Watercolor Urban Landscape Essentials: Brunswick, Melbourne

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the Art of creating a loose yet accurate urban landscape can feel overwhelming and daunting. Where do you start? What techniques do you use? Where do you bring your vision to life on paper? In Watercolor, Urban Landscape Essentials, Brunswick, Melbourne, you'll discover all the essential processes and techniques you need to turn any photograph into a stunning and impressionistic urban landscape. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of light and shadows. And the final addition of details and highlights. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create awe-inspiring urban landscapes with ease and precision. Whether you're an experienced artist or a curious beginner, this class will equip you with the tools and techniques to unlock your full creative potential. I'm excited to get started. So let's unleash your inner artist together 2. Materials Required: Alright, so I want to talk a bit about and materials to help you decide what to get or what to use. I'm using a 100% cotton watercolor paper here. So hundred percent cotton is important if you can get your hands on it, because you end up with more vibrant looking paintings, the papers prepared properly, It's sized. And also you can layer over the top without eliminating or rubbing out the previous layer. So super important, I'm actually using a piece of hot press watercolor paper here. I recommend if you're just starting out to use a cold press, medium texture or even a rough paper, probably medium textures the best For Beginners. Hot press paper can be a little bit tricky to control, but you can get a similar effect, but just with more vibrancy. So that's it for papers. I want to talk a bit about Brushes now. So as you can see, I don't really have too many brushes. I don't use too many in my paintings. And this one here, the ones to the left, these are basically watercolor mop brushes. They have a large belly. As you can see, hold a lot of paint and a fine tip. Very useful when your painting skies. Large areas of the buildings. For example, bits of the ground, large areas of the ground as well. So just allows you to cut around everything and even the sky as well and get that in a large sort of Wash. So three different sizes depending on the size of paper that you're using. One or two, maybe more appropriate. I've got some smaller brushes here. These are detailing brushes. So you see here I've got Windows, I've got figures, cause highlights and things everywhere. You're going to need some of these to get those details. I've got a small synthetic flat brush, and I've also got a round brush, that's a round brush number six and I think that's I think that's about a number four in a flat brush. There's also some other brushes that bonus brushes, I like to call this as a fan brush. And you can use that to get in bits of, I guess, messier details like tree leaves and that don't have a defined edge that and detailed edge. So if you just want a bit more randomness, some of these brushes are actually quite good. Now you notice I also put on some highlights as mentioned in highlights before, and the heads of the figures, bits and pieces like on top of the cars bit so that yellow there. One I'm actually using is some white gouache is opaque watercolor paint and I mix it in a bit of yellow, hansa yellow or any other yellow in there. And that allows me to get in this nice little highlight, highlighted effects right at the end of the painting. In terms of other paints, I'm using cerulean blue. I've also got some turquoise blue that works quite well nicely for the sky as well. And I've added in some little bits of gray here and fought for some larger clouds and the gray essentially it's just blue, red and yellow mixed together and just dropped in wet into wet. Now I've got myself some neutral tint, which is basically a premix gray on the buildings. I'm using some quinacridone, gold and also a little bit of this color here, which is yellow ocher, kind of a more subdued yellow color. And I've got bits and pieces, mainly just lots of grays in the bottom here. I've got some green and dark green that you can mix up with a bit of blue, ultramarine blue, and a bit of yellow. You can have mixed premix green as well. I've got one called undersea green, but there's obviously Huggies is also Hooker's green and there's olive green as well, which are quite common ones would be to read for that traffic light. But yeah, apart from that, the older dogs are really just a gray color that you just mix up with the three primaries with very little paint. So that's about it for the materials 3. Drawing: Alrighty, Let's go ahead and get started with the drawing. And I'm going to put in the horizon line roughly a third through the scene. So about here, third of the way through the scene, you leave enough of the foot path so we can put in the cars as well. Okay. That this is where all the buildings are gonna be roughly. The center of the scene. We have this tower. This is kinda center-left of the