Watercolour Essentials: Developing Your Style

1. Introduction: Welcome to watercolor essentials, developing your own unique style. In this class, we'll go through how to create unique watercolor paintings from a series of related images. When planning your painting, it can be difficult finding a reference photo that matches your final vision. Often necessary to design your own scene by forming a composite painting. Finding your install is something that comes naturally through time and through deliberate, repeated choices that you make in your paintings. Believe it or not, you already have your personal style. Style is linked to your own visual language. In painting, this relates to your brushstrokes, use of water, colors, composition and choice and subject meta. This class will show you how to make your own decisions when composing your painting. It will help you to develop a heightened sense of awareness of your use of visual language, brushstrokes, and techniques. Together, this will allow you to develop your own unique style. I'm excited to get started. Let's get painting. 2. Lavender Field: Drawing: The top seen here. As you can see, it's quite a really flat on view. You're looking straight into the building in the background. You've got some shadows coming in from the left. I think they kind of soft shadows on these rows of lavender, beautiful, sort of seen. But I think, I think having a look at it myself, I want a bit more sky in there. You can see those nice liberal mountains in the background, but I might want to, for example, adding additional sky. So as you notice, the reference photo is pretty short. It's kind of it's not really the dimensions of a bit of paper, it's more kind of long ways. And so we've got a little bit more space on top of the page. So we might, for example, just do a scene where we put the horizon line roughly here, where the buildings, maybe where the buildings finish at the bottom here. And then we've got a bit more space for the sky. That's something that I was thinking about. The second one here, which is bottom bottom-left reference photo. It's much darker background of the the mountains and you can see the rows of the lavender. But it's a sharper looking scene that's for sure a little sharper than the first one. And I can't really see many of the shadows from the rows of lavender. That's something that I want to add in. I want to add some more shadows in. I also am not such a fan of these shrubs and things in the foreground. I think look, they help to, I guess, create a sense of depth, but I didn't really like them. I don't know what it is about it, but I feel like we might also interrupt the flow of the scene and I'd want the rows of them to come forward, these rows of lavender. So that's a personal choice. So that's kind of what I'm thinking about. One, I'm looking at reference photos. I do like the soft green shrubs, little bit blades of grass that are coming through just in front of the rows of lavender, those. So I might just get rid of all those largest shut that trees in the foreground and just opt to put in some more of the green in there. This last photo here gives a view of a building on the right-hand side as well. I was thinking, should I put that shut up with that in, should I not? I mean, apart from that, I also liked the fact that it has a largest sky. In here. I'm looking at the three reference photos and I'm thinking to myself, well, I want some of that sky. And what's some of that lovely sky from that one on the bottom right? And then I want some of the softness from the first one. Also, the building looks a little bit closer as well, a little bit more personalized. We might be able to add some figures in the shadows of the figures as well. Just walking through the field. When I really like the sharpness of the bottom left-hand corner one as well. And this, you can also see there's an emphasis, the different rows of lavender. It's like there's more of an emphasis on the mid ground and the foreground and the is of the actual building in the background and the mountains and things like that. So these are the things that I'm thinking about when I'm looking at reference, reference photos and decisions, decisions, right? But I'm going to give this one a go. And what I really want to challenge you to do is to make some of you own decisions in terms of your vision of the scene. Because what I've described to you in terms of what I wanted to put in, might not be something that you like personally. So you might, for example, want to have a scene where the buildings in the background are a lot smaller. We have maybe larger figures in the front, maybe something focused more in the foreground. You might want something that's a lot softer and lighter like the first one and just more personalized. You might want something that looks a bit more like the one on the bottom, bottom-right with I'd say there's probably less contrasts in that bottom one. They'll have been fueled also look a bit there. I don't know. Maybe it was the season or something like that. I just want to I guess the whole point of this was the Tokyo through what I'm thinking about. Because the painting process starts way before we even, we actually begin painting, even drawing. And I'm already thinking and deciding what to, what to do and I haven't what have done this scene for a long, long time ago, but I'm in a very similar position to you guys at the moment where I'm looking at these three different polarities. I've not done these particular three reference photos before. And I'm thinking, how am I going to do it? Let's have a go. Great. So what we, what I recommend is to have, if you're watching this, maybe on your computer, you can get the reference photos up. You didn't have to use all three, but I might have a couple that you want to incorporate different elements of. Have the mark when you screen off on the side. And that's going to allow you a bit of time. Beauty of convenience to kind of reference and look at them along the way. Like I said, I want to put in the horizon line kind of similar to actually the third, the third reference and the bottom right-hand reference. What that is going to do is that it's going to give me a little more of the sky, tiny bit more of the sky. Something like that. Pretty, pretty straightforward. It's going to be just a line going across. You can see it. Okay. I found that the last demonstrations as I was doing more of a pin pen and wash, it's easier to see. I'm actually, I'll always make an effort to draw a little bit, little bit darker this time round. Because I know it can be tricky to see at times when you've got pencil, pencil on the paper. So let's have a look at what we wanted to do for the buildings. We've got two choices really. We can, the shadow patterns are the same. It's coming in from the left-hand side. What do you want to you want to do is decide whether you want the building small. You want them beak. And if he had them small. What that's going to imply is that we're further back in the scene. The one, the first reference photo, the really long one at the top, you can see it's just, it's almost filled. The horizon line is almost covered with that building K. That means we're gonna have to do it this big. And I think I want to find some type of balance, some type of middle ground, that certainly some type of middle ground here. Of course, this comes with a bit of experimentation. Also another thing to keep them on is that these rows, these rows of 112 fields, they come up with slightly different angles. The one on the topic, it has less rows and it's a lot closer, whereas the one on the right, you can see so many different rows of lavender fields. And the thing with these lavender fields is that you want to try and get the same with a lot of wet in wet afterwards. So I just thought I might put in a few little directional lines like this more just to indicate indicate the direction of these bits of lavender. But apart from that, I'm not really going to do too much. The main bit of drawing that we're gonna need to do is for this building here in the background. So I'm going to go in, let's, let's get in. The buildings is gonna be a bit Tim. Probably the most tricky part of this scene, getting into building. Firstly, let's get in the roof of it. So I'm gonna go across something like this. Depending how far, how far do we want this building to come in? I want to maybe let it go slightly past the middle area of the page. Something like this. The past the middle area of the page. Remember as well, we're going to need to leave. This is just the roof of the building. And as you can see, the roof of the building is basically a really long rectangle. If you've been draw a really long rectangle, you could go. So you just got to look where the horizon line is and draw that roof in, leave a bit of leave a bit of space in between the horizon line and the bottom of the roof. And that's gonna be the main body of the building, that the bottom part of building, it's roughly equivalent heights. The roof and the bottom part of the building. Let's have a look. I think this is good. Let's end it here. I don't want to go too far over. At the moment. It's kind of it's kind of in the middle, but I'd say it's more approximating the building on the right hand. In the bottom left-hand reference, reference 1-p. pop in their roof like that. And then we're just going to bring that bottom of the building down like this. And of course a zoom into the reference photo, guys, if any of you are okay with computers. Basically, I can just zoom in and have a look at that building a little bit, a little bit more so that you can be more confident in drawing it. Now, there's a little triangle sectional thing here. You can see that kind of goes through like that. And like this. I'm very, very light with this pencil work as well. You can see that there's a kind of tower here as well. I'm going to draw this scene. Interesting because you can actually see the subtle shadows in here. So we have to be probably a little bit more conscious about drawing. At this stage, take your time because it tells you why drawing the other stuff's going to be a breeze. It's going to go really quick. But focus and have a look really at the shape of this building. You can see it's got like this. This is like a triangle. Draw a little triangle. And at the bottom, yeah, it's kinda cylindrical, but from the side, without the shadows, it actually looks squarish. If we put it in that kind of just like a little square at the bottom with the triangle on top. The top part has finishes off just at the roof roughly a little bit above the roof like here. We've got different sections. We've got this section here which is darker on the right-hand side of the building. I don't normally shade with my pencil when I'm painting, but sorry when I'm doing paintings myself, but I'll just shade in a little bit so that you can have an understanding of where that light sources is coming in from that left side. And there's also maybe a bit of darkness coming in here on that left side of the booting like that little bit there as well. But apart from that, and that's about, that's really bad. It knits, get in. There's a yet another kind of triangular shape up the top here. But there's not exactly, but there's a flat exact triangle, but it's like a flat section on top of this mini roof of this tower. I think it's a bell tower or something like that. I'm not gonna try pronouncing the name of this place because it's in French and i'm, I'm gonna, I'm probably going to butcher it. But I'm pretty sure it's some kind of bell tower, but anyway, it's got a flat section at the top like that. Then we're going to join this up to the base like this. Have a look. There's another kind of squish shape on top like this. Having a look, sitting blank, kind of moving back. I always like to move my head back. Have a look. United States. How's it looking from a distance? Is it making sense or not? If I join in some areas too tall, I think I have realized this is a little bit to that section is actually a little bit flatter. You can amend that. And going putting a little square at the top there. And there's some sort of Steve Assad of it too. It's very, it's quite tricky to see, but the sort of it's a cube. When you look at the building isn't an entire thing. Looks almost overwhelming sometimes to draw stuff like this, but when you simplify them down and look shapes, a triangle, you can draw a triangle. It's a drawing that top part there, that's a triangle. A little bit of that side of it as well. We have almost the tricky part out of the way. There is a gonna just an outline, a touch more in here. Already had there's a little rooftop in the back. It's quite tricky to see, but it kinda comes out like this. Almost like a house in the back of something like that's really too visible from this angle. It is only something like that. Let's have a look. What else do we have in the building that we perhaps want to emphasize, maybe the bottom part of the roof here, just to separate that out a touch more. Notice I go from really light working quite light with the pen Sue. And as I go over the top, again, it just go over the top of that pencil. Once I become a little more confident with the building is and the general structure of it, you can obviously darken up a bit more. This is actually quite dark as well. That little building in the background, again, I don't normally shape things in much in pencil prior to the painting. But I think for your benefit, to see some of these shadows, you can even see some of them on this building, this part of the building here, which is this in a triangular loose shape here, the shadow is running towards the right-hand side. What else have we gotten here? We have quite complicated, isn't it than the right, that right-hand side. This is again, another I know that judgment cool. You can make as to how detailed you want to add it in terms of the other parts of the building. I'm just going to add in a kind of sort of rectangular shape right there. There's another