Working with Gouache & Colored Pencils: Let's Draw Some Homes!

1. Intro: Hi, everyone. I'm Danza, a professional artist and vocater based in lands. Welcome to let's draw some homes. This is the first class of a series in which we're going to explore the mix of two beautiful mediums gas and colored pencils. We will start with the beginner's level. For this class, you don't need any drawing experience or experience with Garcia colored pencils. In the next class, we will go more in depth and build up your drawing skill, as well as your knowledge about these materials. This class is about the basics of Garcia colored pencils. We will go over the materials. What paper do you need? What phis you can use best, what pencils and whether there are two different white paints and gouache and when and how to use each of them. You will also learn how to use gouache, how to make brush strokes, how to mix different colors, and how to apply colored pencils to create more engaging and beautiful drawings. For the class project, we're going to draw these very lovely Dutch houses exploring three coloring techniques. First, we're going to look at how to create a monochrome artwork, an artwork and differentiades of one single color. Second, we will learn how to mix a beautiful color that represents black in sketch, and we will draw a nice tree using just a few brush tugs. Finally, we will discover how to mix colors to create a gradient in a sketch. Different from my other classes, there is no reference for the project drawing this time. You can draw with me. You can draw from your own imagination, or you can use photographs or even real houses. I've put a few of my own photographs and project and resources, and I've created a moodboard and pinterest where you can find a lot of very lovely houses that you can use as a reference. Please feel free to join and share your artworks in the project gallery. I can't wait to see what you come up with. So let's get started. 2. Tools & Materials: Let's take a look at the supplies I'm going to use in this class, but don't be overwhelmed if you don't have the same brands, of the same colors, or if all of them look very new to you. You really don't need a lot to get started and you definitely can use your favorite brands. So I'm going to use ins and Newton designers garage. They have a great range of wonderful bright colors, they are affordable and they are of good quality. For this colours, it will be great if you at least have a set or selection of colors, including black, white, and three primary colors, blue red and yellow. In the how to mix colors video, we will learn how to mix colors, so you will be able to create new colors from these three primaries. Of course, it's cool to have some special colors. But let's start with the supplies you have available at this moment and try to get the best out of them. And maybe following this clause, it will help you discover what materials they are, how they work, and which ones work the best for you before you decide to buy anything new. Further, I'll be using this Winds Newton watercolor pad for technique demonstrations. It's heavy weight, cold press, 25% cotton paper, not expensive, so I'm create for practicing. For house sketches, I'm going to use this cold press 100% cotton paper also from Winds and Newton. As you can see, it's dining format. Only 13 by 8 centimeters, and I'm sure it will be perfect for some cute little homes we're going to do today. If you don't have watercolor paper or it's not cotton paper, to panic, you also can use any other watercolor paper or mixed media paper or any other thick drawing paper. The thickness of the paper is essential for avoiding buckling. The best paper for gars paint needs a thickness of at least 200 grams per squremeter. Phi pencil, I prefer a two B pencil, which is quite soft and easy to remove before painting, especially with this needed eraser. I guess it looks a bit weird, but this eraser doesn't damage protocol paper as some harder erasers do. As for colored pencils, I use a lot of different brands and series. I primarily choose the beauty and the brightness of colors and the softness of the pencil. Because soft color pencils are the best way applying on the top of coors to create some very beautiful textures. It would be great to have some different colors that make you gas paints but are not exactly the same. They should be lighter or than the paints. Otherwise, we won't be able to distinguish them from the gosh colors. I also love to use white or a very light colored pencil on darker surfaces. So the brushes, I would recommend using synthetic brushes for gage. They're slightly stiffer than natural hair brushes that tend to be too flexible and hold too much water. Acrylic brushes, for instance, will be created for this class. They provide a lot of control are not expensive and work very well. I'm going to use only three synthetic brushes for this class, around size three for small areas in details, a flat size six for larger areas, and this flat professional curl color size ten for the largest areas. I prefer to use flat brushes with square edges for this class because we will paint a lot of corners and they will really help us doing this. And then we are going to need a water, a paper towel, and a palette. I love this very large yellow color palette because there's a lot of space for mixing colors, but you can use any other small or large color palette of your preference. 