 So when we have a look at the reference photo you can see that the rooftop is quite gray It's got a gray tone to it and the white building because it's in the shadow This has also got quite a gray tone. So if we just use the blue as it is it's going to be too bright It's going to be too too blue so to make a nice gray We can just mix these two together and then add some of that titanium white to it You start to get this lovely gray So when we have a look there on to show you the picture You know the tone of that that's looking you know really really nice for the roof And what's nice about this is once we've got that mix and you're getting used to using the palette knife you can then Keep that mix bring a bit of it down and add a bit more white to it And then you've created another gray that is going to be harmonious with the first gray that we mixed And then when you have a look at it on the picture you can start to see Okay, it might be nice for this little building in here Maybe I could go a bit lighter for this end house here. So add a bit more white to it And then you haven't really done much mixing you've only used a couple of colors so far But you're starting to use the tones that you've got to create that nice variety in your painting So you just have a check to the picture That's looking pretty good tingly. So Take a bit of that lighter one and just Put something on slightly darker there so Mix the two together and there is a bit of a challenge with the palette knife if you're You're pretty careful. You can get in there and get the shapes It's like a darker window in there. So, you know, just grab a bit of that burnt umber put that in And again get used to using kitchen rolls so that, you know, if you want a clean palette just kind of wipe it off And then you've got a clean mix You can work very quickly with palette knives because of this because they're so easy to wipe off and clean They can be really great to get in a nice Coverage of a clean crisp color Take that darker mix So I'm just going to swap to the brush take a bit of this Uh gray tone water it down a bit and just put it into this closest mountain It's probably not going to stay this color, but I'm just getting an idea of the tones that are happening. Okay, that's nice And this other little house here, I think I can go a bit bluer on him And often when I've got, you know, a nice color on my brush I just scan the rest of the painting to see if there are any little flecks I can put elsewhere Just to bring that color around the rest of the picture. It doesn't have to be much just a slight indication Okay, great Use a bit of this lighting it up a bit Out in the distance for that further mountain Again, if you want that to be a cleaner color Just mix on with on the palette knife. It's a great way of checking your mixes You know, you see if you've got a really nice clean mix That kind of changes the Feeling even if you've got the same color mix and you paint it on thinly Soon as you put it on more opaquely It just changes the quality of that paint I think we need a couple more colors now to start to add some more dimensions to this painting So I'm just going to add a red and a brighter yellow So the red I've got is a crimson a permanent alizarin crimson and the yellow I've got is a cadmium yellow The cadmium yellow has just got a bit more opacity than a lot of other yellows So I'm just going to take the blue that I had Mix this kind of lighter tone again that we had If you look at the reference photo You start to see there's this real soft hue of like a purply hue there There's even some reflected onto the actual roof. He's got this nice Purply hue to it. So I'm just going to add a bit of the red to that I think that will work really nicely So again I'm just mixing the similar hue that I've got there And then just adding a touch of the red and just scraping a tiny bit just with the end of the palette knife So I look nice I need to be more generous myself So it's amazing how much paint you can use with acrylics with this technique They'd be scared of like wasting your paint because It can make such a big difference to how the finished painting looks If you always have it too thin Um, you lose a lot of the different textures that can really make a painting really work well It's always nice to have that contrast between areas that are very like thinly applied And other areas that have got that more impasto feel to them So I'm being quite light here how I'm just kind of scraping the paint over And it gives such a nice solid color I'll do that purple color. I'm just going to bring on to this roof If you want to tweak any of those bits just with your brush just again add a touch of water to it Just to help you to bring any of those Really more for the drawing if you want to change any of your drawing So for the sky it would be quite nice to have something that balances well with that purple hue So I'm going to instead of going blue and having it too blue and too purple I'm going to make a very very soft yellow if you've got a bit of naples yellow That would work really nicely for this or even yellow ochre with a bit of whites But I'll just mix a yellow with the colors that I've got out here So we don't want it to be too yellow too lemon But we still want it to be quite light When we have a look at that is it kind of clashes a bit too much We've just got to warm it up slightly so to warm it up if we add a little bit of the red A little bit It's looking nice So it's got like that naples yellow kind of like a creamy texture to it rather than being too harsh with the yellow Make sure the mountain doesn't go right up to the corner You don't want to create what's called a tangent where the line hits the corner So just have that little space on your painting that will make a real really big difference It's always something to look out for in your paintings Especially when you're doing mountains That you haven't got you know the edge of the mountain hitting it into the corner Touch warmer on this side Where you can just add the white straight to it Just lighten off that area there give it a real focus through Some of this yellow just make it a touch A touch brighter yellow than the sky Just gonna add a little bit at the front of this building Again, what you've got now is you know a tone in the sky And then a tone in the front of your building so it helps to balance it Like how we've got this purple here and there's a bit on the mountains and a bit on the rooftop So it's not just one area of the painting So now I feel we can start to add some warmer colors in here And then start to judge the earlier colors we've put on to it and then see how the painting's progressing