PROCREATE Tutorial East Steps LANDSCAPE DRAWING - Sand Dune Sunset

Okay I'm going to break this drawing down into steps that are way easier to follow than you might imagine so that you can have a go create this and amaze yourself. Okay so as I explained in the intro I'm going to teach you about the painting process and techniques but also you will learn about the app that I'm using Procreate. Now that isn't to say that you couldn't use a different app on a different tablet and still follow along but within the app Procreate I'm using the default A4 canvas which is 297 by 210 millimeters at 300 dpi and in terms of the color profile I'm using the sRGB code that ends in 2.1 and it's a color profile that appears on Procreate by default. In terms of the brushes I'm going to be using within airbrushing the soft brush, the medium brush and maybe the medium hard brush. Within elements I'll use the clouds brush and then within organic we're going to use maybe the rainforest brush and perhaps the reed brush. Now if I do amend any of these brushes don't worry I will explain it when we get to that point. In terms of the colors well I've already pre-selected a color palette that I think will be suitable. Each of the colors within Procreate if you go to the value section here there is a code called a hexadecimal code and each of these codes is listed down in the video description so you can copy them paste them into this box press enter the color will appear up here and then you can tap it into your color palette or to save you that time you can just follow the link that's next to the codes in the description it will take you to my Patreon page where you can download the color file for free and Patreon is also the place where you can gain access to exclusive content such as extended versions of these tutorials for example. I'd like to say a massive thank you to those people who do support me over at Patreon it really does make a huge difference so thank you so much and with all of that said and done let's get started. So the first thing I'm going to do is I'm going to rotate the canvas to portrait orientation I'm going to go to my colors I'm going to go to the first color on the top row and I'm just going to drag it into the canvas and let go and it should flood fill. I'm going to go to my layers and create a new layer layer two back to my colors the second color on the top row I'm going to go to my brushes I'm going to use the airbrushing soft brush and I'm going to put the size at about 50% 100% opacity and just through the very center of the canvas do a stripe of that go to the adjustments gaussian blur we will blur that in slide it across to maybe about 70% go to our layers again create a new layer layer three back to our colors we use the third color on that first row I'm going to reduce it down from 50% to maybe 40% and then straight through the middle once more back to the adjustments gaussian blur again we're going to blur that in maybe to about 60% deselect back to our colors and the fourth color this time we're going to do it slightly smaller I'm going to put it to about 10% 100% opacity and then straight through the center or near to it anyway then adjustments gaussian blur and we'll just blur that in about the 40% and deselect now we've got some really nice transitions of colors and I think at this point I'll probably just pinch them together so they merge into one layer just to reduce the number of layers that we have overall on the image I'm going to go to my layers layer two I'm going to go to my brushes again and I'm going to use the medium hard brush and back to my colors I'll come back to some of these colors soon but I'm going to go for the first color on the middle row I'm going to put the size maybe at 2% and 100% opacity then we're going to go just a little bit under halfway draw a line across hold the line down until it snaps to a straight line and we're trying to get a horizontal line now if you're a little bit off and you're not quite sure whether it's quite horizontal that's fine put it somewhere where it's clearly off hold it down and then put your finger down as well then let go of both and it snaps to the completely horizontal line for you then I'm going to do a line across same settings on the brush just create some kind of distant mountains jitter the line if you just kind of wobble the pencil as you move across you get a series of kind of peaks and troughs and it's quite jittery as you see close up done that all the way across then we can just drag from the color circle into that gap now and it should fulfill now there might be some little lines there where it doesn't quite join you can see I've not let go of the apple pencil I'm going to slide it to the right now if I don't do that you can probably see quite clearly if I slide it to the left there's little gaps do it to the right it should fulfill them looks fine now close up if you feel like you've gone a bit too much which I actually do feel like it's encroached too far well that's easy to fix too so I'm going to go to the transform keep it on the free form and then I'm going to squash it from the little top blue circle downwards till I'm happier with the height of them I don't want it to be quite that exaggerated quite that tall remember if the hills are going to be a distant feature we don't want them to be quite as prominent and reaching up high into the sky we want them to be just a little bit more subdued and then deselect that's looking better now on this layer I'm going to tap on it and put on the alpha lock which now if we go to a different color it won't go out the boundaries of that color it stops at the very edges but we're not going to use a color quite as dramatic as that we're