little part of the building here. The important things about this section, these sections is they create a sense of. Shadow as well. So this is going to cast a shadow. Here. You can see I can kind of a round looking funny shadow like here. And then this thing here, whatever it is, it's just this part of the building that sticks out to me. I don't even care what it is. It's just out of the building that serve to cast a shadow to that right-hand side. Just draw that in a bit like that. Then you can see it's sharp shadow the building kind of separates off little separations in the building. That you can see that costs a bit of a shadow. Let me studying shadows as it can be very tricky at times, but just look at the light and the dark areas that building, trying to emulate some of those darker and lighter shapes. So here for example, this is a darker area, like some shadows costs, so that right-hand side, like that. I'll just darken this off a bit more for you guys so you can see hopefully rooftops, whatever. I want to see exactly what these, but it doesn't matter. What we know is that they cast shadows to that right-hand side. And you can indicate more than state. In such scenes like this, you very wealthy yourself. Look, just tinker with this. Think of with this top part of the building. Just to tinker with that a little more in a bit more detail inside there. You can even have a look here. There's a little window at the top there like that, as you can see. And we could have Darkness, kind of like a separation in the building running like that. Emphasize this vertical line better. Well, on that edge of the building to the left of this stuff. Now there is a tree here. So let's indication of some kind of tree DACA thing like that on the sides of the building. This is where it gets a bit tricky. And if you don't want to draw this part in, you can kind of keep it just like that first reference photo, reference photo. And that has more of a frontal view. This is a slightly side on view. And so you notice this little other buildings here on the side like connect the buildings on so I don't want to get the buildings on the right-hand side. I kind of I kind of like this, kind of like this by itself. I think another set of buildings here might be a bit overwhelming. And I'm thinking of maybe getting some figures, figures in here as well. So he's he's I don't know. It's a bit early, isn't it? But he's a figure. Let me just drawing something like that. Person walking through. Often if you place the senses of focus. Where I think I talked about this before, the rules of rule of thirds, we have divide your paper up two thirds and then you put the areas of interest in the intersecting points. You can get some little bit more focused on that area. Here. You know what I'm gonna get in these I'm just going to getting these buildings on on that side because I don't know, I haven't done the last version of this scene that I did, which was, I think last year. Last year, sometime in August. I didn't I didn't have this reference photo. Had a much more simpler reference photos. If I can just, um, they've got to get the the edge of that building at lease. So it still looks like a completed that rectangular shape. Really funny as well. It's kind of like with lawn and wash with if you if you skip over some areas and just indicate edges of buildings with a few little dots, some broken lines that actually looks a lot better than if you go in there and ignore it and draw that line in to shop. I don't want to make it to shop because I like to leave a lot of this to the imagination, a little bit to some of the brushwork that we put in afterwards. He is a little bush here. These are DACA, as you can see, the values of these bushes that quite, quite dark. And so they're going to cost a bit of a shadow. You're going to cost a little bit of a shadow to the riots. In fact, it's a defense in and see that there is a wall or something. He has some more lavender fields actually right in the back at the base of those buildings. So I'm going to emphasize the base a bit more. Really, really bring that back. What I like about that second reference, photo reference 1-p. there's more. Details, whereas the first one is very soft, very sharp is going to more atmospheric field, which I really like. But I do want some of these extra details in here. There's a bit of that weird part of that building. And then we might have like another part of the building or something here on the right-hand side. Something like this. I don't know. It's just making it up really part of that building which I'm going to leave white. We've got more of these shrubs and trees and things like that here. You can see she knew chimneys on these buildings as well like that. Like that. This one has a kind of not detail, but there is some type of a chimney here or something. Right. Get that in later. Yeah, I might actually get that in later with a bit of quash or something like that. I feel like that might upset the flow of things too much. Let's have a look more trees handler is a big one here. But of course we have a bit of this slide, what you call it like the wall, a little wall here. I'm going to just draw in a little indication of that. It's really just a big rectangular shape. Big old rectangular shape. Stretching and you can see how it curves. The curvature of it indicates undulation of the land. If you keep it completely straight, it's going to look left. But if you keep it on this kind of weird slightly convex, slightly convict sort of shape. In a weird way. It starts to indicate the depth, the perspective of the scene. Planning to do bits and pieces as it's kind of interesting here. With me. I can use this one. These are just some of these directional lines that I've known in before because I was trying to decide in terms of the rows of these the rows of these lavender fields. Thinking kinda like the VCE would be better. You want to imagine when you're drawing these lines, you want to imagine a point. So we say like there's a point right here, draw a little dot here. Then we're going to draw lines all going towards this dot. Does that makes sense? Let's imagine a dot there. Even stick you, put your finger there. Don't use a ruler or anything, or I want you guys to try this out without a ruler and just see how you go. It's quite doable for all of you. Put your finger there, draw a line, a bunch of lines that converge at that point. Just converge at that point. Ok? And you'll find that just having little lines like this already start to bring out the sense of depth in the scene. Kinda like this, unlike this a bit more. Another thing I want to do is batch editing some trees, humans, the left-hand side. This is going to make the buildings pop out a touch more. And I'll see if I can see if I can pinch some details from the first reference, photo reference one. If we can pinch a few little details here that might help us out. And now, I guess imply a bit more detail in here, because actually in the reference photo, there's not really much stuff going on the left-hand side. But I wanted to just create some more lushness here. That left-hand side, having some shrugs, maybe go up like that. This tiny little like little wooden sticks. I don't know what they are, but they're just like little wooden sticks there. Behind them is a whole bunch of shrubs and things. But what I like is that there's this sort of kind of shadow shapes kind of going over to the right-hand side like this. I'm just thinking. I was just going to work in the context of the same. It's gonna be interesting. We can sort of try. I want to get a little bit of shadow, but whether I carry it a little bit further into the background, foreground like here, for instance. That's to be decided. I actually think it would be a good idea to get in a larger shadow here in the foreground over the top of the softness so that we have, I don't know, like a kind of vignetting effect, if you know what I mean. So that kind of focuses attention here on the light. Little, something to think about. I don't want all this craziness going on with the second reference photo with too much shrubs and things like that. So again, it's up to you. If you want to add in a bit more in the foreground, go ahead. But I really encourage you to make some of the decisions here and just think to yourself, because everyone's got their own preferences, their own experiences, the way that we sort of have lived our lives. And we often see the world in different ways, even reference photos and what we want to paint. It's so funny like get pinned people paint from the same reference and they all turn out in different. But consciously making these decisions, I think is very important. It allows you, it's one of the important steps in developing your own style. I tend to, as you guys know, I focus a lot on buildings. I don't know why, but I really like drawing and painting buildings. But for some of you may, you may not be so interested in the buildings. You may be more interested in the nature and the softness of the lab in the field and the figures, the people. You might want to detail the people more. So we all have a different story to tell is just a way for us to express that story. And if you want to follow what I'm doing, a 100%, go ahead. I think I really want to challenge you guys. That's why I'm saying try to make a few decisions. As few different decisions yourself. They may work out. They may not. I mean, I'm not sure if this will work out even, but I find that as you get a bit more experienced, you will know what works for you and what doesn't. So certainly it's just a bit of experience in here. I'm going to put in this figure in a bit more, just a bit more detailed manner like that. In other leg here in some shorts or something for this person walking into the scene like that. Should we get into some other person? Can get into another person went up getting another one here like that. Looking like that. Let me keep it too busy. I might put in a smaller, one, smaller figure here in the distance That's just already kind of walking, maybe walking across the field like that. The touristy areas as well, apparently. So somewhere in the country in France, I, again, I'm not going to pronounce a name, but, but but it isn't the using the video description. Here we go. We've got a couple of figures, little bit of shadow running towards that right-hand side, perhaps years. Well, this Saud, I might decide to put in a few more figures. But one thing I want to have sought out right now is putting the horizon line and having that horizon line you now, sorry, not the horizon line. The air of the sky in the mountains off in the background is what I'm talking about. Look at that third reference. I'm going to take a bit of that third reference to that third reference. And let's see if we can bring in some of these mountains is distant mountains in the background like this. Coming through the buildings. Maybe it stops here. Where do we want it to begin again? Well, we can go about maybe let's have a look. The holding this pencil right at the age, especially that it doesn't get too, not too much of a sharp edge. I think that looks all right. Sometimes with these mountains, like I find that if you kind of make little bumps in bits and pieces on the edge of the mountain where it touches the sky, it actually looks more natural. So that's that seems to be going okay. There's little gate here, I'm just drawing that little gate. But really apart from that, you can put in maybe some smaller figures. I like to put in smaller figures and things like that in the background because they again, they help increase that sense of sense of depth in a scene. So we have more yeah, just a bit more. This receding into the distance. Like that might be a little figure all the way, all the way in the background like that. Here's another one just standing in the middle of the field doing what? Maybe just talking these two people may just be having a chat. Um, well, one another bigger figure here. You could do that. Maybe just standing side like this, facing, facing towards the right. Again, this is going to cost and legal shadow towards the right. Same with all these other figures. This one is going to be interesting because I think this figure will look a bit like using the light. But then in the background though it might be just dark shadows coming in from some of the buildings to the left. But I think that should be good for the drawing. 