3. Painting & Drawing Techniques: So let's get to know our mediums, gash colored pencils a bit better. Gs is an opaque water based paint. It's a very vert paint. It lends itself to a mixed media approach because it combines greatly with colored pencils, watercolor, inks, and even with my favorite markers. Gs dries very quickly and can be reactivated once it's dry. The first challenge with Gage paint is finding the perfect balance between paint and water. It's the most tricky thing to figure out, and it takes a bit of practice. So let's take a look at what happens if we use gorge directly from the tube without adding water, and my brush is also dry now. The paint is quite thick and it's fully opaque so you can't see anything for it. It's not easy to apply to the paper, and I have to take a lot of paint, but look at this beautiful texture. And the texture of the cold press watercolor paper always adds an extra dimension to the paint and makes our paintings look so interesting. Now, let's take a look at what happens if we add some water to the paint. I squeeze a small amount of it on my palette. Add some water and mix it. The paint gets a bit creamy consistency. But don't have this nice texture anymore, but it's easier to apply it now to paint larger eras and to mix colors if you want to. Adding some more water, you will see that the paint starts to lose more of its opaqueness. So the water, the transparent the paint is. And it starts to look like watercolor now. So we even can create a kind of a wash. Look at this. The texture is back because I dried my brush a little bit too much. So you can play with the paint transparency and textures by using more or less water. I would recommend you to do these exercises to find out what works the best for you. I personally prefer more fluid consistency when I paint pre shapes and a consistency for more lively painting areas. Let's take a look at the garage whites. White is maybe the most important garage color. I would recommend you to buy a few tubes because you will probably use them more than any other color. There are two main types of whites and gage. Zinc or Chinese white is then and the best for mixing with other colors. The mixed color has a beautiful tint. Permanent or titanium white is the most opaque of the two. It's perfect for details and highlights. You can also use it for maximum, of course, but the mixed color will look a bit pale. The nicest mixes are with the zinc white. Let's write out. I get a bit of zinc white on my palette. Add some water to make it fluids, and add to the bloom. So we have now this wonderful light bloom. Now, let's add some more white to get a lighter bloom. Also a very beautiful color. And my brush is a bit dry now, so I get this amazing texture again. Yeah, I know I'm just really crazy about textures. They're so beautiful. I'll show you how to use a permanent white a little bit later when this blue spot is completely dry. Because otherwise, the water in my under layer and the water in my top layer will mix and create a very unappealing mass. In the meanwhile, I can demonstrate how to create a darker shade of blue. I would never do this with water color, but with gosh, I use irregular black paint to darken color sometimes. By the way, maybe you'll notice that while mixing, I add a lighter color to the darker, white to the blue and blue to the black. This is because I want to keep my colors as clean as possible. If you add blue to white, you cannot really use it anymore for your other mixes. Look at this lovely dark blue. Let's add some more black. And we get a very nice black color with a blue on the tone that softens the black and makes it look much more interesting than a born neutral black. And if it makes a small amount of the zinc white blue and black. We get wonderful grades we can use for painting tin roofs, cutters, ashtros cobblestones, and so much more. Look at this. It looks so much better than a mixture of black and white only. Okay, I think it's clear that you can make a color light with a she and darken it with black. But let's see what happens when we take a light color like this yellow. When we add a white, the yellow gets a bit of a pale look. But it's a lovely light color we can use in our paintings. However, if we want to make a darker bed in black, it's not that beautiful anymore. In this case, the best way to create a darker shade is to add another dark color. If we want to make yellow, we can mix it with red, and then we get orange, which is a darker version of yellow. Or we can mix it with the brown. Then we also get a nice color that we can use, for instance, for shadowing. Of course, the proportions of the mixing colors are essential for the lightness or darkness of the mixture. The more yellow the lighter