scene. And I'm going to use this as a kind of the marker. Draw this in first. Then I will know that I've got enough space on the right-hand side to put in the main building, then some of the auxiliary buildings to left. And I'm going to make it, let's have a look here. How told we want this building? Finish it off, maybe about there. Roughly about there. Okay. And triangle, I'm just using a few dots to indicate where I'm going to draw in the top of the building like that. And this side here, there we go. That's the top of the tower. And we've got a bit more, a little bit more detail running down the sides as well. That shouldn't get it more slanted upwards. Here we are, that's better. And coming down the side of the building. And notice how I'm just drawing in segments. I'm putting some dots here and they I'm just drawing in segments. This helps to, helps me to plan out how many have any lines I've gotta get in. Instead of as drawing the entire line, I'll just draw a couple of dots indicating the start and end of that line and it just makes it easier. So that's the top. There's a couple of these windows here. Year as well. Couple of windows that how many more? There's 1233 more sort of links floors. One there. When here. And of course the one at the base. And it's obscured as well because there is some kind of something else in front of that like a bus stop or something here. Just going to draw it in. Foster. There'll be darker here and then a bit of light on the right-hand side like that. Simplify that down. We've also got some cars, is a car just going into the scene here. Let's get in that detail of the car front part there. We'll then you've got a wheel here. And of course the back part of the car there. This is gonna be important later. Just creating a sense of depth and the scene and a bit more interest. Okay, that's the bottom of the car. There we go. A little bit of detail. You don't need a getting a whole lot of detail for the car. Just a bit of the boot, and make sure that it comes in front of all the other stuff. There is another car here that's just kinda passing through on the right-hand side. Let's get that one in. Is the window overlapping with that car? And we can get into wind screen as well. Okay, just facing forwards like this. And of course, the front part of the car, their lips and that the bonnet and the lights here. That car coupled the lights number plate. Apart from that, That's just the base of it. That the wheel running down the side, left-hand side of the car here. And a bit of that shadow underneath that costs super important piece, that shadow joining it up. Okay? The side. More of that shadow underneath couple of cars going past one another. That's a good start. There is actually a another car. They're thinking whether I should put it in on what can probably just skip it. And I will place in a few more up ahead here maybe coming in from the distance. Just boxy like shapes and maybe another one that's driving off. Driving off in this direction. There is a path comes out here. It's little path and there's people standing on the path left like that. Just draw it in. Traffic light. Yeah. Like that large pole going up like that. Whether I actually put them in or not, we'll see later, but there is a large tree here which I like. It's gonna be nice just to get in a bit of darkness and use that to cut around some of these signs and poles and things as well. Also got some people there's a person here standing maybe waiting for the lights to change. I'll have another person here even okay. Put in another person maybe walking into the scene here. Walking cross the road there. The shadow for that person later. But we did in the middle of drawing this car. I'm going to draw that car in the back, like this. Could be a car just in front of this one here. Okay. Follows that perspective. Okay? That perspective lines are very important. Okay? So let's go ahead and draw this larger building. I know it starts off on this second portion of the tower. Use the towers reference. Kinda more like that. An angle. There is a chimney here. Just get that in. Something like that going up. And it just really just cuts off around about here. We've got the couple of these windows like this, the building. And of course you've got kind of like a shade here or something like that. Sort of light. And then a fair bit of darkness and underneath here. And some shadows running, running to the left. The building. Interesting pattern. I'm just going to get it in quick little pattern like that. Okay. We can change this up later, but this is just to give me just to remind me to get that in afterwards. Even on the left side of this tower, you find that it's a little bit darker. Can you see that? Slightly darker light sources coming from the right? And we've got this big building. It's gonna be tricky to get this one in, but it comes out like this, is a front section sticking out round about here, maybe front part of the building destroyed in roughly first before I commit to the line. That good. That should do the trick. Bring this down further. We've got two