 So now we've got these greeny hues that are on the front of the cafe. We can start to bring in some more of the blues that are down on these cobbles here, but to do that we need to be able to balance this greeny blue that we've got. So I've introduced a red, this is a permanent illiterate crimson from Windsor & Newton, this is. And now we've got that, we can start to balance that blue so it's not too greeny. So I'm just mixing this to like a dull purpley hue, a bit of water on it. And this can now just be washed in in the front of those cobbles. Get a touch more water, just so you can start to judge the tone without going into heavy start with. I think when I start to see that next to green, I feel like I can bring it a little bit earlier and I'm just working that into the paint that's already wet underneath it. So it's a bit like a watercoloury wash really, and that's how it starts to hit into the light. This area here in the middle I just add a bit more white to it. You see how I pulled a bit of colour on there, that's just on my brush. You can see how it's got the blue on there, so I just wipe that on a bit of the paper towel. Give it a quick wash out, just so again you've got a clean brush. Sometimes it's nice to have that mix between the colours onto the actual canvas that you're painting, but sometimes you just need that clean colour just to go over the top. Make sure you focus on these corners so you can get like a dark corner next to a light area. Just helps to send the viewer's eye in. Even lighter and a bit more of that purpley hue. And very watery this is because I've got the white underneath. Wipe it over it and you'll rub a bit back. Then just dull down that intensity of the white, but still have a nice bit of that colour shining through. Ok that's great, now I can start to introduce a yellow to create all these colours and start to introduce the green onto the tree. So what I've got here is an April's yellow, this is a really lovely colour. In fact for some of this yellow on the banner I'm going to go straight in just with some of the pure April's yellow. That's great, now these other areas where you've got like a yellowy down here it's slightly more muted and even this yellow pop down here is darkened down a bit. So what we can just start to do is either use some of the darker black that we've got here that we've mixed between the blue and the brown, but you see how that pulls it very, very green. So if it's too green we just add a touch of the red to it and just give it that nice kind of neutrally tone. So what I'm just trying to do is imagine the colours underneath the tree here, just on this band so that it can dry off and then we can paint the brighter greens on top. Because I know it's going to be getting greener on top I'm going forward to go a little bit warmer underneath it around here which is going to help to add that nice contrast between the greens and these warmer hues next to it. Again just add a bit of water just to kind of blush that colour over the painting just so you can start to judge how your hues are looking in the context of the whole painting. Orangeiness down here as it starts to come up to the rest of this building it goes a bit, you know, a bit pinkier. Then there's a bit more white, a bit more of the red. So this building here is a little bit duller but still got a bit of that red in so just use a bit of the brown to knock him down. I'm going to touch more water just to increase that flow and pour him down a bit more with a bit of the blue and just see a few bits that I feel could have a bit thicker white on. Okay great, so I'll just mix some green with the Naples Yellow and the blue just to start to build up this tree. So by using the palette knife I'm keeping it quite scratchy and on purpose I'm not going too flat you just get a big solid lump of paint. I'm kind of holding it off a bit so that I get little touches of shapes but other ones I can just kind of scrape back through and because we've built up those colours underneath you get these lovely little kind of happy accidents where you get a shape that's underneath, the window underneath and then the leaves that are going to be on top of that. So you've got to be a bit confident with it and, you know, just kind of go for it with the palette knife. When you're mixing with the Farlow Blue though just be careful that it doesn't go too green, too vivid. So what you can do is just add a touch of the burnt umber or just tone it down slightly and if it goes still too green you can, you know, add a touch of the red next to it which will just tone down that hue. By using the flat brush any areas that you think have just got a funny shape or a little bit too scratchy you can just, you know, solid up an area of the paint. Okay, great, now we can start to bring in some of the red onto the actual tabletop just to really make that red punch out then we can adjust any colours from there. This is Will Kemp from Will Kemp Art School.