going to go for the second color on the middle row back to our brushes we're going to use the organic go to the top the rainforest brush within this rainforest brush if we tap on it the spacing is normally 27 I'm going to put that up to maybe about 45 but no we'll do 50 and it creates some more gaps in that texture click done I'm going to have the brush size top end of 2% 80% opacity and just a slight angle just so it's easy to do kind of passes of this all the way across and we're just creating some subtle texture there just so it doesn't look quite so flat and this part we're going to have obscured anyway so it's just this side maybe a little bit more of it towards the bottom allow it to build up a little bit more go back to our layers and create a new layer layer 3 go back to our colors so we've used the first two we're going to go for the third color back in with the airbrushing medium hard brush 2% size 100 opacity still and then we're going to do another line but it's going to be slightly lower than the main horizon line so we can do a line across and then maybe stop just after the halfway point hold it so it snaps it doesn't have to be perfectly horizontal this time you can judge it anyway and then I'm just going to do it slowly starting to raise up again keep that kind of jitter and wobble and undulations in that area and then maybe have it coming down again there just make sure it's closed at this point so it creates a complete sealed shape and then drag the color into that area slide it across just to get rid of those little gaps do that again close up drag it in if you go too far to the left you'll see little gaps do it again and to the right and it fills them in I think what I'd like to do actually is go back to the second layer and create a new layer so layer 4 is underneath layer 3 and with the same settings 2% size 100% opacity I'm going to go to the fourth color and I'm just going to create something in between those lines so again just a flat line that cuts across hold it and then just something that peeks out here joins down here as well and then rather than flood fill probably just scribble that in it's only a small shape anyway maybe I'll just continue that line across a little bit so now we've got a sense of three different distances in our scene already on layer 4 we'll perhaps just go back to the first color go back to the organic rainforest brush for the size down slightly lower on the 2% and then even without the alpha lock on just add a little bit of texture in there don't need to do very much there you go you'll hardly notice it anyway and then go back to my layers back up to layer 3 which is the top layer tap on it and we will put on the alpha lock for this layer we will go back in with the rainforest brush this time we'll go for the fourth color again and we'll have it not quite at the top end of 2% because you see there's quite a range within the 2% but just a little bit back from the top end 80 opacity let's zoom in and we've got the alpha lock on now so we don't need to be overly worried and we can just start to build in this texture we don't want it too evenly I think if we if we end up doing this too much on this area it's going to look too uniform and you start to see stripes that cut across and we don't really want that so avoid that but almost just kind of keep it more organic kind of scribble it in keeps it a little bit more random you might just get some blobs some areas of darkness that have not quite been filled in I think that looks better in this case all the way across like that and then maybe we could have some lines that just cut up here and there maybe you could do it from that side just slight suggestions that we've got like a slope so it cuts through that texture a little bit doesn't need to be very extreme just a hint of it you can see it kind of is suggestive gives a bit more description of the actual overall shape and that's enough we'll come back to the ground details a little bit later we'll go back to the sky again we'll go to our layers go to layer 2 and tap on the plus to create a layer above go back to layer 1 and click the plus to create a new layer above that but importantly it's below all of the other layers we've done now I'm going to go for the fifth color on the top row and I'm going to go to the elements clouds brush have it maybe about 10% size 100% opacity and then certainly near the top we're just going to build in a nice bulk area of this cloud just scribble it in and it's really predominantly about the edges but then also you can tap it to get some smaller sections of cloud as well slightly wispier lock it in in the corner maybe leave some gaps here and there keep it in generally kind of circular motions if you're doing too much of this you'll end up with some strange looking stripes so I'm keeping quite a round gesture you can turn the brush size down a little bit maybe eight percent build in another banker cloud that kind of joins and merges with it a little bit maybe even down more actually maybe a little more to the five percent size let's try that just do some kind of blobs that are separate from each other and then we can allow them to gather together and they will start to kind of merge that's back up again eight percent we can allow them to just kind of yeah come together in certain places you don't need to be overly fine-tuned about this stage it's quite a rough part of the process then we could turn it back down again maybe six percent would work and we can just bring it in from another edge this color is not the color we're going to end up with but it's just it must stay on the same color just for this section just to get it in there initially bring it across more of a flat shape this