floors. There's a sort of starts around about here. One part of the floor, but there's some of these rectangular bits here that at another building in bits and pieces to the right-hand side. Not important at all. Mind you just That's the curb running to the right. And we've got another car here. Let's get this car in. But then why not? Backside of the car like this. Try to exaggerate it off, exaggerated a bit more. I'm making things up here. I can't see that side of the car actually. There. Yeah. Something like that. Back-end of the car, their Windows, their cargo into the right in front of that building. And let's work on this and a little more. There's actually see some structures on top of the building like this. One here. And another bit on top like that. This is, I'm breathing negatively painting this building. But we're getting this little error of the chimney here. And there's a darker spot behind it like this Get more of that angle, angled like that. Me a little bits of this ornamental stuff on top of the building. It's like this. There was another chimney here as well. Let's put it in. I don't know if it's chimney. It's like a part of the building, I guess. Yeah. That darkness on the left as usual. So much detail really on here and you have to learn to pick and choose your battles. Here's another window. We scribble some of these windows in. Another window here. Another window here. When hear. That. Very complicated, but again, I'm simplifying them down to just rectangular shapes does the trick. Okay. Another one down the bottom here. That the least posters and things everywhere on the wars. This is gonna be interesting to get in. But of course we've got some other figures, some other people that are just hanging around at the base of the building waiting for the lights to change. Okay. So crowds of people, really whole bunch of them. I'm just putting in the bodies and the legs quickly like this or not wanting to. Just details too much. Busy day, didn't know quite a busy day. Danger of making it look too crowded. But that's okay. We have it. Fella here just in the foreground. I don't think I want to get that person in the, I'm gonna put in someone just a bit closer here. Someone like walking into traffic, perhaps. They're a bit of the shadow cast to the left as well. This figure. So I just want to put in a figure that's a bit closer. Whether we want to put in another one here. So we'll look, maybe hear someone walking, walking forwards, perhaps a little bit of shadow again going to the left-hand side. Okay? And the shadow pattern on this building is quite interesting. Just getting some more details. I don't want to spend all day just drawing all these things in. I can get it in with the Watercolors. It's gonna be best that way. Very dark under here. The cross underneath that section like that. I'm part of that building. You do get a section of darkness here caused by the the building, the shadow of the building. Rooftop there to the right bit of this angle as well there. Same angle. The inlet should be enough for the buildings. I don't want to spend too much time in their some of this stuff here as well. You've got some of these buildings often the distance. Let's work on this one. Rooftop. And there's another one that just overlaps like this method. Then other roof top of another building. And I just drawing shapes. I love to drawing the shapes. Don't worry about the the actual object itself. If you can separate it out, separate it out into the actual shapes, you're gonna be fine. Okay. There we go. Just draw this one. And even though there's not really, can't really see it in the reference front part of that building. There is a kind of tree, a shrub here as well in front. In another building here in the distance. Interesting looking roof. Lower it down a little hooks to high, high up. Maybe bring it down to here. Okay. Well, to start back here, I'm not going to bother with all that detail. So we are ready to get started with that painting 4. First Wash: Alright, first things first, we're going to put in these lovely yellowy colors that we've gone into, these warmer colors, I'm going to use yellow ocher at 20 per cent. Yellow ocher tend to 20 per cent. I do have some lighter yellows as well on the palette, which I can pick up and just alter the Q. And especially on the right side of this building here, I've noticed that it is touch more saturated and you see like the buildings and everything is just a little more saturated on the right-hand side because the sunlight is hitting directly. So I'm going to just, I had a little bit of quinacridone, gold on the right side. Signs. Some of them are kind of like whitish in color. I'll leave some white there. Quinacridone, yellow and gold. And I'm going to cut around some of these figures here as well. And remember, we're using very light colors here as well because we don't want to get any darkness yet. Just the light pinpoint where that light is. Okay. Nice. Punch it. Yellowy, orange, yellowy colors, bit of brown. Some grayish, neutral color somewhere on the right side there as well, just