Loose Urban-Sketch Watercolour Street Crossing

Create a loose urban-sketch watercolour of a busy street crossing in {CITY}, vertical 3:4, on pure bright-white cold-press paper with visible texture. No cream, beige, sepia, or vintage tint. TITLE: Paint only “{CITY}” across the empty upper sky in large expressive hand-lettering. Use translucent warm-grey watercolour with varied brush weight, darker pooling, dry-brush gaps, an irregular baseline, and slight tonal fade. It must look hand-painted with the same brush as the artwork, never printed or pasted. Add a subtle pale blue/apricot wash behind it, fading before the edges. SCENE: Low-angle pavement view of a wide multi-lane crossing. Make {HERO} the dominant middle-distance landmark, with distinct {LEFT}, {RIGHT}, and smaller {FAR} buildings. Include {VEHICLE}, a few sedans, and one small {PUNCH} vehicle. Keep buildings clearly different in height, material, and colour. LINEWORK: Rough black fineliner drawn first: loose, wobbly, broken freehand strokes, imperfect perspective, occasional overshoots, and minimal single-direction hatching. No perfectly ruled lines. DEPTH: Strong density gradient. Foreground is about 60% resolved and colourful; mid-ground about 30% with softened edges; distance about 10%, mostly pale outlines and washes. Leave some distant buildings unpainted. The outer 20% of every edge and all four corners must remain untouched white paper. Never create an even wash or vignette. ARCHITECTURE: Avoid complete window grids. {HERO} gets only a few broken mullion lines with large areas of wash-only glass. Its glass reflects broad sky-blue and white-paper sweeps, warm apricot sunlight, and only two soft warped building reflections. PEOPLE: 10–12 figures scattered across near, middle, and far distances. Vary size, spacing, overlap, poses, and activities. Use tiny loose ink marks for distant figures; minimal facial detail; soft grey contact shadows; let some outlines dissolve into the washes. GROUND: Darker visual weight in the bottom fifth: near kerb, sparse pavement joints, grit, and a cast shadow toward the viewer. Paint only portions of the crosswalk, leaving large areas of white paper. COLOUR & LIGHT: Loose off-register watercolour over ink with wet-in-wet blooms, backruns, hard edges, and dry-brush skips. Use {WARM} for sunlit architecture/pavement, muted sage for trees, and cerulean for sky/glass. At least four distinct hues; no hue dominates. {PUNCH} is a tiny accent under 3%. White paper is the brightest value. Keep only 4–5 small deepest-value accents. SKY & TREES: Mostly white sky with sparse broken blue strokes. Trees appear in separated clusters with wide white gaps; vary their size and treatment, including one large cropped foreground tree. SIGNAGE: All signs are abstract and illegible. No readable text besides {CITY}. AVOID: photorealism, digital/vector style, glossy 3D, uniform detail, full background washes, solid-black lettering, complete window grids, straight ruled geometry, continuous tree rows, detailed distant buildings, fully painted crosswalk, cream/sepia paper, borders, frames, signatures, logos, or watermarks.