3. Lavender Field: Light Areas: Now we're going to put into practice what we have learned again in the process that I've discussed from the previous, previous weeks. So we want to identify the light and dark areas of the painting. So I'm gonna be focusing on the first, second reference. I'm going to close off that third reference because it's not relevant. Now what I took from that third reference was just the Skyline having more of a skyline. But now that I've, I've, I've decided that I'm going to just bring up the first two references, 11 b. Let's have a look. Well, I think they have certainly more similarities to each other than differences. I'll just say that there's more contrast and sharpness in reference, reference photo 1-p. where the light areas well, the building really light color. This is it's kind of like a like a little bit warm as I said, it's not yellow ocher, maybe kind of gray down, very muted color. Not even sandstone color. Maybe like a buff titanium color or something like that. I'll try to I'll try to replicate that a bit more, but I'll also add in perhaps a little bit more yellow. And the reason why I'm gonna do that is because I think by using a teeny bit of yellow there might just help to contrast and emphasize the complimentary between the purpley lilac color, lavender color here. So funny enough, I have a color, a lavender color as well, which I'll probably use. But again, we can mix up purples and many different light purples. And even if you've got three colors, always recommend you guys to use as few colors as you can, because the more colors you use, you'll find actually the more tricky things get. I'm going to firstly wet the entire the entire sheet of paper. The reason why I'm doing this is because I want to get in a really soft Witton which feel because I favor the softness of that first reference. This reference, that's kind of what drew me into it to begin with the softness of everything. You can just, I don't know whether it was the camera lens that was used or just the effect. There's a little softness in here and we can always get in some shop at bits and pieces later if we want to. But this is quite crucial to paint these lavender fields as well with a bit of softness in them. And the only way, I think anyway, the only way to do this is through written width. And I'm going to wet the paper first. I'm going to type down. Normally when I use a lot of wet and wet techniques, I'll take down the page because it makes it a lot easier. Doesn't warp and stuff like that while I'm painting. But generally speaking, as you guys have seen in my last demonstrations, I don't really take down my paper at all. Sorry. How do you know how wet the paper needs to be? Well, agree. You have looked at the paper from an angle you kind of see on the camera here as well. There's a little bit of a sheen to the paper, but there's not any gigantic pools of water running everywhere. It's fairly wet, but there's no enormous wet areas are sort of let it sink in a bit as well. Let that paint, that water just sink into the paper. Make sure that you've got equally saturated in all parts of the page. I'm overdoing it at the moment, but basically just make sure it's completely saturated. And what I'm gonna do is I'm going to firstly start out with the warm colors because it's going to help. I don't want to mix any strange greens or anything like that later. Easy just to start with the warm colors. And of course, the main where's of warmth that I can see anyway, adjusts passionately be a little bit of the grass, but mainly just in the buildings. So I have some buff titanium here. It's kind of like a milky white color. And we don't have that, just use a bit of yellow ocher. Little bit of yellow ocher. You can use a bit of whitewash mixed with yellow. Let me just drop that in and have a look. Alright. That looks all right. But as I said before, I'm going to just yellow it up. A tiny bit of yellow ocher, which is a kind of Jude yellow. It's a kind of desaturated yellow. But I want to use a bit of that even though it's not really present in that reference photo because I think it will form a nice complimentary with the lavender. Look at how I'm painting as well. I'm kind of going into the sky here. I didn't really want to do too much of that, but at the same time, we do want some things to blend together, but you just don't want to bring all that yellow ocher here, for example, if it touches on the edge of the scar, that's fine. It's going to form a nice, nice soft edge. Remember with this section of the painting, I'm sorry, with this part of the wash that we're using, It's very, very light, yellow. The kind of weak, because in the absence of all the shadows, it just doesn't look like much just yet. But when we put in the shadows, That's when things will start coming together and making more sense. If I shift this a little bit like this, I think that will make it easier to see. Something like something like that. The paper is completely wet so you're going to get stuff like this happening. As the paper warps, as you can see down the bottom, paper warps and little bit as it, as it becomes width. And especially because actually today, today in Melbourne it's very warm. This is weird. This paper is warping lot more than the normal. I don't know why I did buy a new new chunk of paper yesterday and you stack of paper warping quite a lot, much just be due to the heat. Glad that I'd take this down because I wouldn't be able to deal with this if it wasn't typed down. Bit more white in here, but just really light colors in there. Let's have a look at the background now. Let's have a look at the trees. I'm going to grab a bit of green. This is just a bit of undersea green. Drop that in with a bit of yellow. Yellow and undersea green. If you go too dark, darker green drop that in, along with some of these lots of bits of yellow. And this basically encouraging them both to mix together and creates some interesting contrasts. Spend see, this is a bit of water here is kind of come down and brought a bit of that green down which don't worry about that. Just continue on. Do you think? Because what I wanted to do is maybe getting some shopping habits of darkness in the background later to cut around the buildings. But having some of these soft missing here will really make a difference. Especially some of these yellowy air isn't here. They create areas of highlights and contrast. Always doing this bit. You can see I did the buildings that I didn't mix any yellows and I really wanted the yellow greens in the buildings necessary, necessary. Wet and wet. This is just a watercolor mop brush that I'm using, a basic watercolor mop brush. The width of the paper you find, the more the spread of paint. Again, I'm actually going to go in perhaps with these mountains and getting a sharp edge to them later. Because I need to do that to get cut around those buildings. Let's put in some of the sky. Boolean gonna go with Trustee cerulean blue. Mix up a little bit of that. Trustees cerulean blue always gets the job done. Very light. As you can see, extremely light. You can see this is so strange. The paper that I'm using is just what significantly, depending on the meaning, the brand that you use, has different effects. Also, the weight of the paper influences how much it warps as well. I only use 300 GSM and above paint my watercolors unless it's like a small sketch or something like that because I just can't stand the warping from some of the lighter papers. It's just not worth it. Just not worth it. You might need, especially when you doing a bigger painting like this here, you might save a few bucks. But if you spending all that time explaining all this time doing the painting might as well. Not as we'll get a bit of paper that's gonna be heavy enough to do what you need to do. This is look what I'm doing. I'm just feathering in a little bit of darker blue into the top part of the sky. In fact, I've picked up some little bit of dark ocean marine. Fit that into the top. And this is creating a little gradient, a small gradient up the top, so that it blends downwards into softer and lighter. Blue down the base, loved that granulation. I do have a bit of purple as well. It's called imperial purple. I'm having this urge to adding a touch of that into the sky, little bit of a touch of that into the scar like these large brushstrokes, this area of the sky remember, is still wet. So I can get away with doing stuff like this. Going to feather in and disappear with Dilly. Please. Stand up a little bit and have a quick look and just see what you've done. See whether it's making sense or not. A paper is drawing as we speak as well. Because of this weird warping of the paper that I'm getting, you can see the paint is just like coming down and odd air is not something that I had anticipated at all, but we will work with it. The work was what? The watercolors once at the end of the day. Because you've got lot that's really out of your control. But what we can do is we can still indicate a lot of these 112 fields want to re-wet this area. Actually it's like that. Some of this stuff around really the error in the back. I think that's almost done. I mean, I just want to add in just a bit of lots of greens and things in here. As you can see, it's weird because it moves, it shifts down the page as well. So you have to redo some areas like this. Let me do some of these little areas as it dries off, but as the paint dries off, the paper becomes more damp. You get a little more control. Softness, beautiful softness running through here. Let's try doing some of these fields I'm going to use to use a round brush and perhaps smaller mop brush like this. Let's just give this a try. Maybe like a smaller mop brush. I've got actually go to 11th of color, but I'm going to use some imperial purple. Attention to the mix, a bit of red and a bit of blue together. Let's drop that in. Beautiful, beautiful wet-in-wet sort of effect like that. Another thing you can do, I haven't noticed that the sum of the parts of the little pods in the center here, actually, I've seen really greenish tinge to it and that's because of the shrubs and things that run through. The fact that a lot of this green has actually run through anyway. It doesn't matter. Because look at that. I'll put it in a bit of green in there anyway. Okay. I want it to be completely what? Running through like that little bit of a light sort of green just running through in some areas like that. Because that just light bits indicate the yeah, Just a little love shrubs or something in here. I can put in some more yellow, a little bit more yellow. Don't want to overdo it. I'm getting a bit too much funding already. Round brush, smaller round brush. Let's try getting some of these details now you're going to find, depending on how wet the paper is, it's going to be tricky to, I am going to be tricky to preserve details and some areas you don't have to keep going over areas again. So here's a bit of that purple. I've kinda mix this up previously. Just drop that in and what you wanna do is make sure that purple is a little bit little bit more picker. The paint is a bit more thicker than what we've got on the page. 4. Lavender Field: Darker Areas: All right. I think that area of the painting has dried. They obviously it is a little bit of green on that roof, but I can't do too much about that. Here comes the fun bit of the process. We're going to paint in the shadows. When I talk about shadows, I'm talking about more the mid tones, mid tones and probably the full tones. We can get them in at the same time as well. That's good. The mid tones are basically the in reference to the first reference photo. I'm looking at basically the shadows on the building. A little bit of the darkness in the background for the the trees and things like that as well. Perhaps at least softer shadows coming in from the left. I want to leave this to dry a little bit by itself. I don't opposite that too much he gets. So if I can just getting that big there, I think that'll be a key from there. Alright. There's only one way to do this. I'm just gonna go for it. I can't bit of green, bit of undersea green and let's just drop that in. And I like to I like to kind of create I'm areas where there we can see the previous wash in there as well, super important. But the place where you got to focus the most on, let's say is just around the buildings. Nearly have to pay attention here and make sure it is a sharpness like that. I was holding my breath. Just parts of that building. I'm trying to just get in the dark wash fleece mountains off in the distance. Again, allowing that previous wash to show through in some areas like for example here, this can be like a sunlit bit of that tree or something. Why not go in? There? We go a bit more of this these mountains on that right-hand side. I'm going to just go in there and drop that in. Do we have smaller brush? I think this would be good. A little spray bottle is great. If you have the ability to just use one of those will save you a bit of time. But yeah, you can also just use a brush tap tapping technique with the brush. I've got a couple of options here. Actually, I can actually go around being tired building and getting a bit more the mountains and stuff on there. And i'm I'm actually considering I'm actually going to do that because I don't know, I think it would just look a bit better having a kind of contrasting against the roof. And I want to just make sure that I've got a bit more color, a bit more darkness in this section as well. It's certainly like a lot darker than that previous wash and it's almost as dark as that. But I don't want to make it too dark. Because that's going to imply just going to make it come forwards too much and also don't want it to look a bit too much like that. They can reference that, just drop that in US the end of your brush as well with these little bits and pieces, you can really getting more of a softer and more spontaneous look this way. Look a little bit of more cutting around to you guys. It's quite tricky. But you can do it. Cutting around. More purple in here. It's like purple and green, I think I'm just using a bit of purple in dark green. Cutting around the edges of that building. It's super important to preserve that. Lots of them that building, probably the most, the most important, but it's the area that you have to concentrate on the most because we want to imply contexts. We want to still be able to identify where this is. In such circumstances. We just have to just have to create a bit more detail and sharpness. Let's go in. I'm just having a look in here. I'm going to go over the top of things again. I'm just trying to sweep my spray bottle. Don't use a spray bottle and the sharp areas like around the buildings as well. If you do too much of that, it's going to just going to blend in and create soft edges on the buildings. So I'd say just be careful with that. Heel down the base. Again, I'm just going to leave a bit of that previous wash in there. Let's grab the small brush, smaller round brush. Random rooftop like this. We'd be more touch, more darkness. Bring this down here. Bigger here. Got them. Now that figure in the foreground. We've also got, perhaps, I didn't know, I was thinking whether I should put a tree in front of this building like around here, shrub or something like that. You might just do that. Just a little soft indication like this. As you can see, I'm leaving out some of that some of that previous wash their can't just refer this one up as well so that we've got some soft edges and some of these sections. Again, always tapping, little tapping