the mixture, the less yellow, the darker the mixture. Late in this class, we will mix the primary colors yellow, red and blue. You will see that you really don't need to have a lot of different colors to start painting. You can get almost every color you want, mixing only three primaries, black and white. But let's get back to the permanent white. So once again, we use zinc white for making colors lighter and permanent white for highlights and details. However, I don't think it's a big deal if you mix colors with permanent light, they will have a pastel look, but some people even like it. Let's take a look at zinc white first. I get a small amount of the paint on my brush. The paint should be a bit temp, but not too much. As I already said, zinc white is a translucent paint. It doesn't really cover the blue layer, and that's why we can't use it for highlights. Permanent white is a very opaque paint. And look at this coverage. It's not perfect yet, but already so much better when this layer dries, we can do another brush stroke to make it even more opaque. But I think the difference is obvious now. A bit later, I'll show what happens when we apply a darker color in the same blue. But first, I want to show you how I use my brushes. As I said, I prefer synthetic brushes because they provide more control with gush than soft nature hair brushes. I use a smaller round brush for drawing thin lines and details. When it slightly dp, I can create a very thin line with a nice texture. If I add a little bit more water. The stroke gets thicker and there is less texture. We can use both of these techniques in our drawings depending on the effect, what we want to achieve. But what we for instance want to worry about the thickness of the line, the pain should flow very easily. This small synthetic brush has quite step bristles, it's perfect for painting grass, for example, press a at the bottom and less hard at the top, and you will get very nice and natural looking grass. You've got a soft brush, and you see that I have much less control of that. All the grass blades look pretty much the same, and it's tough to create beautiful sharp points at the top. This is not all that this small here is capable of. We also can use it for creating quite thick strokes, almost asthic as the length of the air. Just lay down and press a little bit. Look what a wonderful texture. I would use it for the crown, for example. The next brah is this flat size six that is great for painting larger areas. And it's great for windows because it's so much easier to paint rectangles with a flat square brush. Just a few strokes and it's done. So the last one is the largest of the flat brushes. Normally, this is actually my medium size brush, but we're going to draw in a small format. So this will be already huge tiny dutch houses. By the way, we also can use flat brushes for straight lines, thin strokes like this and wall or ground textures like this. I also can head line around the rectangles with a small brush to make it look more like a window. A. I create the surfaces that I'll be using to demonstrate how to apply colored pencils. The dry now so we can get back to the leering with a darker color. Let's take orange for covering blue area. Orange and blue are opposite to each other on the color w they create the strongest contrast. I take the paint from the tube, so it's the opaque and has the maximum coverage. There is quite a good contrast between these two. But let's try to put the orange on the white stroke painted before to see the difference. The orange looks much cleaner now and the contrast is much more significant. This class is not about complicated layering, but I just wanted to show you the importance the s and the effect of permanent white. The next one is called pencils. They come in many varieties, but we don't need anything fancy for this technique. The only two things that are important for the pencils, we want to apply on top of gas is that they should be solved. The texture of the pencil and reaches the texture of the paint, and they shod be more or less related to the colors of gash paints. So it will be great if you have at least some soft yellow, threads, and blues. I've used a light and a dark color for the surfaces to show you the effect of colored pencils. I think it's evident that if we use exactly the same gars and pencil color, we wouldn't see any effect at all. But when I take a slightly darker shade of yellow, the line shows up quite well. We can use it to create an extra texture to make our drawing look more attractive. We can apply it in line source hatching, so we can get a very lovely texture. Let's try a darker color now. Purple is a complimentary color to yellow. They are opposite to each other on the color well, so they create the strongest contrast. And if you do hatching, the yellow comes very beautifully through the purple. I like to make the contour of some objects in my sketches much darker than the object itself. Sometimes I use complimentary colors, sometimes a random dark color. Most of the time, the random color is my favorite blue. What I