here the sides of this building on his church that has like a few little features in there as well. So we'll just neutral tint that I'm using here. It's nothing special. Bit more to indicate the structure of that building. And you might think of a couple of bits and pieces here as well, running through the side. And it's a darkness. And whenever you, you might even invent, could put some windows here on this building, even though there's not really any, their top out of kind of lost these top part of this building. So I can just drop in a bit of that to indicate what's going on there. Like that. Little bit more for the waves and the repos. Because you might have also just some little ones and they connect on to that right-hand side. I do want to make these little dark on that left. If I can get him to the mix. Just mix around mole that's come down from the buildings and just drawn up a bit like that. K and Destic. This building here and the lights just want to dock and around it will create more contrast with the rooftops. Kay? Said in a few birds and stuff over in the distance. And maybe around the tower as well would be nice. That loops very obvious looking good, turn into like a flock or something. Then want to keep them a little lives are in the background. She birds here in and intestine. And I'll call that one finished. 17. Class Project: Your class project is to draw and paint your own watercolor saying using the tonal principles and techniques covered in this class. This can be a saint featured in one of the class demonstration videos, all based on one of your own photographs or scenes you've observed outside. You can also refer to the scanned drawing and painting templates attached, which will allow you to trace the drawings if you wish to do so. I recommend during each scene, freehand. Drawing is an important step in improving your painting skills. It allows you the opportunity to compose and plan your painting. So I'll just put in a few preliminary tones. Once you finish the drawing, use the watercolor steps and processes included in the class demonstration to complete a painting. Finally, upload your project.