technique is comes again to save the day, to break up this, got this shape into small pieces. I'm going to do it for this section out the back. It's kind of tricky, but it's kind of tricky, but a little bit of a bit of water and things and you perhaps might help soften it up a little bit. In areas like doing this because it just creates was great. So imaginary details in there. Looking at K, probably the only thing I can think of doing is like picking up a little fan brush like this. And I'm just thinking, want to giving any shop it's in pieces and then coming up through the top of the mountains and is sometimes you get these little sharper edges and things like that. Just like this while the paint is still wet, irregularities and that kind of thing. On the PO2 flat, you in the background. Let me go. You can also lift off. You see how those leaves off a bit of paint. Because if you look into the if you look into the distance, you'll find it's not actually not actually the same color all the way through the same darkness all the way through. It's actually here is of light and dark and light and dark. Some of this stuff is going to help. I'm just dropping a bit and maybe a bit here. Too much bit of that. You can see a lot of it just wit, in wit. Let's go into the buildings and do a bit of detailing the buildings. Now, I want you guys to pick up a color that's a doc sort of color. Not too dark. Want you to water it down a bit. So I'm probably just going to use neutral tint because it's pre-mixed. Be easier for me to work with at the moment. I want you to dilute that down to maybe about 30% paint, percent paint and the rest of it's 70% water. And what we're gonna do is try to get into some of these shadows for the buildings. And for that, I'm going to zoom in a little bit on the reference photo. You'll notice the shadows on that reference photo on the right-hand side. Reference one B0 is actually shop looking shadows and then little bit darker in terms of the contrast. So I might just use that because it's more for the purpose of that, it's easier to see what is specifically going on. A little bit of that shadow underneath the rooftop and you get a little bit of it here as well. I'm also checking, is it too dark? Maybe, maybe it's too dark so I can just reduce that down a little bit. I think that's okay though. Something like this. A little bit of shadow underneath the roof top. This course we have little bits of shadow on, underneath these other parts of the building like that pot. The great thing is because we had drawn in some indications of these shadows before. You can of course, use these as a bit of a guide to getting the remaining shadows. I'm not gonna spend too much time on this. I just want to just want to get this done. One large shadow shape and a farm with shadows as well. We kinda go to get it done in one go. Because if you don't and you go over the top again, it can look a bit funny, so just a little bit more artificial, suppose, but again, just do your best to get in that shape. Couple of shadow shapes like running towards the right-hand side. You see this building here is kind of triangular part of the building. It's good to dock and shadow running towards that right-hand side of it there. The right-hand side of this building as well. It kind of joins on. These joins on, and it comes down to this one here. You've got a beautiful didn't darkness on this top part of the roof. We basically, because we would basically just putting in darkness on the right-hand side of these buildings. That sum, that's the idea here. Docker is on the right-hand side of this buildings and soften off some of these shadows like here for example, it's, it's kinda like software on that side. Here, on this side of the building, there's more darkness again, they're casting a shadow towards that right-hand side. There's a shadow coming in here as well, just trying to get that in that meeting as well. Great. Maybe bit more darkness. Much more darkness. Let's put in a bit of shadow here. Went up this part of the building there. Like that. Of course, you've got a larger shadow running across and under here. So top of the roof, that little miniature roof area, they are the building. And just darkness here. Good. Good. It's coming along. Let me slowly but surely starting to come along underneath this area as well, this little little lines of perhaps putting the window there, but I kind of had a hand. It'll be a little bit of darkness on the right-hand side of the building. Top areas draw it. I can rest my hand a little bit of darkness on that right-hand side of the building. This little tip of the building like that. Something NAMI might go into it a bit later. Who knows? But I think that looks okay. What else do we have? That right-hand side of the building? Oh, there's a big tree here of difficult to put that tree and do this quickly. This is just some green dropping a bit of green in there like that. Green. And not only that, there's actually some little trees we can pick up near here is really treat maybe somewhere here. Trump being a bit of that and using the side of that brush. Let's do we have cheap, it's a darkness in the buildings. Towards that right-hand side. Here. I'm going to go into the base of that building or something. They're like more more darkness on this side that do this one quickly as well. I don't want to spend too much time on it. You look at rooftop of something here as well. Shadows running towards the rights. That it doesn't have to really look like a whole lot as long as you've got that part of the building and we were okay. I also like to pick up a bit of I don't know if you could have written that grayish paint here on the palette, whereas it a little bit of a grayish paint or something like that. Neutral tint, dry off that brush and really, really dry that off. If not neutral tint, just see if we can get in some texture on the roof. I use the side of the brush for this. That brush across like that while picking up a little bit of darker paint and just this, you can get lucky. Little indications of texture on the building like that. You need a little bit of a guide so you want to preserve all these lovely warmth in there. So try not to overdo we certainly you ever do things, something like that to give it a character. It's pretty old building it affect them. The rooftop is actually even these little areas, they're slightly darker color. You can see this slightly more grayish than the other areas. Can even just do this as well as give it a light wash of color wherever the top victim be quick with it. The quick. That's my only suggestion here. If you're going to do what I'm doing right here, just quickly, just a quick little wash and let it sit in. Spend too much time in there. Just out the shape of this. Let's talk of a building like that, a little more like that. Good bond to draw off a bit. Now, while I can't, I'm gonna put in some little details for the figures. So some colors I think, would be good to just decide on what colors I want to make the figures. Actually with. We've got lavender here. So actually I kind of like this, lots of color, but I may put in some more, maybe, maybe some more kind of like Walmart color. I could choose a red orangey color. Let's see. An orange, mixed them together. A little bit of that. Let's try that. How's that look? It looks a little bit of color there. Another option is just to go in with a darker color and getting the general silhouette of the figure as well. Which is probably what I'm going to end up doing mostly later on with the legs. We can actually do it now. Let's just do it. I'll just do these legs of the figures will go darker. Kinetic DACA and Donald bring these legs downwards like this. One. The other one, the other leg for this person here and that letting it melt into the body at touch. They're the kind of generally where the legs finish up created a bit of a little highlight on the leg as well to indicate perhaps a feeling of light coming in. Now the shadow is just gonna be interesting because the shadow is fooling with funny on these funny and these are kind of like follow that, this row sort of patterns. So if I just pick up your paint and just go like this, make them too dark but something like that. Just running across to that right-hand side and disappearing. That paper is still slightly wet, which is fantastic because we're gonna be able to just get in some of these contrast, but still have softness running through these two figures. Let's have a try with this figure here. Can we do for this friend here, let's put in a bit of putting a bit of this yellow or something. Yellow. Touch to that in the complimentary. I don't want to make all of them yellow because it's just going to draw too much attention. But a tiny bit of yellow, yellow contrasting with the orange, that creates a slight, slight kind of what you would call it. Complimentary. Draws attention to that area. We've got that better than yellow in it. It sort of dry weight a little bit too. It's kind of draw it and then I'll go in with the legs to the color. I'm using the links just really dark color spending neutral tint, drop that in. You only get one chance at doing this kind of practice in my head in a bit. Go in, doesn't always work even if you do that, but then something like that, He's a link going off into the background, not stopped out that they have. It doesn't matter. Just went down that shadow color again and let's just do that same sort of pattern as we've done here with the one on the right, these two on the rod. I mean, there will be these kind of pattern which is more following the mountains of these lavender. It's 11. Join together. Want to get into the arms of this person, maybe something like that. Do you have any onto these people? Maybe just put it in a bit of something, something like that. We can put in a bit of red. So the heads as well, I find that does help too. I didn't draw attention to where they're a little bit of red for the heads and then for the last let that melt into the rest of the body. Sometimes with the hands as well. We can just do something like that. Indicate a bit more detail with those two figures. The NIC, like that. Good, let's have a look at these two figures here. Notice how much time I'm spending on these figures as well, because they are sharp shapes with sharp details in here. And you really got a really good at try to get a sense of darkness in there and detail. Let's put in, I'm not putting the legs of this person here. This person is just standing sideways. So I'm gonna leave this shirts that color for the time being, standing sideways, talking to each other. I wanted to turn out so well, but something like that. And then of course, this one here kind of walking in the distance. Link coming off in the background. Little shadow underneath them and you find that the shadow is tend to get a bit more than Jude as you move towards the back. The shadows of the figures. So really you have to imply them all too much. As you move towards the back, its most stuff in the front. And he is another figure that we had in before. They're not almost forgotten, but we actually have one. We actually have one also here to the left. And my intention previously was to keep the a bit of the light on the shoulder of that figure. Won't keep. I'll try that again. With that shadow for that figure in the background. Colors of the shirts. Well, up to you really, I'm going to pick up some bit of this. Yellow, maybe get a yellow ocher, just drop it into the right-hand side of the shirt like that. Just a little bit of color running down the right-hand side of these figures. That's how you keep, you keep bit of light on the left side of the figures, but still make it look like they are there. In red. Tiny bit of red for the faces. Too many, just a few in there. Is another figure here, the one that's sort of standing sideways. I'm gonna do the same thing. Going with darkness around the legs, can barely see what's going on with this figure now. Something like that might be okay. Alright. This shadow running towards that right-hand side over the top of that field or wherever. The shift some of this paint off here to the front of the ways billion years. Keep the sorry the lights on his back. That I won't be able to bring a bit of that out more with the gouache. You can certainly tell, yeah, that's that's a person perhaps walking through the scene doing something or another little things you can do like add bags and stuff like that on some of them as well. Getting there, we're almost out, say at the moment we're just looking at putting in some finishing touches, final dark bits and what have you. 5. Lavender Field: Final Touches: Again, we're going with the darkness. Again. I'm using a darkness almost the same as the legs and I'm going to go into areas of the buildings. So we're going to see, for example in here perhaps some little bits of dark for the, the areas inside the buildings, these little windows, a little bit of darkness then it will be just a little thing like that. Try to your mean just touching code. That's my only advice with this little kind of bits and pieces in here, they look better when you indicate them, um, and even if you indicate them with sort of broken brick and edges, as you can see, more shadow in there. Perhaps just thought that would be good. And some more windows. Of course, there's some windows in here as well. Just as long as you create some repetitive structures in here, the viewer is going to be able to tell that, yep, these little windows going through the buildings, we've gotten this side, maybe a little bit more darkness in here would be favorable. Little bit of something. And of course, the base there is this kind of fence wherever he is. So I'll just dock and around behind it like this. See just a really dark and around it like that. Rejig that shadow and make it a bit more darker there as well. We have a shadow on the top of the well. But I'm not convinced actually. Dropping a bit of darkness in areas like this upon this helps to bring out the roof a