also like to do is to throw some short strokes like this, for example, the ground or a tree crown, just for a more interesting look. For the dark underground, the effect of a light color will be, of course, the exact opposite. The darker the underground, the more contrast it will have with white, and the softer the white pencil, the brighter the look. Complimentary colors work less well on the dark on the ground, so I barely use them that way. But with the dark blue or cray, we can create some texture. Maybe you can see it very well in the video, but it looks pretty nice in reality. Funny thing, by the way, if I apply one of the light blues next to the whites, it looks almost the same. While the other blue pencil, a softer one creates a very different look. So I would say just grab the coercion cold pencils you have and try to combine them with df front lines, strokes, and hatching and see what will produce beautiful combinations that you love the most and can use in your sketches. And if you get bored very quickly, drawing on rectangal surfaces, just draw some greenery. I don't know fantasy landscapes or tiny houses in the distance. Everything is fine as long as you keep experimenting and practicing. So in the form of video, we're going to mix colors. One of my favorite things to do. 4. Mixing Colors: If you are new to Gage, I would recommend you choose a limited color palette at the beginning, because it will force you to learn how to mix colors. So you will be able to develop your own unique color palette. Decide which paints you like to add to your kid more precisely and make a more knowledgeable choice when you buy new colors. We actually can make a new color using only black, white and the three primaries, yellow, red and blue. Still, it might be more useful to have some special, more complicated to mix colors straight from the tube to make the painting process easier and faster. So let's take a look at the basic mixing rules. As I already said, there are three primary colors yellow, and blue. Primary colors cannot be made by mixing any other colors together. By mixing two primary colors, you create a new secondary color. I get all of them twice on the palette so it will be easier to mix, and I can do it less carefully. Okay. So these are my primary colors. Now we can start mixing. Yellow and blue make green. The amount of one or the other will not only change the mixture's darkness, but also how green it is. This first mixture is very fresh lime green. But if we add some more blue, we get this beautiful kind of sap green, which is amazing for painting greenery. Yellow and red, make orange. And also wearing proportions, we can get a kind of pumpkin orange. Or this wonderful darker orange. And finally, red and blue make purple. But as you can see, purple is actually quite challenging to create. It looks more like more now, and the reason for that is the primaries are used. Maybe you have already noticed that there is a huge range of yellows and blues available. And depending on what primaries used, the mixture might look totally different. But this topic is too large for this class. So I hope you understand how it works, and just try to mix the colors you have and look at what mixtures you can create. One last thing I want to show you is another mixing technique. I like the most with the dry part because of texture. Of course, you understand. I apply a color on paper first and then add another color next to it and also over and between it. I don't really mix everything just here and there, but I create this wonderful and very interesting color texture. I hope everything is clear. This is all for the theoretical part. Let's start drawing. 5. Drawing a Blue House: So the first house we're going to draw is this blue guy with a stepped gable. And the reason it's going to be blue is because I want to start with something very simple, a monochrome drawing. Just a few shades of blue and white. In this part, we will just practice sketching, using garage paints, and making textures with color pencils. So let's start. This is quite a thick paper. It doesn't bo very quickly, but I prefer to use masking tape on one side anyway. If your paper is thinner, I recommend using masking tape around the painting to keep it flat. I started with drawing a vertical line down the middle of the house and the page to ensure its symmetry. Then I draw the bottom line and determine the width of the house. In my class urban sketch for beginners, watercolor sketch in three steps, I explain how to deal with proportions of a building. If you find it difficult to determine proportions, I would recommend you to voice this class. Okay. Next, I determine the top of the house. Now there's no chance that this house won't fit in the page because I will draw all the house details inside the four lines. I draw the horizontal lines to keep the steps at the same height. And now I can draw them out a bit better. So you can see that I try to make it easier for myself all the time by using help lines. It prevents my house from being crooked. It's okay when the help lines are not perfectly