mixing with the yellow. Mainly yellows, something like that. Okay. I'm not too fast with these figures because I'm probably would probably go over the top of them afterwards anyway with some other color. Okay. Let's keep painting that left side of the building, bit of bit of this yellow yellow ocher. Okay. Give me a fairly light, as I mentioned, just a lot of water in here, ten to 20 per cent paint, that's all you need. Over here. I'm gonna put in some more quinacridone, yellowy color to just further emphasize the light. On the right side of these buildings. Notice this roof is kinda like a brownie color as well because burnt sienna color. So I'll just put it in a bit of that burnt sienna up the top. Drag that down to touch, actually mop it up. This whole left side of the building also needs to be colored in lots of light. In here, lots of light. There are some costs here. And notice I'm just cutting around the cars. I don't want to get too involved with them just yet. Okay. We've got most of the URI yellowy colors in here. Really what I wanna do now is just getting some gray color. So I've got some brown and a bit of neutral tint here. Just mix that together to create myself a warmer color. Neutral tint. The base. Drag some of that yellow downwards as well like that. And just again, cutting around those cars a little will get some details of the cars and in just a moment, but I wanted to get the road in quick as I can. Cutting around those wind screens as well in the back as you can see. And it's also good to just tilt the paper a little bit. Some of that paint may run down, that doesn't matter. I'll just let it do its thing that you can you on. So we've got a warmer definitely a warmer gray color. Just gonna be nice. I could just put in a little bit of extra darker color here at the base as well. They could indicate a softer shadow or something like that coming out from the outside of the scene. But sometimes, yeah, a little bit of a little bit of stuff in there. Helpful makes it look a bit more interesting. Alright. I'm gonna put in some gray here for the left side of the car, remembering that the light source is coming from the right. A little bit of that gray I can get in. Same with this car here. Little bit. The backend of that car. Okay? So already you can start putting in some very light shadows, I suppose in this sense, and it connects it all up very nicely like this. Okay? Now the sky. You use a bit of unused some turquoise see color with some ultramarine blue. It's have a look, have that peer. Okay, good. I want the sky to be light, but at the same time, it has to be darker than some of these yellows to really cut around. So you look at what I'm doing here, using the tip of my brush to kind of round these buildings. Might want to just get in a bit more at the top first we'll have a larger mop brush. It's one of the larger mop brush for some of this stuff. That's easier. As you move down the page. You don't have to use as much paint. But certainly in some spots like here near the buildings, it does help to adding a touch more color. Oops, trying to tell, let it blend as well. It's tricky. I'll just go on the right-hand side. First. This part of the building hasn't. I'm completely dried but it's still drier than that. The building on the left cutting around. As long as you leaving most of that yellow in there, you're gonna be fine. Okay. Good. Very good. Work on this side now. The signs and traffic poles and stuff like that. Right? K little bit of tissue paper to mop up some of this yellowy color, this blue that's seeped into the building in areas. Okay, it's not a huge deal, really. Probably want to add in a bit of color up there as well. Also gives you a chance to add in clouds. If you want to get in a darker shaped cloud or some something in there. You could do that. Right now, hey, this pickup bit of that little bit of purple on the palette, just feathering some of the scene like that. I want to overdo it though. Okay. Okay. Good. Good, good. So let's give this a little dry 5. Second Wash: Now that everything's dry, we can start getting in some details. And probably the obvious thing I want to work on his just darken off very slightly, very, very slightly rebuilding the left side of these buildings and touch. So I mean, it's really just barely noticeable but something like this. Okay. Because you getting a little bit more darkness on the left side of these buildings. Okay. So over the top, just giving it a little bit of color like that. Okay. I want to make that side of the building stand out more the light on the right-hand side. Okay. So it's just darkening it off in touch. Even these ones here. Here, I'm just picking up a bit of yellow ocher, mixing it in with a bit of gray on the palette. That's all I'm doing. Okay, here on the left side as well of this tower. Little bit there. It's so subtle, but I tell you what it makes a big difference. Mid, another midtone, mid value. Even these ones here, these buildings here, they're a little bit darker. So that's going to format helped to form a bit of a shadow will cut around the