little redefine. Some of these areas. Don't draw a straight line all over it. Rather just pick out places like this control limit straight line. Let go back into this bit like that kind of thing. I don't know when I realize this, but I found that with this style of painting looking more like a looser style paying, the more you indicate things that the more it actually kinda started looking like what you, what you try to paint. Of course, I've done very detailed ones where I'm just sitting there trying to get into every single line of the building, this and that. And if you do that, you can get amazing detail. But if you painting in this style, you're going to find, it's going to look at a place when you have areas of excessive detail in areas where there's not enough detail, balance is really important. Putting in just enough detail to get you to that final result. And that's why I love loose watercolor painting. It's just the efficiency of it. The ability to just getting an imply a beautiful scene without you spending all day fussing about. Amazing. I mean, if you're using oil or something like that, good luck with that and you're gonna be sitting there all day. That I there we go. Looks all right. Now, I don't think I really want to change anything else. I'm just looking at the lavender fields as well and thinking do not really want to put anything else in there. I will, I will remind you I won't add in a few little strokes to indicate the mean, the case, some line work on their roundness of it. I'm figures always make it look better with a bit of hair on them. Another thing you do is put in like a hat or something on some of these figures. I'll put in some hair first and some of them maybe person with a bit of a long day ahead. You went ahead. They're shorter hair there. So just to touch a detail like that for the figures. I think some bugs would be good to just off in the distance. Moved to overdo it terrane and I'm very trigger happy with my birds. I want this to be painting all about just bids. They help to connect up the sky so that it doesn't look so disjointed and separate from the rest of the scene. Like that. It's just a bit of neutral tint that I've picked up. To do this. If also if you made some mistakes in terms of like dropped in a bit of paint, we shouldn't have dropped it in little paint from open my case. Playing around with that toothbrush, getting too excited with that toothbrush. I'm like, I've never like brushing my teeth as a kid. Use that tooth brush all the time. Just not on my extra little few bits like that. Remember to enjoy the process guys, like the most, most important thing is just to enjoy, enjoy doing, learning and enjoy painting. And whenever the result may be. You can do that. You can at least do that, will see a lot of results, but it's not going to come automatically. It's going to take time. This is a bit of dry brush strokes, picking up bit of green paint, darker, neutral tint. I'm just dropping some of the scene, the side of my brush into some of these hairs of the mountains. This is creating texture. It's just creating also elements of dark and light and dark through here. That's too dark. It doesn't matter. Okay. Little details that don't really I mean, they're not really there, but my opinion just sort of make it look more interesting because just one color, it's one color, it's kind of another way how I pick up that brought that toothbrush and flicking a bit of water in there to change that text drop in there a little bit. This is the same thing, implying detail. Layering over with little bits of paint like as I'm doing here. Witton wet layering. Mainly just looking at the areas of light and dark. I'm going to pick up a little bit of white gouache. White gouache. I'm gonna pick up a little bit of purple paint, a tiny bit of that purple paint and just dial that down a bit. Just water it down. I mean, let's see if I can see if we want to do this and moments. We can put in a bit of something like that for some areas of the lavender redefined in some points. Getting in some of the right-hand side parts of the lava that might have maybe some shadow or something there. You don't have to do this by the way, I've just done no, For some reason I feel like adding a little bit of that. In some of those areas. The danger with this is that you can upset the wash. You can upset that previous beautiful soft wash in there. So make sure if you're going to do this, use a very light paint. Don't go too dark. I think the beauty of this, my opinion that the beauty of this kind of reference photo, the first reference photo and seen is in its subtlety. I just felt like I needed a few more bits in here. That's when you often make biggest errors when you think. Just give me one moment, I'll just add in a few more little things in here. It's almost done. I just, I'm just gonna do this. And that's famous last words. But if you get lighter as I'm doing here, you just layering over the top. Bits of layering in the background. Little something there. I'll pick up a bit of white gouache now, getting some final highlights, There's a question from the beach says I don't have any quash, can I use soft pastel instead? Something else you can substitute. Anything that is like an opaque white. That's going to work. Soft pastel was fine, but there any problem with pastel is that it will rub off from thinking, Where are you using those kinda like chalky stuff you can use, yeah, you can use pastel as well, but it doesn't rub off. I've seen people use that old white, kind of like white out stuff to like a pin here. This is like a white pen liner and you use white acrylic. Many substitutes that you can use. I've just got gouache because I actually like to use this mixing around with some of my other paints to create some daily kind of colors I just found here when you mix some white gouache and with the other colors that makes them light, really beautiful mixes that you can use to contrast. Archie, show you how to do that in a moment. Maybe I'll get into blue, blue shirt or something for this person on the front. Here's a bit of white. And drop it in there for the head and remember the shoulder there as well here they're gonna be to evolve with that quash. Actually draw off that brush and just make sure that it's nice and a little bit on the back like that. That's more of what we're looking for. We're just going to manually shifted with my hand with my finger a little bit to soften it down. So you go to OneDrive brushstroke in the wash that you can use for this stuff the better. You can also do things like this part of the building. We can get in a little highlight here. Cheaper than building. Stuff like this. Just sort of go back in there and the KD out. Little details, but also be careful you're not doing it. Very easy to overdo it. Notice I'm just kind of like feathering that brush in areas to feathering it off to create almost like textured areas even on the building. Sometimes also you might get some little birds going through the mountains like this. You can do this as well. A few in there, near the buildings, around the buildings as well. But done this one a lot slower than I normally do. Then I normally do my landscapes, especially because I work quite quick and more of a sketching sort of manner, but the pace of things as being more suitable. Some of the feedback from you guys is that going to quick? I hope this session, it is running lowest so that you can keep up and know more about what I'm doing, what's going through my head, what are the time? Do you know? It's kind of automatic for me, but of course it's not you if you're learning. So like I said, the pastel colors V, so I might pick up white and a bit of blue. This one is this ruling in blue. We have this person here. I don't just dropping that. Maybe. There you go. That's kind of like a pastel type of color for the person should get in a bit there as well. A bit here for this person. There's even a figure back there that I didn't really put in before. But this is a kind of a nice contrast, actually having some of these I didn't know, like blue areas or something running through some of the areas of the background as well. They help to tie up the scene weirdly enough. And you've got it in the figures. Do we have a bit here, for example, bit of blue there, or for example, I might just grab yellow. I'll just drop some yellow and some white quash together. In turn, this person more yellow. Lot of options you can get in this lovely opaque contrast, I think when you're using gouache in combination with watercolors, but you gotta be using it sparingly. That's the think. I'm gonna finish this one off, just take this off so that you can have a look at the final final product. Just moved that bit of background. Got another one underneath. Yeah. Just a quick recap. We went over we did the drawing that was based on three reference photos. I took elements out of the three reference photos I took the sky. You might have decided something different. You might have decided, Hey, I don't, I don't really like too much of the sky and I mainly just have multi darker background. Hear more from an angle of a photographer shooting. I'm closer to the ground. This is more eye level. Yeah, more than eye level is seen. I've taken the reference onesie, just the sky, but I wanted that. I've taken the building and the I guess the general proximity of the building from reference one be the first one. I've taken the looseness in there. The only other thing I might do, I'm getting probably we do a bit of it now, but I didn't end up putting in that little shadow. There was little shadow, some shadow shapes maybe coming in from the other side like that. Some imaginary shadows coming in from I don't know if it's in pieces there. That's something you might want to do. Yourself. Just soften that up a little bit. I think I might just leave it actually. Later on, I might go in and restate some of these shadows, but I really, you got to make sure they go over these, these rows of lavender so that they make sense. They've got these convicts shapes at the top. 6. Malta: Drawing: This is a scene of motor and got the references up from the top to bottom left and right left. We've got one reference, one H1B, and onesie. What do I have all these three photos? Well, there are elements of each that I like and I was having I think in the break, how am I what am I going to do to incorporate them? Or do I want to incorporate them? Most important thing, do you want to just because you have all these photos doesn't mean that you have to use every element in each bits of pieces of each. But it just so happens that I do the buildings. In the second one, I think I started in the last one, I find that they notice the shadows and noise, but there's a little bit too much complexity in those buildings and I want to simplify the background buildings. So reference from today, which is basically the one right at the top there with the guy in the boat. That's also great in terms of the, you can see the light source coming from the right-hand side. And its boats a lot lighter. Well too. And you've got this really obvious shadow pattern on the buildings to the left so that the buildings are not too complicated and maybe simplify them down into just block shapes. It's gonna be a lot easier to do. Of course, is that. The second theme I like in terms of the simplicity of the buildings in the background, but there's not a obvious light pattern on the buildings, so I don't think I'll use those ones. However, I do like some of these boats. I think using some of the boats, using, definitely using some of these boats will be important. Maybe the shape of some of those boots, the color patterns of the boats as well. I think I get some good ideas from that. The final one in to see. I really like the side would angle of some of these boats. Also that there's more of the sky showing you a few options here. If you don't want to have too much of a sky, you can use predominantly the first reference photo. If you want more of a sky, you can use predominantly the third photograph and then putting this guy in the boat if I liked the guy in the boat, but again, it's up to you. The light source is also different in the first and the last reference photo that coming from left and right, literally different angles. I want to use the light from that first one. Reference to a with the guy in the boat. Unlikely the lightness in that boat as well. Drawing in this boat to start off with the one that's already in the scene. We can pick out a few other boats and whatever you to. I'm gonna go in with this book right in the foreground and getting this guy, it's just like just look at the shape of that boat, drop it in. There is a bit of space inside like that. The front of that bird coming down sometimes I like this. You're going to have the guy sort of like around here. We'll just zoom in a little bit so that reference, so I can just have them look at it closer. It's not super important, but just a bit more bit closer. He's doing something years. It's doing a bit of fishing. Looks like he's pulling in line, pulling in a line or something like that. Let me do that. Kind of arms outstretched one here and then one kind of coming across his body like this. And he's just holding a pseudo stream that's going into the water like that. The legs are not visible. Just the bottom of his body as it goes into the boat and just leave the legs like that. That should do it should do the trick. Hello In the OMB. I think just a little bit more of that because he saw close that sometimes we just got to pay a bit more attention to the details. Okay. But I don't want him to be too much of the focus as well. Certainly I want them to be an important part of this scene. Not overwhelming. Everything else in here. Say yeah, the motifs flag on the left side of his boat. I felt like that actually it's putting putting the indication that flag. I think it's a flag or maybe just the colors, runner, the rudder of the boat. Any other closer look because it's like a night. It's actually a it's