parallel to the ground or whatever, and sometimes I even draw them skewed on purpose. But the general look is still more accurate than without the help lines. Then drove the windows in the same manner using the middle line to keep them symmetrical. Add some details. A bike, of course. Since it's a dish house, there should be a bike. The pencil sketch is done, I can raise it. Not. It would be a bit weird. But I use this needed razor, which is softer than any regular razor, prevents paper damage and softens the pencil lines. Now, I want to show you the technique that I didn't explain earlier. Maybe you're familiar with it if you paint with watercolor. This technique works very well on 100% cotton watercolor paper. I slightly wet the paper before applying the paint. It will create a nice special watercolor log. If you use anything other than watercolor paper, I wouldn't recommend you to wet it before painting. Just use the regular technique I explained earlier with applying gas on a dry surface. Because the paper and the brush are pretty wet. The layer is very thin. Even a bit transparent, very different from the traditional gas but also so wonderful to see. By the way, look at how easy it is to draw sharp edges and angles with this flat square brush. I don't know about you, but I enjoyed seeing the paint flowing around like this. Now we need a darker blue for painting windows, so I mix blue with black as I showed before. It's important to keep in mind that the same as with watercolor, the value of cash paint changes when it dries. It's mostly noticeable with darker colors as they tend to dry quite a bit lighter than their wet value. The other way around, light colors tend to dry than the wet value. So knowing that, we can add some black to mixture to darken it a bit more. I use the same dark color, but a smaller brush for the bottom of the house. A dark color at the bottom of a building always creates a more stable look. Paint a shadow on the right side of the street bollard. The tops of the cable steps. The shadow from the bullet. And the iron bars on the front of the house. Now we can apply the permanent white gash on the window frames. I paint the outer part of the frame and the middle beam thicker than the grills. And then I add a high to the pot. The dark blue paint is still a bit wet here, but I'll try to paint very carefully over it. Now, we're done with painting. Let's move to colored pencils. I drove the bike with a very dark blue pencil, almost Add a shadow to it. It's something that a lot of beginning artists forget. Add shadows to the windows. Note that all the shadows in this class will be on the same right and bottom sides as if the light comes from the top left. This is a technique I also explained in my class urban sketching for beginners, watercolor sketching three steps. I also like to add some texture to the house. It makes it even more interesting and cool. A few short strokes on the crown, suggesting copper stones, and highlights on the iron bars to create some volume. These are on the left, by the way, opposite to the shadows on the right, and a few lines on the door to suggest wooden words. And of course, a shadow. Somewhat dex showing and decoration. And Walla, the first house is done. Let's move to the second one. 6. Drawing a Black House: In this part, we will draw a black house with a spout gable, red window shutters, and a very simple lovely tree. I'm going to use these seven guash colors. I do exactly the same thing with a pencil skate using some helplines to make it look symmetrical and on the same level. So I don't want to explain the whole process all over again. Just throw with me. The pencil sketch is done. Now we can move to mixing a nice black color. As I've already showed in the demonstration video, I will use three colors blue black and white to create an attractive, looking black. I mix a good amount of black and blue. And add just a little bit of zinc white to soften the mixture. And this time, I only wet my brush. The paper is completely dry. It looks like a regular black at the moment, but when the paint dries, we will get a really lovely color. For the smaller areas, it's easier to use the smaller brush. I add some more paint to the mixture and paint carefully around the details. I can make everything and then paint over the black, but I prefer to save the paint when the details are easy to keep color. By the way, you always check that pushes clean before you pick up another color. Otherwise, the new color might look a bit. The dark paint is still wet so a little bit into the red, and they make so beautifully together. As you can see, I'm painting epitroly and keep some texture on the edges here and there, too and everywhere but just a bit. Then I paint the chimney and get rid of the white details with the smallest bush. I paint the door using the same blue black white mixture, and this time, I keep the frame white. I love to use the coils for the sky and windows in the sketches. So I apply it to this small window. Add a little bit of ultramarine to create a more interesting color. And water Marine to