time when clouds get more into the distance you'll notice a flattening out you're more likely to get like a almost like a stripe a line through the sky as the clouds get closer to the horizon which signifies they're probably further away the closer to clouds tend to be up in this region and they tend to be more irregular and we'll turn it back down again maybe four percent and just in and around this edge we can add some little breakaway sections maybe some here as well i've just broken away a bit more maybe some just creeping in at the edge even lower down you turn it down even more actually let's go down to bottom end of three percent and with this three percent we can well we can get in there and just fine-tune some of the dark shapes that we've got up here as well i'm going to just especially in the top part of the cloud you can add some slightly rounder edges if you see in amongst some of the brush textures some little blobs that you just want to make some make more of a feature of and that can work as well make them a bit sharper okay so i'm going to go back to that layer tap on it and put on the alpha lock now whenever you've got the alpha lock you see a little checkerboard design in the background of the thumbnail we're then going to go to maybe the airbrushing soft brush back to our colors now if you use that fifth color we'll go to the sixth have it a 10 size probably have it quite low it's about 30 and then just sweep this across subdue the lower areas first and then we can build it up a little bit more i'm not going to take it all the way to the very top you want to preserve some of that dark blue up there but we'll take it to about that point and just leave a section that will do initially then we can stay on the same settings go along to the seventh color do it again at the very bottom and just bring it up and then stop a little bit short again shorter than last time even i don't want to go over it too much be mindful of this maybe just one pass across is enough in fact press lightly too and then back down here again you can go over it again perhaps like that and that's already starting to create a sense that you know these clouds have been more consumed by the light pushed further back which is great we'll just turn that down to maybe five percent and then also down to maybe ten percent opacity then we can just use this to be a little bit more precise just imagine the sun is going to be down in this region therefore it's going to bounce off the bottom of the clouds as we're looking at it just on the underside of some of these shapes you can just do a little bit more not too much though okay before we do anything else we're just going to go back to layer one i feel like we could have a little bit more warmth in there so with the soft brush with an airbrushing still i'm going to go for the seventh color on the bottom row the 25 size 10 opacity and then just in this bottom area i'm just going to do maybe a couple of passes of that maybe three let's try fourth yep that looks fine just add a really greater sense of warmth and richness in there i think is going to be beneficial now we can go back to our top layer create a new layer on top of that tap on the little n change the blend mode from normal by scrolling down to add and deselect i'm also going to just change the color at the end here now if you notice the colors have changed at this point it's just because i'm making a slight amendment this is what happens sometimes during tutorials i'm going to add a nice red color on the end but don't worry if you've downloaded the color palette it will be exactly as it is now with the amended red on the end so on this top layer with the blend mode change to add we are going back in again with the soft brush with an airbrushing increase the size of this brush maybe to 40 percent stay at the 10 opacity and we will use this nice red at the end there and we're going to put the sun roughly here i'm going to tap this a few times and part of the reason is i want to subdue the areas here i want the red glow to kind of just subdue that area and we could even be a bit more specific so we could turn that down to maybe 10 size keep it the 10 opacity and we could just i suppose focus our energies a little bit more here and just take away a little bit more on that area specifically then we're going to switch to the ninth color on the top row still with a soft brush with an airbrushing we'll put that maybe about 30 percent still at the 10 opacity and then again where the sun is going to be we'll do a few taps of that maybe five and then with that whole layer we'll go to the adjustments the gaussian blur just to soften it in a little bit more we'll just blur that across maybe to about the 30 percent deselect now i'm going to go back to layer five i had all of our cloud details on and from that layer i'm going to click the plus symbol and we're again going to tap on the little n and scroll down to the add which again changes it to the add blend mode i'm also going to tap on that layer and put on clipping mask which means when i add details on this layer it's going to be restricted to inside the shape of the clouds on the layer underneath it which it is now attached to you can see a little arrow to signify that and now with two percent size maybe 30 opacity i can just go in to some of these areas of the cloud especially on the bottom section the sun's just going to be around here so we can just start to tap in along this bottom edge really quite specifically in this area now it will extend all the way across too and it will also go onto the upper area as well but definitely at this bottom section it's really going to catch the light maybe we'll turn the opacity of that down to 10 