another boat in the distance. Another but in the background, so just the color of it. Let's just get that in. Since I've already drawn that in already, it looks like it's connecting onto this one, but it's not really it's just another boat in the background. Okay. There we go. Good opportunity getting some different colors later. Let's have a look at the buildings. The buildings and just having a quick, quick little study of those to see how we're going to reduce them down. Now, over here you can see this like boats off in the distance like that. So you can, of course, use a little indication of some of them in here. Little bits of the details in the boats as well. I really liked though is maybe pinch a few of the boats from the other reference photo. I'm going to just draw the mean one here. Next to this larger. The guy doing some fishing. Just have them lined up kind of in a row. Let me draw one in here. This is the boat right in the front of the third reference to see cons of stuff in this boat. It's just a bit of a mess, isn't it? Stuffing hand is a little shapes, circular shapes like these kind of like bags and the full bags of stuff. Boxes can hear a lot of stuff, a lot of stuff. Who knows what's in here. Little indication like that. That one's good. Let me reshape this one, this little boat as well. Reshape that but the front of it like that. Good. Redefine this one slightly. Oops. This good bit straighter. The back of that, That's the back of the boat there as well. Good. Column it back in then just for good measure. Reminds me a lot. Sources. Good. Let's go ahead and in a few more shimming a look at this and seeing actually something up the top wooden area at the top of that bodes and something connecting it to the ground, water ground. Get some repeating ones here in the background. He's another one. Okay. Smaller. But having that sort of same shape that maybe it's kind of covered, obscured by this burden, the front, something like that disappears off. It's probably stuff in it as well. This point doesn't quite matter. We're just looking at living shapes. These are just kind of rectangular shape. Some of these boats have, I don't know if it's actually there's actually some kinda like shades in the boats. It's at the top that kind of attach these red shades attached to some of them like that. As we move back into the distance, you will certainly find that it's harder to make out what exactly is going on in the end, you just starting to pull in things like this, like you're getting the basic shapes. Shapes are having, but there's no need to, to really focus too much on all the little details. Should have one here, one here. The foreground to kind of mirror that one to the left. Something like this. Stuff in there as well. And part of that, but it looks better. It needs something to balance that. But another one here right in front. I think that will be good. It's something like that. Because these look perfect in a way. Let's pick out a few other boats. Course we've got more in the backgrounds. You can even get in some like Yeltsin, just going through and picking out one, speaking out a few shapes and things became choosing so many things in here that you can really add up. And that's one facing forwards, Here's one. Skip this one and it's kinda like a squarish shape and you can see the front of it come up like that. The colors of these birds as well. You've got so much character to them. Then they just kind of lined up next to each other like this. Just lined up in the distance. You, maybe you have somebody just facing forwards like this. Notice how simple, simple I've made them as well. Just shapes. Just draw the shapes. This one's facing towards the side. Like that. Go ahead and find a bunch that you want to put in. There's even boats that are look here, there's one that's in this section may be closer like this. I'll just get that overlap a bit. For instance, someone may have a bit of something coming up the top, especially these smaller things. He's another one I just thought I'd put one in here. Another one. Maybe go getting the mass on some of them as well. Here's another okay. Good, Good. We have another one of a huge create a bit of this receding feeling of receding shapes here. I think maybe one over here would be good to go, another one coming in from the side. Of course. It's probably going to be a bit much after a while. So make sure you've got enough space for the water in there too. That's gonna be important. I won't one of these kind of boots that look like these ones in the front, maybe one coming off the side here like that. That some kind of code top or something inside there. There we go. I think that looks quite a cake. The boats. Enough. Nothing there really to imply what I want. Buildings. Let's go into these buildings. And I did say I want to make the buildings more. I'm focused on the first reference, reference to a large, this one into full screen and I have a quick look at it. Many shapes send me kind of like it's just long as you just draw them in. Very simple kind of like a rectangular base with a cube sort of thing on top. It's not exactly rectangular, but yeah, that fine. Let's try some of these buildings. I'm going to go in and getting the general silhouette of them first so we know that it may be comes up like around here, then it comes down, disappears off in there. So let's start off maybe in the mid part of the page and the other midpoint I can see a big building that runs across the base. A little kind of stops here. So come down like that. I think building down the base. The top of the building. Sorry, this is the side of the booting here, which is where the dark misses just a rectangle, gigantic rectangle courses bits and pieces in there. It's a big rectangle. That slide is in darkness. Then we've got this building here. Again. Again, another building that's in the shadow on this side hits the sky there. And it's just an apartment block. It just comes like maybe a third of the way into this building coming down like that, this Beta stock. And here we've got another look at me, say just a little. Shapes really, there's another one here, comes across like that across the top of this other building. They're kind of like another rectangular shape that has a bit of darkness there. Remember the light's coming from that right-hand side. You're gonna get shadows on the left. Same thing. We're going to repeat the same sort of structures and another one up here. Move that across like that. Something where another one here they kind of just buildings almost like stack on top of each other. I've gone up a bit too high for that, so we can just erase some of that stuff like that disappears. The cool thing is that we've got these kind of trees here as well. They will help to break up a bit of this sharpness and create some softer shapes in there. Was another building here. I'm doing this one a little bit looser as well because I want some more of the general feel of the scene and I want to create a bit more life and actually running through here, I'm going to paint this one a little bit quicker. So we've got a general shape of the buildings here in the background. We've got the big building here. I've got the, the larger, long rectangular building on the base. And there's like three little ones on top, more or less. I mean, there's little bits and pieces in here, but we didn't have to worry about that. On the left-hand side. Again, let's pick out a few that might interest you use. Here. There's another kind of rectangular shapes. Just look at them, kind of ship or another rectangular shape. We've got a kind of Bush trees here as well. More buildings that kind of stretch up into the sky. That button. Notice how I've left more of that sky in there because I just wanted a bit more. I just wanted a bit more of that. That it's just going to carry some of these buildings down. Again. They all follow the same structure. They all kind of this rectangular structure, as you can see, like that. Just rectangles and you've got the left side of them than a darker like that. It's just 0 boxes if you think about it, That's one on that side, that's one standing up blocks. He's another block. We're going to joy in that darkness on the left-hand side. In here, it's just all bits and pieces. You've got just another other buildings and similar structures in years. Well, so kind of looks like more modern, more modern buildings actually running through this section. You can make up a few like that with a lapping with each other and stuff like that as well. I think that's it. I think we will actually continue with the paintings, so it just moves simply drawing, but we're going to bring out the details with the watercolors. Move this up a little bit and get started. I'm not going to wet the entire sheet of paper this time. I'm going to do is go in with a medium-sized mop brush. About the size I'm using. Getting a bit of detailing, cutting around. Still have a large amount of water that it's holding. Let's go in with a bit of yellow in here. There's a lot of warmth in here. This is basically our opportunity getting all the warm colors in this area of the scene. We can also leave in whites as well, so we don't have to have everything colored in. So I'm doing that one and kind of like a Buff Titanium white color, but you might leave that one white. You might go in here with a bit more yellow ocher, a bit of, a bit more strength, and don't be afraid to leave some of that white on the paper. And some of these quick bits and pieces like that as well. Sporadic kind of movements in the US, the hold the brush at the end as well as you can see me there, you just hold it at the end like that. Around these boats. Leave, make sure you cut around them because it's super important that we have some of the whites of those boats as well. So we can get in some more details off these bits is actually green bits and stuff on those. In this area around that's putting a bit of more white, I guess I may leave in a bit more whites and some of those buildings like that, that should actually be darker here. Well, let's have a look in this building and a little bit of yellow. The yellow here. Might think leave that bit white and then go in here with a bit of yellow again, maybe some buff titanium drop that in there. Use that tip your brush and hold the brush at the end like this. That's going to make it a lot easier for you. That's just basically adding in warmth for these buildings and leaving some of the whites on the paper as well so that it doesn't look all the same kind of color. You can even pick up a bit of gray or something and drop that in there as well. If you feel just touched your color here and there. These little gray that I mixed up with full and they don't even really graze. They kind of like purplish last last scene that we did. But what? It's a neat complimentary color which will be helping here. This is some Witton width, so I know Louise, you asking about Witton weight is going to be any Witton width bits and ESA, this is probably the closest what we're going to get apart from the water. So just dropping in some purplish color in here for some of the shadows on the buildings, but mostly shadowed are actually getting lighter, so I don't worry too much about that. Just some soft, soft looking shadows, bit of green, bit of this. When you call it undersea green. Blend that in with the buildings and just print some soft shapes like this. Is it too early for the sky? Don't think so. Let's get into a bit of a boolean for the sky. For the sky. Look at that. Drop that straight in their spirit. Accidentally put some green in there, but we'll just delete that off. Some more of this blue. I'm going to make it quiet. The blue in the sky like almost like a full, like a really juicy sort of blue. So I'm picking it up. I'm picking up this ruling in blue. You've got to remember with cerulean as well, because it's naturally quite a light color. Even if you use it straight. It's not going to really be too dark. But I want to make it really juicy and up the top theorem, really lots of strength because this is going to kind of help me to cut around these buildings a bit more. Maybe I'll do this bit first. I can't look at that just kinda round those trees you can leave, get a bit of it to mix But like that, but don't worry too much. This is just using the same mop brush. Still enough. Still basically cut around everything with the spoon and keep getting smaller and smaller. Maybe I'll make a smaller building like that behind there. There could be a smaller building here. I've done, I've just invented those that cut around these buildings with that blue. It's kind of like negative painting. In a way, negative any painting, these buildings using this truly in color. It's quite, quite flat on top, isn't it this color maybe I'll add in a bit of a bit of white gouache. I'm dropping a bit anomaly. Don't do this for skies, but I won't do it for this one. A little bit of white gouache to get in some of the clouds and staffing the distance and a bit kind of wet on wet like this and it will blend in. It's due, it's sort of sort of thing. More water colored ones as well. If you've got some other white, you can also just feather that in watercolor white as well. I quite like that actually. The temptation is to just start doing it everywhere. I've got to be careful myself because I get quite overly the aquatic excited when I start seeing stuff like this and then go a bit overboard. And then all of a sudden the sky gone, disappeared. The edges. Because, you know, clouds, they have all different. You'll find that clouds have all different kinds of values in them as well. Normally actually the bottom of the cloud, you're gonna get a bit more darkness. With top of the cloud will be more light. But I'm just trying to get in a good little gathering of these different colors in here. Values. Because I've done that sky with software, sort of sort of wash. It's all wet already in this dropping in that gouache. Look at how it's kind of joined in and spread nicely. 