make the windows look different in different places. So now I break my own rule and take the darker paint to the lighter. And I have told me that it happens very often. Then I mix to Marine will sink white and paint the top of the gable and some decoration elements. In reality, they probably would be white or gray. But gray is not what we want to have in our bright painting, and white wouldn't work on the white background of light blue it. Now, we add some shadows to the right parts. At the top of the chimney, Mike a dark color again. It's almost black paint the iron hinges on the window shutters. And the shadow from the door frame on the door. Now, the shutters are drawing, it's a good moment to paint the tree. I add a little bit of black to the red and drove the tree trunk at the top and at the bottom. So I start with just a little bit pressure and press going down. The other way around with a branch, more pressure at the bottom and less at the top. Now I'm going to use a very fresh and light clean and to keep it fresh and light, I need to change my water and clean my brush is very well, and it's also important to check if the jar is clean because sometimes there are still some color leftovers we don't want to have an our new color. I make my brush wet and get rid of excess water to get a good tt the crown. I change the pressure all the time so some parts are more opaque and others are very transparent, like this fantastic texture on the left. Now we need to let the paint dry for a few minutes, and then we can start drawing with pencils. I'm going to use only a few shades of blue and a light gray. I started with hatching on the ground to create some depmtch with light pressure, but not too light. Oh, I forgot to paint the crest under the tree, by the way. The crest is essential for three. No, I'm kidding. It just creates more contrast and color balance in the painting. The bicycle, not a detailed a suggestion. I use light gray for the other side to make it more visible on the dark background. And of course, there should be a shadow. I add tides to some details to make them a bit more outstanding. Bricks with a slightly darker color than the paint. Some shadows. There's always a shadow from the frame on the window glass. Please don't forget to it. Any kind of reflection with a nice turquois color. So the windows look more textured and interesting. Shadows from the hinges. Define the shapes of the rain gutter and the pipe. Adding the highlights on the two panels, top left corners, and the shadows on the opposite side, bottom right corners. Then a few lines on the shutters suggesting wooden boards. I'd like to make them not to perfect. Just some quick, confideent lines, not everywhere and not of the same length. It should look just lively and playful. I'd like to add some windows behind the shutters, on kind of suggestion without any details. Here, the paint is still a little bit wet, so I need to wait a second. Meanwhile, I paint some window railings. And make the shadows under the windows a bit. I also want to add volume to the tree. So I draw a bunch of short strokes on the right, shadowed side. In my class greenery and urban sketching, I'm teaching how to draw lively trees, and especially how to draw and apply textures. If you want to learn more about drawing and texturing greenery, I would suggest taking this class. And the last step is the finishing to more textures and decoration. It's also cool to apply colors over each other in different manners, Hatching or just throwing. This is a time when you're may be scared to doing your artwork and doing everything very carefully. But I want to recommend you let yourself go right now. If you're in your artwork, you in your artwork, nothing terrible will happen. You can always make another one at one because you've learned something by experimenting and practicing and you won't learn that by being scared. 7. Drawing a Red-Orange House: This last house is a little bit more complicated, but also very fun to do. It's a red-orange house with a bell gable. The top of a bell gable has the shape of a church bell. I slightly simplified it to make it easier to paint, so that we can focus on mixing colors. This time, we will use two different mixing techniques on the palette and on the paper. We start with the pencil sketch again, and this time, more than ever, it's important to use the help lines, especially the middle line, to keep everything more less symmetrical. I start with creating orange by mixing yellow and red on my palette, and apply the mixture to the upper-left corner of the house, the lightest part. Then, I add some more red to the mixture and paint the right side of the house. Add some more yellow again, and mix both colors. You can also add the red color more gradually and apply the paint from the top-left corner to the bottom-right. Both methods work well. I like how it looks. The gradient makes the house look so attractive. For the windows, I make a mixture of ultramarine blue and zinc white. Create a little bit of difference between the windows, so they don't look all the same. Mix blue and