percent and then as we have it trailing off on the edges we'll still get that glow but it'll be more subtle we definitely want it ramped up in the central area as we go off towards these outer areas we still want it it needs to be just a little bit more gradually built in and then as again as we come over to this area we'll have it getting brighter and brighter and you can see the effect starting to build in straight away really i think i'll turn that down even more just really low on the two percent maybe even the one percent and then we can do some really precision kind of narrow bands of it cutting across again top and the bottom maybe just some bands that cut through the middle of it a little bit as well and you can't go too far wrong with this because we are completely constrained to the inside of the shapes we've already got we'll just ramp up the edges of these as well break up that darker color a little bit name over here and we can start to take it up into the clouds up here as well maybe we'll put up a little bit more again back into the two percent and we just tap it in keep it a little bit more random you don't want it too uniform we could try the elements clouds brush have to have it maybe about five percent and again lower maybe not quite as low for this one thirty percent and we could just tap in this brush as well just to keep some of the textures there a little bit more especially as you come up into this higher area we're more likely to see the textures of that bottom area we can just tap this in a few more times then we can just move it down two percent let's go for in these gaps again just be a little bit more careful thinner lines with a smaller size brush scribble it so you get any of those little wispy areas you don't want them as necessarily dark areas either okay i'm going to go to that and create a new layer above that and again tap on the end and scroll down to the add blend mode keep with the ninth color on the top row i'll perhaps go back to the airbrushing soft brush and i'll have it quite low just at the lowest part of two percent and ten percent capacity we're just going to add a little bit more texture into the sky a bit more freely now so we're not using the alpha lock and so we can just add extra textures in here that just cut across break away additions to that and i think it is an important part of this without these little sections that are really catching the light it doesn't quite convey the effect of it this is an important part of it it's cutting in and perhaps on this layer also we'll get the sun in there so let's go for the white which is the ninth color on that row and we'll go for the medium hard brush that will do the job put the size of the sun maybe i think about seven percent will suit this 100 opacity and let's get the sun up a few times and it instantly makes a difference to the scene you really need the context of the sun otherwise the rest of it doesn't make as much sense so i've just tapped it in a few times then perhaps i'll go back to the ninth color yellow and also go back to the soft brush put that at maybe 15 size and perhaps just subtly at five percent opacity and tap in the center of that sun just so it's not quite so hard edged it just softens it in a little bit better and that's starting to bring the effect together quite nicely again stay on this layer go back to the well we're still using the soft brush put it down below on the two percent size we'll still use this yellow the ninth color again back to the ten percent opacity and we can start to encroach towards the sun here just some little bits of cloud and actually maybe these need to be a little bit brighter we can go to the white color and as it really gets close to the sun maybe these bits of cloud can really just almost become as white and as bright as the actual sun itself not quite as much but closer to it zoom out check always important to keep zooming in and out just to check the effect of it okay and that's working back to the ninth color yellow then we just need to do a little bit tidying up around here around some of these edges now we haven't got a mask on we haven't got alpha lock on so this is you know we just need to be mindful of where we're adding it now might just go in with the seventh color actually now on the bottom row just as a slight contrast to the yellow it's still going to be very bright anyway it just gives a little bit more warmth a bit more subtle as we go off near these edges i think as a way of softening some of this in i might just go back to layer five tap on it and turn off the alpha lock which then enables us to soften it in so we'll go to the adjustments the gaussian blur and we're just going to blur it in maybe about three percent and it just softens some of those edges makes it slightly less off go back to layer eight back in with the soft brush still and still that nice yellow the ninth color just tapping around some of these maybe just ramp up remember when we've got the sun in this area it kind of channels the light up into the cloud even though it's higher up we're going to get a band here where it just catches the light even more i'm going to put that lower down into the one percent in fact just be a bit more precise just cut around some of the edges the bottom of these cloud areas bring them out even more this whole middle section is going to catch the light more i might even now just go for the red color the 10th color at the end maybe put the brush size to 10 percent and the opacity at 10 maybe just push that warmth up there a little bit higher as well i think that's going to benefit that upper region a little bit more okay we'll come back to the sum of the sky if we need it a little bit later but for