yellow of that building. That to touch. Okay, good, good, good. Let's have a look. What else do we have in here? We've got some green bits of green. And I will to switch over now to this flat brush. And I've got a bit of green here on the palette. And I can just get this tree quickly. Indication of this tree. Bit of black in there as well. But it's mainly just a large clump of leaves up the top. Sharper, sort of clumped because it hits the sky and forms a sharp shape as you can see there. Hey, cutting around this sign as well. Using the cut around the sign. Back to that green color, green and neutral tint mixed together to get a nice juicy dark color. This could be another sign here, for example, I'll just do my thing, cut around that. And this is really just going to be a good opportunity to use it to cut around these figures, the bit of darkness, people just walking around them the distance. What's this thing? Well, that's a traffic traffic light. Whole thing. Good. I think I'll leave that for now. We can put in some more details afterwards. Now this stuff is starting to draft, but I'll give it a quick dry. Okay. I want to get in a large shadow, the large shadow shape now, purple, bit of neutral tint, bit of brown. And I'm going to miss mix up the general shadow, color. Blue in here as well. Good. To purplish, brown. Good. Let's have a look. We want to kind of you see this. There are these little shadows that come off the roof and cast a shadow on the bottom parts of the buildings. We can start off here even experiment needs to be a bit tiny bit darker. Maybe like that. See something like that. Little flat brush as well. And this one actually just comes down roughly about here. And this is why the pencil drawing is important because I can still see the pencil mark where I've placed that. Place the shadow in previously. So something like that. Okay. Shadows a little bit up here as well. Can you see just on the left side of the building There's a bit of downward shadow just coming down like this. Yeah. There but on the right side there as well. The roof, you start seeing dark bits in there once you've Once you begin it like that, here, again, another darkest shadow running down the side of the building there. Nothing much going on here, but just a few little strokes and you try to get these in at the same time. Even these little, little windows, if you can pop in some of these windows here as well, while you're at, it just saves you the work. Afterwards. You can just tidy them up later. Down here there's a little doorway and some darkness. I'll put that in. Here. You can see there's a bit of darkness for this building as well. This flat brushes just fantastic for these type of work, makes it much easier. We have these interesting shadow shapes that just come down like this. Oops, that lost a bit of that light there, but it doesn't matter. And extra darkness here could put some more purple in there. It's looking a bit too brown. And then we've got this building here, of course, the top, you've got a little darkness there. And it stops here. And I'll get in. So this shadow again, they're running across. Okay. I've got some of this shadow here underneath the building. And you can even see some shadows like them that side underneath the windows. Like here. You picking out some bits and pieces of detail now. But the main thing is that you want to look at that general shadow shape coming cross the building and join it all up underneath the building. That shadow shape continues and I'm probably going need to darken this small because it's not really it's really dark underneath this building, but yeah, just getting that general shadow shape first, we can darken it afterwards. Harder to lighten it. So just paint it all in quickly. You will probably have to readjust later on. Good. Bit of shadow underneath that part of the roof here. Look what else do we have a window here on building. This building here has a bit of darkness on the roof here. There's no not really. Gary much about the details. This is just to help the color, the yellow stand out more there. There's even some shadow running down there for some kind of shape or joining up there as well. Okay, let's go back to this side and knowing that there's more, a little bit more darkness that needs to be put in for these buildings. Like that. Sort of triangular shape. Like there. That's probably too dark. Let me just like NAD to touch a little bit of something underneath the sides of the buildings here as well. Little shadows just catching their suburban areas. So a bit of green. Just put innovative green for some of these shrubs growing near, near the buildings. This was one as well. Yeah. Quite a sharp looking one. That After dark and shadows a bit later, but doesn't matter, we've got a good a good indication. I'm going to work on the cars a little bit. Then first thing I'll do is probably work on the Windows. Same shadow color. And we can definitely see that the windows are darker. That this side of the car as well. However, there are some lighter bits in the window, so I'm not going to color it