black together for a very dark blue color, so the white pencil I'm going to use later for the door palettes will stand out more. I use a mixture of blue and white with the decoration elements. Look at this, I smudged the paint on the right side, but no panic at all. There is always a solution about the gouache. I actually like these kinds of accidents. They force you to be more creative. First, I want to remove this paint here. Maybe if we could do ours completely, you won't be able to see anything at all. But since it has already happened, I want to show you how to repair something like this. I'll let it dry for a minute. Use the same paint for the front, but add just a bit of black to the mixture. Now, what can I do to fix it? I think I use a masking tape to protect the edges of my paper and create a frame. Then I make white large area wet, and apply my favorite sky color turquoise, a very thin layer. I'm not touching that. Remove the excess paint here to keep the sky nice and smooth and let it dry again. A lot of old Dutch houses have a dark thing window frame inside a thicker white frame. I want to show it in this picture with the same mixture of blue or black. By the way, I don't add zinc white to this mixture as I did when I painted the black house in the previous video, because this time, I choose the darkness of the color before its beauty. I drip some clean water again before I start to draw a tree. Actually, it's not really about the color of the tree, it's better to use clean water anyway. Of course, not all the time, but especially when you opt to paint with light colors after painting with dark colors, for example. Clean water, let's draw a tree or a bush. The same technique as we did at the previous video. My paint contains too much water, I'm afraid. It has reactivated the red under layer and it starts to get a little bit muddy. I throw in a brush, take some more paint, and it works much better now. I draw some grass in the front of the house and this time, I create the shadow on the bush with gouache. Later, I can add colored pencils too. I blend ultramarine blue with green on the palate and apply to make sure with short strokes on the right side of the bush and on the bottom of the grass. Remember, all the shadows in this glass are on the right and bottom sides. I use a dark blue mixture for the shadows from the vendor frame on the glass with a touch of zinc white this time to make it a bit lighter than the frame itself. I add some shadows to the decoration elements. The painting part is done, lets play with the colored pencils. Add some more decorations. The right one one is in the shadow, so we make it darker. Darken the other shadows a bit more and define the shapes. Add highlights with the white pencil. It looks pretty bright now on the dark door. It is a good idea to make it that dark, I think. Here, I use my darkest blue pencil for the lamp on the corner of the house. It's a harder pencil, which is fine for drawing sharp line sometimes. A softer one will be very nice too by the way, but it just so cool to wear the quality of the lines and textures with different pencils. For the reflection of the windows as we did in the previous part. This time, I want to add highlights to the dark inner frame. These are white corners on the upper end left sides of the frame. I think highlights always make objects shine, so I like to add them to my paintings. Add some textures here and there, the brick decoration above the window. A darker color on the lightest part. Add some shadows. More decorations. Add more shadows. I will also add highlights on the left side of the iron bars. We can choose to draw the fence lower or higher than the bottom of the window, but not on the bottom. It always looks strange, when a lot of different lines come together. I draw a horizontal line first and then the vertical parts. Now, I can add some texture to the bush with the same pencil. I add a tree trunk, make it quite dark because it's in the shadow and finish all this with some darker spots in the sky and textures around the house. 8. Final Thoughts: So in this class, we talked about guash and colored pencil techniques and about mixing colors. And I've drawn three very cute old dutch houses using wash and colored pencils. I hope you've learned a lot, and I especially hope that you have enjoyed drawing. As always, my final advice will be practice and experiment. Try different techniques. Try something that nobody else does, and don't listen to people who tell you that your way of using mediums is the wrong way. If you get the results that you really like, then just keep doing this. Use it in a way that makes you happy. I'll be very glad to see all your beautiful artworks in the project gallery. And if you shared on Instagram, don't forget to use the hashtag Julia Hansen underscore skill share. I hope everything was clear, but if you still have any suggestions or questions about this class or about the towing materials, don't hesitate to ask them on the community page under the videos. Thank you so much for joining me sketching and seeing my other classes.