now we're going to move on to the lower areas i'm just going to go back to layer eight and create a layer above that and it's importantly underneath all of the other mountain sections on that layer i'm going to go in with the soft brush with an airbrushing and i'm going to go for we'll zoom along these colors we'll go for the fifth color 10 size 100 opacity and we'll just do a band of that across then go back to our colors we'll use the sixth color and just put a band of this go to the seventh color and then underneath that we'll do a band of that eighth color again a band of this ninth color another band and then the 10th color band of this to the bottom that's creating a nice gradient it just gives it a bit more depth and then we'll go to the adjustments the gaussian blur and we'll just blur that in a bit not too far maybe about 20 and that's starting to give everything a context and a bit more grounding then we go back to our top area top layer and create a new layer above that layer 10 go back in with the sixth color we'll have it at five percent size maybe 10 opacity and we're just going to do some passes of this across the bottom area of this mountain area just to soften it in a little bit to make it a little bit lighter like that you can see it's just chipped away at the bottom area there it just softens it in slightly i think that is beneficial it's a few more again let it rise up there a little bit more that works just to soften it gives a little bit more sense of atmosphere there i'm going to go to the first color on the bottom row i'm going to put it down to the one percent size 10 opacity and then just in these areas we're going to bring in some subtle kind of waves that are starting to emerge we've got like ripples in the sand not quite full on sand dunes but approaching that in the distance and then we just have some slight separation we want gaps to appear so ripples that cut across each other is good we don't want them all to be lined up so we want them to fight with each other a little bit do it with one continuous motion i suppose you don't want to go too exaggerated it's going to look silly so subtle kind of undulations there will work better and you start to see the effect building in already although it's subtle to begin with perhaps up here we can just build a little bit just at that point over here and this point over here just building some stripes over here just to soften it in okay before we add any more ripples i'm just going to go back to layer nine i realize now we've not got enough of that darkness encroaching up there so that's fine we'll go back to the eighth color on the middle row the soft brush with an airbrushing 10 size 30 opacity or so and we'll just bring up some of that dark color gradually we don't want to take it all the way to the top we don't need it all the way up there but we'll leave a band here perhaps of that more kind of bluey tone but underneath that we'll just have this as an underpinning for the lighter colors that we're going to do over the top and then another pass of that press it on a few more times has become further down as well i think that will work turn it down from 10 to 5 maybe then just more subtly bring it up here as well now we'll go back to layer 10 we'll create a new layer above that layer 11 and i'm still going to go in with a soft brush with an airbrushing but i'm going to go back to this row i'm going to use the seventh color on the middle row i'm going to put this down into the lowest part of two percent maybe 20 opacity and i'm just going to carefully now start to build in some ripples now it doesn't have to be strictly speaking one line and then another line and then another line doesn't quite have to work that way they're kind of going to layer up a little bit more than that so we can start to just put in some undulations then another one that just kind of cuts in next to it another one that cuts in from this side we just start to build it up as separate shapes rather than one continuous line anyway and you get a more natural look to it that way anyway so at this point you know you're drawing each individual little sand ripple or sand dune more manually and i think that they take on a better quality that way and as they come further down they're going to be bigger gaps as they go further up they get more squashed and condensed together just sketch in there initially okay once we've got so far though we can start to just ramp up that effect perhaps we can just go in there with a slightly bigger brush maybe up to the three percent and at the top edge of some of these now that they're kind of roughly mapped in there we can just start to soften that top edge a little bit so you get more of a gradient almost you've outlined where they need to start and then you just soften them down blend them down a little bit just so it's not just quite as much of a thin line we are going to reclaim that thin line but not so much with this color that just softens them in we'll do the more distinct ones down in the foreground but we're just doing this kind of middle section first we've got a slight hint of them in the very distance we're just doing this band then we can create a new layer layer 12 and we probably need a brighter set of colors now so we'll go for the first color in the bottom row soft brush with an airbrushing down to the lowest part two percent stay at 20 and then we've kind of got suggestions of them here already but now it's time to go in there and just pick them out a little bit more specifically now we're looking for a thin line at the top of some of these shapes so we need to go down into the one percent that's fine we'll just create a thin line at the top of some of these shapes perhaps we