all in. But it is pretty dark, right? Just further darken that down, some neutral tint. It's almost as dark as that stuff which I need to reach eat afterwards. That left-hand side of this car could do with some extra darkness as well. You're constantly just adjusting and readjusting. Bring a bit of that gray across like to the right of that car. It's not so that's not so much light on there as it looks. This windscreen again, the darkness from the windscreen. And on the backside of the car, bit more darkness there too. Okay. Good. Tiny bit. Now for the wheels, it's getting some of this indication of the wheels. Yeah. Yeah. It's really kind of darker at the bottom of this car as well there. We just edited bit more color. Leave that for a second and I'll come back to it just to let it dry off attached. So let's work on this car here. Darkness for the wheel. Going to get a little bit of a shadow underneath. Let's just see how that appears at okay. Looking okay. We'll of course, the windscreen here as well needs to be painted in. Bit. I can come forwards. Good. I'm a bit more for the wheels that again, I've left these ones, these these cars out to the left to drive a touch him trying to just getting more of an indication of the wheels underneath like that. But I also want them to melt into the car bit. So that's why I'm letting it. That's one learning it just partially dry them and coming back to it. Okay. But of course underneath the car, you've got really quite a dark shadow. Look at that. It's just the darkest color. I'm using pure neutral tint here for this. Okay? This one here as well just has some darkness underneath. I want to do my best to get a sharp, really sharp contrast. This car hits the ground, creates that shadow. And the light is coming from the top. Top right. Okay. I'm just trying to get it to make it look, kinda make it look like the more angular than the reference. Even. Okay. Looking alright. Just a bit of detail in the inside of the car, the grill at the front. We got here at the back, tidying up a little more Multiple layers is what really brings together your Watercolors makes it look more detailed. It's the layering of the different darks even here like that as I'm doing with the windows. Because in the windows you can see there's actually some areas that we know is that I'd lighter and darker need to apply that. Okay. I think those cars have I've got those cars and quiet. Well, I will put in the windows now for some of these buildings and it's the same old neutral tint, darker color, neutral tint. These windows are so dark, it just really at the drop them in like that. It can be a bit more careful now that we're using the brush for this as well. This is like a door or something, I think. Yeah. This one doesn't really have much on there. It's just like some little marks and things. And you can do this sort of thing as we'll see how I'm just indicating the sides of this building, this little pillow or whatever areas that even the top part here just use the edge of that brush to detail very, very slightly, but you want to leave in most of that yellow paints. So you've just notice how I'm just so careful with this. Make sure I'm not overdoing it. Okay. Shadow here that we have to get in there. That chimney forgotten about that. Not a chimney, whatever it is, top part of the building there. I've really exaggerated it. It's not as dark really here as well. Something like that. Going and the window, window here as well. Getting some more details of the building. Ease, semicircular arches, things on top of the windows that you can just draw them in a little bit more line work over the top. I'm going to darken this sine of touch as well. Okay? And really we just had this point. We're putting in the darkest parts of the painting. Underneath here. There's actually a lot of darker spots that I want to get in. So just indication of this is nice. Still have that figure standing here in the middle of the road. So I went to detail out more in just a moment. I think it's important. We have some extra dots. On this side of the scene where the bottom, the base of the building is great. Some excellent contrast also for the figures which will work on in a moment as well. Oops, didn't want that. Let's have a look. What else do we need to do? This really, there's, if you want to be nit-picky, you can go in and darken off some of these shadows as well, but no 100% necessary. Couple of windows and things here for the size of that tower. If I can just get that brush in there, couple of little marks like that. There we go. That I'm going to darken these windows a little bit as well here until I paint it into four parts. Working on these figures a bit now, I'm gonna put in some extra color for them. Maybe a bit of turquoise see color or bluish color here for this figure. Something like that. Here as well. Bit of blue. We can go maybe some yellow or something for this one. Not a big deal. Even for these other ones over here. We'd have white. White gouache helps get the body's to stick out a bit more. Work. Some of these cars here and the distances