[Figure 1.2] Visualize images to define the concept.

2.            I pick the Grainy Water Blender and start "washing" over the initial brushstrokes to create contrast between hard textures and smooth areas. Contrast adds interest. In Figure 1.2, I start to see a skyline in the upper sketch and a vertical space between buildings in the lower one.

[Figure 1.3] Select Zoom Out to view the image.

3.            With the Loaded Palette Knife, I start adding details using warmer colors. These should be small spots of light to spice up the image. With smaller, more opaque, brushstrokes, I start to define forms that make sense. I use a zoomed-out view that allows me to a have a clear vision of the image as a whole. It's no use going into too much detail yet. At this stage, I have an overall idea of what I am portraying. In my example, this is an urban plaza for the upper image and some industrial structures for the lower one. See Figure 1.3.

[Figure 1.4] Build highlights gradually.

4.            I start working at 50 percent zoom. Using the F-X, Glow Brush, I add interesting highlights around the center of the image. It's important to use dark saturated colors for this to build up these highlights gradually. I try to introduce some different hues, such as the pinks in the bottom image. See Figure 1.4.

[Figure 1.5] Use color to introduce mood.

5.            Next, I use Rectangular Selection to highlight the upper image and select Edit, Fill. I reduce the opacity to about 15 percent and use a dark green color. See Figure 1.5. I do the same for the lower image but pick a dark magenta. This way I can get rid of the excessive black and introduce a little bit of mood with these overall temperature shifts.

[Figure 1.6] Figures in the foreground add perspective.

6.            With the Pencils, Real 6B Soft Pencil, I sketch in little figures to give scale and depth. I use the same drawing tool to introduce smaller details like windows and details in the structures. See Figure 1.6.

[Figure 1.7] Add details to fill the composition.

7.            I take a break and come back to the image with a fresh eye. I evaluate the image and am not afraid to make drastic changes to improve it. Now is the perfect time to alter something. I introduce more details in the architecture, and objects like the lamp posts, to make the image more interesting. See Figure 1.7.

Try to work on several paintings simultaneously, because that will help you keep a fresh eye on each when jumping from one to the other. If you are working only on one painting, try not to paint for more than 1 hour straight. A 15-minute break will both rest your fingers and refresh your eyes.