can do it where it's more apparent here and they're slightly more foreground anyway and it doesn't need to be a line that is absolute it can just fade out or come in and out of focus so it can be here it can be sharp quite bright go behind another one and then it can come over here and then just dissipate out into nothing that can work quite nicely and just like we were doing with the clouds when we get more directly underneath the sun we're bound to get a kind of channel of light more in this area now you can add extra ones in that you've not already drawn in don't be restricted the bands that you've already put in and take just a little bit of time this part and merging together in some places too and of course we can have them going off in the distance a little bit more remember we're bringing that kind of channel light in the section and for the largest part we want these to be quite smooth so we're trying to avoid scribbling it in too much now i'll perhaps move along to the third color i think actually the slightly warmer color might be better i guess we just want to try and soften this in so we could turn the opacity down even further 15% should start to help with that if we've struggled and we've got some really scratchy effects i guess we can always go in with a smudge set the smudge tool to the soft brush 2 size 70 opacity and then later on we can just go in and soften and smudge these edges in a little bit and just create that softness through a different method and that can back to the brush try and do as much as we can with the actual brush initially though i think this is going to require alternating between the different colors i think that is almost too warm we'll go back to the second color a little bit of trial and error with the colors and like i was saying before you don't want to make every part of every sand ripple equal it might be that you've got some that stick out and catch the light and then there's other ripples that are almost in a shadow area from a larger ripple and then it doesn't catch the light as much so you just need to vary it up a little bit leave some of them as the more subdued cooler highlights some of them are going to really catch the light and really glow and even lower on the one percent in fact as we move further into the distance really add some more in this area whereas they get further into the distance they get more squashed together you won't notice the separation quite as distantly let's turn it down to the lowest part turn it up 30 percent and we are still in this middle band so we can be a bit more strong with this allow it to be a bit more potent a little bit in that distant area the thinnest part of one percent maybe just up a touch you are going to have to just keep varying this up you can't just set it to one size and go for the whole image it is about varying it up depending on which part of this scene that you're actually drawing in the distance you're going to have to have it thinner because as soon as we start coming down a little bit then it needs to be a little bit broader let's bring it into some of these areas so foreground higher up at least higher up on the one percent anyway let's check how far off from the center we are it's not to say that you can't have these highlights off at the edges but you definitely want more of it in the center area it is going to be more pronounced here give another one that just blends into this one blend it in and out so it can be you know coming into the light and then going back out of the light and it just kind of fades in and out this highlight as you trace along layers and layers and layers and layers of different ripples all add up like time consuming area but honestly it's quite a pleasure to do this detail i think that it actually is quite dramatic and quite nice so that's quite a warm color maybe we could go back to the slightly cooler color which is the seventh color on the top row use that especially as we go off onto the edges the peripheral still want the highlight to be present but not quite as warm maybe like that and as we come down into this section we're going to have to have more prominent ripples away so i'm going to go for the third color so it's a lot warmer now and it is going to be these foreground ones that are a little bit need a bit more thought just get one in there i want them to be smooth as well so spend a bit of time on these real closer to ones making sure that they kind of glide in and out a little bit more smoothly and we can again go back to the smudge soft brush you can help with that too it looks a bit too scribbled we can just soften it in with the smudge okay i'll come back to that section i'm going to go and create a new layer layer 13 and we are going to be more dramatic with this now for the foreground areas so back in with the soft brush i'm going to put it higher maybe at five percent size and we'll go in with the third color and we're just going to create an area now that is really just more foreground and catching the and then we'll go in there again and we can just have a whole section here that is really in the direct sunlight with us so maybe we need to put that up to more like the 10 size and just build that across you can add some other features here but let's just get that in initially move along to the fourth color turn it down again four percent size perhaps and there's in here cuts through and then just softens in maybe need a slightly redder color so we can go to the fifth color turn it down three percent sharpen that edge in a little bit okay i'm going to switch to the medium hard brush still with this color we want a nice crisp edge to that so three percent size 100 opacity and we definitely want to create a