7. Malta: Light Areas: Okay, let's go further down. Let's pick up some loose. Let's go with turquoise. If you don't have to. Just mix up a bit of yellow with your with your ultramarine blue. I'm using ultramarine blue anyway because the water doesn't need to be sufficiently doc. And look at that. I'm just plotting around these boats is cut around them and this amount actually re-wet some air at the bottom of the buildings just around here. Soft enough some of that so that the water blends into it a bit more. I feel like sometimes it just looks better like that, which is gonna be careful not to overdo it because I want to preserve the whites as well in the boats. We're just cutting around the boats. Use a smaller round brush for some of these areas like we spit bit of that smaller round brush, just a bit of ultramarine mixed width. It's throughly and mixed with a touch of yellow, creates this beautiful turquoise color. Again, if you've got turquoise just used to coerce or whatever you want really, you can use other types of blues in here. That's not a problem as well. I just want to have a more turquoise color running through here. And the important thing is, you can see it's cutting around these boots. Actually, the way through here. Make it the water go through the touch. Better. Yeah, actually it looks better. I had actually drawn the boats to have more line up in a row, but having spaces in-between limb to put the water, I think that has actually made them look a bit better. One thing you got to realize that the water is, the water is significantly darker than the sky. What we need to make sure we're implying another but another part of this boat as well. Just talk across, across. If you get any bits of white in the water as well, it's where it skips over. It just leave it. Leave it. The technique I'm using basically for this one is that we're going to paint all the lighter colors later on the boats, but we've painted the warmth than the lighter warm colors onto the buildings. But everything else. We can slowly work into that. Just cut around this, but this is the other one that we were trying to play around with before, bit more blue in there. Most ruling in this mix took voice around this boat. Now if I want this one even in here anymore, let's just let's just keep it in there. But I'm not keen on that one anymore for some reason. You can always change it later. Now that looks okay. Actually, look at how it blends into the buildings as well because I've wet that area, touch it. You want that, you want a bit of that blending so that it's not too sharp. Hopefully that's a bit much. But can you use a tissue to lift off as well? Just to lift off. And a little bit of that paint where it goes too far in the Angular that just debiting. This kind of almost looks like a bit of smoke or something like that in there. Let's go around this one another, but here, we're just cutting around it. This one here as well. I think I drew in a couple of boats here. Essentially what we're doing, we're just cutting around the boots that we've drawn. But we make sure that it's dark enough as well. The kidneys because the wash These significantly darker than anything else regarding around this little boat. Then we've got the bigger here. Need a bit more cutting around as well so that we don't cover keeping the arms in a touch like that. Space for the arms. Good. A bit more of this. Top of that in book, just cut around. Moving this down a bit more ultramarine. Some water. Decade. Switch off to this mop brush. Now this is going to be easier getting remainder of this like that. Let's try to do this pretty quickly because I'm worried that the a wash will dry too quick and we won't be able to get in some of these beautiful Witton way to fix that. I want to show you for the water, just a nice softer Witton wind waves, doc and more. It's getting some more of this turquoise and ultramarine here. Quickly on paying that. Not as not willing to order in here at all. Comes the fun bit, one of my favorite bits anyway, it's just dropping in a bit of color to indicate the shadows fall. My round brush here. Here is neutral tantalum. Or you can go to purple or something like that. You can use that neutral tint mixed with a bit of blue, ultramarine. And you can get in some darker shades of these kind of ways, little waves that run through the water because it's wet. This area is already wet. And you can actually get soft little indications of these waves that just drop them in. I do have a smaller brush as well that you can do this width. This is just a little round brush. So you can pick up a little round brush and do exactly the same thing. I normally use the little one when we move further back. So like around here, perhaps not want to put in, go a bit slower. I can tend to rush things. I have that tendency. Quick and time. The background, I'm just putting in a few little bits and pieces like that. Running through make the waves smaller at the back, these little sort of horizontal lines running through. It's very calm day, so there's not much disturbance on the water. Crash. Notice how I'm moving my not moving fingers, not doing this. Using manteia arm. That's the trick to get these lines in straight and to make it look a bit looser. Some of this stuff is already dried, believe it or not, I'm spray it a bit. Losing my spray bottle. You can just drop in a bit more like that. That bit more of this blue mixed in with neutral tint here in the foreground with a water resistance where you can sort of adding the biggest strokes of water and mix running through like that. And it's still wet though. My genius layers to wit point is, is just getting some softer sort of sort of running through like that. Now, what we want to do is start getting in some of the details now of the boats. Some of the colors. Keep them really light as well. I'm talking about almost as loud as the sky, maybe even than the sky and some of the areas. This book, for example, was a very lights ruling in blue. So I'm just gonna put it in like this little wash running through. I'm going to wash of spirulina, the inside of the boat. Glad. One thing to keep in mind, just make sure that the areas on the outside of the boats that you're painting have seven mostly dried all this stuff out the back. It's mostly dried up at the front here you can see at the base to kind of went there, but everywhere else, it's pretty much dried. When we go in, then we added some a lot of colors. It's not going to all this. Darker color in the water is not going to just go straight in and engulf, engulf the area. Look at this, all these amazing colors. It was amazing colors of the boats. I think we can try to do some of that. Yellow, for example, here, just straight off the pellet because it literally is this vibrant. Running through video yellow. Let's see where else can we get in? Maybe we'll do another one. I'm a little bit of yellow for this one as well. To distribute yellow. We've got a strip of blue underneath strip or whatever, but I want to let this dry off a little bit first. Bit of blue for this one, just some blue like that. Some of the can tell us or some parts of the boats that just wot, not really much that you want to do in there. You can even do some of the dock, the boat as well if you're around that area, that's again, something else you can do. Probably leave that on. That's more something I did because I was there. And you can do all the all the dark if it's later actually. Let's continue. Let's put in some more colors for what is going on in here. We have got, and I'm bring up another reference. Know I've got another one here on the screen actually. Let me just have a quick look at this one. Got a few different colors running through there, didn't we? Stockholm and even some of the boats have these kind of yellow running down vertically. That as well. Some of these ones he went to another bit of yellow. Yellow or something. Just think it's in places like that. A bit of red. Some of these ones as well. Be nice touch of this. Purely in red. That's red. Look natural grid maybe underneath the yellow phantom big fan of weight and weight. But at the same time I want to make sure that there's enough contrast between the two colors. So it's not all the same. Just sort of blends together until the same thing. Read their lawn or right here. Maybe be able to look. These other ones. Red, yellow, blue, darker base, some black and some black and some of these boats like you see me through like that. It's through really for the most part, there's just a lot of blue and ultramarine is gonna be great for that. Actually. Just joining this up a bit better. This cerulean ultramarine mix it knows to you is to dock, still want it to be fairly light. This bottom section. Cerulean, I think that's better that I have a tendency also to go through these areas with a bit of wash off. Just getting what you can do. More stuff, just implied bit of detail in the buds. Cut around some areas. Good. What else do we need to work on? Maybe beautiful blue for this one just to me inside of that board there as well. A bit of that blue is spreading towards the right-hand side of the boat. Like that. I have some written in here, maybe some more red. The warm color is really contrasts nicely with the cooler colors on here. Great. So we've got a bit of, a bit of everything really going on in here. Of course, we've got this figure here as well and a bit of red for his face. Just outlines, face mocking out a bit more like that. He's just a bit of pinkish color for exams. In a bit, a bit of a yellow ocher as well. That's the trick. We'll do his shirt and some of the shadows and stuff when his shirt and his pants later. But one-on-one to work on now is some of the shadows and stuff on the buildings. Let me just test and sees Syria dried. It's mostly draw it. I think we can go in there. I'm going to use a small round brush and I'm going to pick up purple, taken mix up some purple yourself, but I'm going to mix up just a general bit of this purple, maybe some, whatever I have left on this ballot, really just a dark color and I'll go in, let's have a look. I'm really tempted to use a bigger brush, slightly bigger brush here actually to do some of these. I preserve this sort of Lucy feel round brush, happy medium between both of them. Need to make sure that you detail enough. There we go. There's a bit of shadow to the left of the building. Some of these areas have not completely dried, actually. Not such a bad thing. But when you're looking at these larger buildings like this one here, that's gonna be important that the ears around the dry so that it sort of brings out, brings out the face of that building and makes it look like it's in the sun. Wondering if this is a bit too dark as well. I'm just going to lift off a bit of that paint, the touch of that paint, it's just awful. There's a little bit too dark. I put it in a bit more water in this shadowy mix. What else do we have in here? We've got we've got more trees and things. Let me just go in and add these little shadows in for this one, a little bit of shadowing for that one, they're all kind of coming to the left of the buildings. Left side of these buildings. In the background is an area here that hasn't completely dry again, I'm on it. She grabbed the hair dryer and just give that a quick blow dry. 8. Malta: Darker Areas: Dry now so that I can continue on and work. Working to this background area. This is a bit of green. I'm gonna drop that green here to indicate these trees off in the distance like that. Let's just go around and create a sharpness around around them like that. And you can see it's kind of like this. We'd pen back like that. Kind of cuts around this building, has even a bit of green running through that building in there as well. Quite dark. It's section quite doc. That's coming down. There is another building or something here at the base. More bits and pieces like that. I'm not going to not going to overdo it just a bit of wiggly. It's in pieces. Ok. To indicate the tops of the trees. Even drop in a bit of neutral tint in there if you feel that some areas might need a bit of darkening, which I do feel, you can see the different layers of the trees as well. Some of that, some of that would be better if we were to darken it like that. Good. Little bit of the buildings and well, you've got some areas of like little windows and stuff like that. I'm just going to pick up some neutral tint and just see if I can just dropping a bit of detail and stuff TO for some of the the windows, these areas of the buildings, just quick little indications like that. The background. Just drop it in like that. Not exactly following the reference picture in terms of out the window shapes and what have you. But the most sort of getting an, a general impression of some darkness and obeys windows and doors. Of course. I just mean desperate kinds of bits and pieces in there like that. I think it's just going to look better. This is a large apartment block. But I don't like I don't really like those windows actually. So I want to, I'm just going to create my own little bits of bits and pieces like that in it. I think this might look a bit better than having putting in the floor is like a lucky days. And then let's get in a few bits at the base of this building to just, you're looking at that reference very generally. Trying to get in some of that. Noticed around the boats as well. You dock and around the boats. Course you need to blend that into the building. Like this. A little bit of water in the ER doc and around the boats like that actually makes it kind of brings them out. Often at the base of buildings as well, you will find that there is a bit more darkness. So this is kind of a way to indicate that as well. But cutting around those boats, it like this. It's really a super effective way to get in more contrast around the boats. But of course, the dot and the yellow are in the buildings as well, is going to already help with that. You see here, look, I'm just softening. This softening suddenly say area so that it doesn't