difficult to see him, but they are they just need a bit of shadow underneath like that. Okay. And the legs. So these figures, Let's just put in some of the legs. Do it. Let's get out the way. There's one leg is another lake here, like here. Okay. And the shadow, of course, running to the left a little, just a little bit of a shadow. Another figure, they're good thing is also just to work on the perspective of the scene. Some of these perspective lines that I had just drawn in painting in a bit earlier. I will join him with the pencil, but I can just get that brush running through. In some areas like this. To further emphasize that that's looking a bit better, more three-dimensional when you do that. Okay. Good. Good. A bit of darker, neutral tint here and I'm going to get in this traffic light. Yeah. Whatever, something like that. Make it come down off the ground is touch. Some figures sort of standing off here as well. This the legs bit of shadow underneath these people will be good. Outline the wheels of touch. While I'm at it. Or circular kinda looking the legs as well. These figures want to make sure that they're standing out bit more 6. Finishing Touches: I'll just quickly put in the legs of these forgotten to put in the legs of these figures here as well, underneath the background. Building. Little shadow underneath the figures. This, what I wanna do is start using some gouache, pink wash. I'm just mixing up some red and a little bit of red and a little bit of white. And I'm just going to put some food coloring for the faces. You can also use a bit of brown color. You'd like to just bring out some color. It helps to helps to just helps to just pinpoint where these people are. Arms as well if you want. I'm not going to bother. Actually. The head should be fine. But I want to get in some sparkle, some nice yellowy sparkle on the scene. Bit of white Wash mixed in with some yellow and white gouache and yellow makes a nice golden color. Just pick out some of these quinacridone, gold as well. Okay. Wash and white. Just picking up, making sure I've got enough on their my flat brush. Let's have a look. We can start off perhaps on a few little regions. Here. It's really just a little dot here and there for just bringing out some highlights. There. Tips for the edges of these windows, even like that. I've noticed even here there's some little bits of the building which goes up like that. I could also just bring out that light a little bit more there. There. So it's really just a bit of opaque, opaque paint to finish this off. And I really mean in terms of finishing and off, you don't want this to be too excessive. Little catches of light. You'd be able to see on the right-hand side of things, they're even there. There. On the tops of these figures. You might get a bit of light catching on their heads and the shoulders like this. Well, for these figures, people just walking around our work to change them up a little bit as well. They do look a bit similar. Even the cars, you get a little bit of a little bit of light catching off on the right-hand side of the cars. This even this tower. Let's put in a bit of detail up here. I really find the gouache is just an amazing, amazing of finishing touch if you can use it sparingly. Windows here you can see a bit of light where it's just catches onto the left side of the window. That allows you to bring back a little bit of something in there. I don't want to overdo it. That's a little bit more. Wash. Top of these cup on top of the car like that as well. Golden ease, sort of light. Maybe it's some of these windows, just a touch of that Like that. Little finishing Touches. Softer off the face is a little there's a few other things that we probably want to do. So mainly, mainly going to put some different colors on these figures looking a bit too similar to me like that one. Just put it in this yellowy color, whatever. Go make this one a bit more red or something. And some others you can just put in a bit of darkness, even. Also some darkness in the left side if you want to indicate some shadow. Tiny bits of detail which can add up extra darkness on this figure here. Yeah. Think of paint that figure. It blue in here, maybe for these ones. And get happy to hear these figures just a little bit of something. The head darken the shadow a bit. This, this Liz little finishing touches that you want to correct and fix up. Having a look around. I don't see a whole lot more that I want to indicate. There are little details here and there, but for the most part, we've got pretty much everything we want in there. This is just some extra bits and pieces that you can. But again, sometimes you can overdo it if you're not careful. Just wanted to get that right side of the building showing through a bit better. That tower or something like that. Some red for that traffic light. It's going to show through. You go little glob of read their tail lights as well. Some of these cars, you get a bit of red there. That loops too much. Okay. Put a bit like a bag or something coming across the shoulder of this person. And we're finished.