want to artificial. Bit like a smoky Swift feel. A bit more here. I bring that up a bit like that. Top on the boat there as well. Good. Then we haven't gotten rid of those boats in more shadows. Let's go pick up some extra shadows on these buildings. They might be a bit of a shadow here. This is a bit of green in the building. At the bit of green for the building, but for the trees, that background sort of area. Drop that in. Not super pleased with these windows, but we can. It always read through them a bit later as well. One thing I'll do like about them though, is that they follow the general style that we have in this scene, just like the loose style, but I do want to redo those. These ones are what I'm looking for, something like that. I can just place the brush like that. Place that brush down. And it already just creates a window light kind of shaped like that. I think it kind of muddled with this one a bit much. We can do that. Please. Read stapes. Restate them already. I think it looks a little bit better. More windows and stuff running through here, more shadows. These buildings mixed with some of these little windows like that. This is the shadow on the left side of this building here. Good. Buildings are looking quite. I'm going to work my way down into the boats and start to put in maybe just the dark areas. Neutral tint. Neutral tint here. Let's have a look. What can we do? Firstly, I think a little bit more darkness in the water will be good in terms of some shopper little bits and pieces. So this is just picking up some of this darker paint and just dropping it in getting these kinda shop a little ripples in the water, especially at the base of these boats as well. You're gonna get a bit of a reflection in the water like that. Okay? So I'm trying to imitate a bit of that. The dark reflection here underneath the boat. Carry that on like this. But try to retain some of the softness of the previous boat. Wash as well. See here it's kinda like dark and sharp sort of shadow here. Reflection like that. The base of this boat. With this guy's movies, a little tiny moon, reflection of advancement. Easy to say, but just a little, something like that. Got more of this heat. Just better. Some Morin create some elements of darkness shop doc, reflections running through here that will contrast with the softness of the software reflections in the background. It's this layering technique brings things together. That mortar looks all right. I'm going to work a bit on the figure. In some darkness. He's got around his arms and he looks like he's just standing over holding something. We were trying to imply before. Darkness behind underneath his shoulder like that. That shadow is coming in from that right-hand side. Started the light source coming from the right-hand side. Shadow of his in the boat like this. You could have shadow in the boat. Good. Shadow in the backend of the BOT-2, but a darkness that kind of just a bluish color in the back. I'm going to actually joins onto the water. Good. There's even though he doesn't eat, It's like a darker blue or running through. Let me try and get some of these same. Maybe if it's like a purplish color like this, sharp color like that. And then this movie or out the back there as well, indication of that, we will get a brown or something. The boat again, we're just really putting in the docs. That's just the final contrasts of the painting. By now, you should be familiar with the process that we use to paint pretty much anything. And you'll notice that just go from light to dark, light to dark and just constantly use the same structure wherever I go. You're able to paint more efficiently, certainly more efficiently that way. And to be able to getting the full range of values. I'm just even looking through here and I'm thinking what colors don't want to putting it on a bit of darkness here on the left side of the boat. And this section like that. But they're a bit, they're trying to follow that shadow pattern running to the left side of things. Degrees of darkness. The darkness isn't really in qi and that's the thing, but might be able to just put a bit on the left side of the boat like that. Darkness there. Helm of that other one. They're just little indications like shadow and things. I mean, here you can put in this well, let's have a look on this side. That boat is mostly fill in light. Strengthen the base of it at a bit more color in there, a little bit more darkness at the base of some of these boats. There. You can see drawing a little bit of a dark shadow at the base of the boats helps to anchor them to the ground. The water, the grounds. I think that we get in there. Let's have a think what else do we want to do? I'm not actually going with some quash now. Bit of gouache, smaller brush, whereas it like a little number four round brush. I love this part of it because we just kind of picking up with basically just picking up little bits of paint, putting in the final details. I just got a cap on the cap so I can just like this little cap that he's wearing. Good. And kind of getting this rope or whatever that he's holding in the ward, I can just kind of something like that and make it look like he's trying to pull something out. It's amazing how a few little brushstrokes can indicate something that is so complex in mind. Fill in the blanks. Them to give my views. Make them create their own interpretation. Times. Drawers thing out to perfectly. No room for interpretation. Can be good or bad depending on what you want to achieve. Better. This bit of this. I really want to get in some of these sales masks so that I can just join that up. There's one. Let's do another one here. Getting a bit more of that whites we can retain, regain a bit of that white like that. Good a little rigger brush as well. Rigger brushes are great for this type of thing. This is too much, too much paint and draw it off a bit. Something like this, for example. Getting some more that gouache and you dilute it too much with water and just sometimes lose that control with the gouache that you get. Something about. They see that much like slightly dry. You can see. They believe that the top of that boat maybe still is another one, maybe here across the water as well. You might see at times a little kind of reflection of some of the costs. This, if I put one inside for this one, this will be a bit more obvious like this. And just get a little reflection like that. More of that mass. They're little bits of wash in the water like this kind of like you can see it just the little bits of whites and the water also work. Well just to create some little variations in the water. Not all same. Can do this exact same scene in wash. If that's what you want. You should see bring out these little highlights on the boats. Bits of whites. Perhaps I'm lost out before we bring them back. As long as you don't overdo it. And the edge of the boat, bring some of that back. That back. Finishing touches really. Maybe some. Maybe I'll put in a bunch of birds. Again, more birds in the background, just a little ones flying around near the trees and the buildings. Some bigger ones like some of the mountain, the clouds as well. I think those clouds of turned out quite well. Just that touch a Guassian there has really created a bit of heaviness in the sky. Um, it's quite a loose to an aquatic loose painting. But I think I've managed to get in the essence of what I wanted to portray here. Combine the three references up to something that stands on its own, really. Mutiny the water as well. I'm going to remove the tape. Let's take a look. Everything off. See how we have done. I'll probably go back into this little bit later as well and perhaps sharpen up some, some bits and pieces, maybe darken some areas in the background for the buildings, that kind of thing. But overall, I think this has worked out quite well, really like the sky the most is figure as well. Here in the foreground. Elements of light and dark that splashes of color, splashes of color here and there. 9. Projects Summary: The big goal of that is really to get you guys to go out on your own and to create your own style is to create your own visions because that's really the only way that you can develop your style. You obviously, you can watch all my videos. You can do this process. Again. However, I think it's really important to see which bits and pieces of the process that you want to tweak. For example, I might spend a bit more time doing this wet and wet stuff, but you may want to do some of these wet in wet and dry, for example. Definitely enjoying the process of figuring things out. Obviously, you do some of that figuring out on the way. And you do some of that prior plan, some of that on the way. And then while you're painting, you may change your vision. 10. Finding Your Own Style: How do you find your own style? You have people always ask me that and believe it or not, you already have your own personal style the way that you use your brushstrokes. It's just like when you writing, you have a way that distinguishes you from other artists. It's just about refining that and choosing which bits you want to emphasize, which bits you don't want to emphasize. Visual language. It's the way you express yourself through brushstrokes, and this comes in patterns, colors, compositions, compositional choices where they decide to include this or that. Whether you do with certain subjects as well subject matter, some people may like to have a more intimate subject matter, whether it's just like one boat or something like that, something really focused in, in detailed. We can often develop our own style through just understanding other artists practicing our own brushstrokes. Time after time. Painting from references and doing like doing tutorials is great, but making sure, making sure that you are trying to paint and draw from a reference or even better going out there. And in real life, if you have your sketchbook, sketchbook with you, drawing and painting what you see. I think that's the best, the easiest way to learn if you can't go out using reference pictures is just as good as just that you don't get the beautiful scenery in front of you and some nice, nice fresh air. And after a while, you end up developing your own way of doing things and build upon what I've taught you and find out what might work, what might not work. One of the things I really wanted to drill into you guys as well as to not be afraid to make mistakes. Give yourself permission to produce work that's not perfect. It's imperfect because it's through creating imperfect work that we end up being more adventurous and finding new ways of doing things. Often stumbling into subjects or into a way of painting that we wouldn't have normally done because we went adventurous enough to try new things. Remember, it's just paint and paper. If you stop it up. Um, it's not the end of the world. You can always try again. Most styles of different artists actually composite. When you look at especially a lot of artists these days, they'll have classical influences though have contemporary influences and that just modes together. And they may decide to emphasize a bit here and there, add a bit of their personal flair and they're in subject matter and suddenly you've got something of your own, something of urine style. So I guess long story short, be adventurous. Adventurous. Style comes from your compositional decisions. Unique brushstrokes, then, like what I've taught you today, your planning and your thoughts, your own unique experiences and preferences will come through in your paintings. Enjoy the process. And rather than think too much of the end result, I'm because I know I'm often that myself off. I think I've got to produce something like this has got to look like this. And if it doesn't look like this, and then you get all worried and worry and thinking too much does the opposite with, with arts. And we need to be relaxed and we need to, It's almost like a meditative thing. Lip thoughts come in and just let it flow on the paper. And it's hard to, in the beginning when you're learning because it can't flow because you're learning the techniques, the how to do certain things. But once you know a bit of the how and it gets incorporated to your muscle memory. It's like driving. You don't think twice if you have to break or you have to shift gear. I don't know who drives a manual or whatever, but you didn't think about that stuff. You can focus more on the journey and make decisions along the way. Be more flexible and adaptive. Once you've got the techniques and the process that I've shown you down packed. We have individual experiences, memories that shape the story that you want to tell in your art, doesn't have to be something profound as you can see in my work, there's not any profound meaning. I believe in it. But I always for some reason just seem to be drawn to go into a sense of beauty in the world. And I tried to bring that out, uh, try to find a way to look at a scene and bring out its inherent beauty. And it's just express it in my brushstrokes and I think the simplification of things as well. Big fan of that. Again, there's some of you have seen some of my portraiture as well and can spend a lot of time on that. But I like the looseness of things. Can just be vision as simple vision to transport the viewer. Transport people to a beautiful place and a time. To send the message to them of good times in the happy times. 11. Class Project: The class project is to compose and paint your own unique watercolor seen. This can be one of the two scenes featured in this class, or based on a series of your own related photographs or since. You can refer to the touch scanned drawing and painting templates. I recommend sketching each scene. Freehand. Drawing is an important step in improving your painting skills. They provide you with an opportunity to compose and plan your painting. Once you've finished the drawing, usually watercolor steps and processes included in the class to complete your painting. Finally, upload your project.