nice bit of focus and sharpness in there and i don't want that line to be too wobbled so go in there try and eliminate some of those kind of smaller wobbles to that line i want it to be almost a pristine kind of looking line it's very difficult to achieve i guess we could do the snap to hold or the hold to snap and then if you're not quite keen on that i guess we could go to something like the adjustments the liquify push put it on a large size pressure max and then we can always just create it so it's not quite a straight line it has a slight rise to it and it just gives us that cleaner edge then doesn't it deselect and we need a Christmas to that line as well so we'll go again to the third color three percent just zoom it around it's working a bit better again to smudge maybe in this section you can just smudge that edge doesn't matter so much okay i'm going to put on the alpha locks tap on the layer put on the alpha lock and then i'm just going to have some different alternate colors in here as well so we'll go for the first color on the bottom row we'll go back in with the soft brush put it up to maybe five percent size 30% opacity we'll build in some of this so just on the more like the shadow side of that ripple building that a little bit maybe go to an even brighter color so we'll go back to the third color turn it down two percent size and i'm just going to build it along the edge so it's just catching the light on the edge more and just some breaks in that as well in this section down here and go even brighter so we can go for the third color on the top row then we can build in some of this perhaps or even brighter extra lines that cuts across maybe we can go to the yellow in fact the ninth color up there and just put it up to maybe five percent size 30 opacity and build in some of yellow that 30% is a bit strong actually let's turn that down 10% building some of this yellow in this foreground area it could really just push up that strength of color quite nicely i think that works building that golden look it's very nice maybe just do it on that top edge up there as well i think that works and down here go back to layer 12 and we'll go in for some of these areas here they need to sort of bring them together a little bit more succinctly so we'll put the size down to three percent ten percent opacity maybe just for this section here we'll just go over this one a couple of times then maybe think about the top kind of surfaces of these sort of bring them in merge them to highlight down a little bit not too much maybe we need a slightly cooler color in fact let's go for the sixth color on the top row i think the slightly cooler color is going to be a nice contrast to the highlight push this down into this section too okay i'm going to add some shrubs and some features in here just to populate it add different textures into this foreground area give it a bit more of a focal area here so i'm going to go and the top layer and create a new layer layer 14 i'm going to switch to the organic read brush now i have amended it so i'll reset it initially go back in there change the spacing from two percent until we get more of a noticeable texture so i'll put it up to 30 and click done i'm then going to go to my dark colors so i'll probably go for the color on the very end here the 10th color on the middle row we'll put it in size at about 15 percent and 100 opacity and then just start with some organic things shapes that overlap twist and move around in different directions that's fine maybe got a cluster of them there and then maybe you can start there's another cluster just next to it and then another one just next to it we'll just have them as little clusters that kind of populate next to each other and then overlap and twist and cut in front of each other quite nicely like that okay on that layer i'm just going to go to the adjustments the motion blur and just slightly to the side not a lot maybe just five percent just to soften it in slightly then i'm going to go back to layer 13 create a new layer so it goes underneath layer 14 this time i'm going to go with a soft brush going to go along to the fifth color and i'm just going to start with maybe three percent size 30 capacity or so and i'm just going to start building in a shadow where it's emerging from you can soften it out obviously the plant is going to cast a shadow as well but initially if we just have a little bit of darkness where it's growing from to just build up in this area here then we can move along to a darker color and maybe go for the seventh color on the middle row i'm going to add a bit of coolness in that shadow as well we're going off the edge of the canvas why not and then if we want to darken it up more we can go to the eighth color and just keep building it up until we're getting a level of shadow that just helps sort of blend that in a little bit i'm going to turn that down to just into the two percent we just keep ramping that up until it feels like it's emerging out of the sand and then maybe go to the tenth color in fact yeah we can just tap that in and around that area just to make it feel like it belongs there and then we can go back in with the reed brush still put it at maybe 10 size 80 opacity maybe go to the ninth color and well we can start putting other little features growing in and amongst here can't we so we can have more hidden in here i just want to preserve that pristine edge so if we go over the edge go in with the eraser and just eliminate it from there back in with the 10th color we can add one in here it's maybe a really foreground one we need to overly worry about neatness just have them kind of crossing over each other a little bit just rotate it around so it has like a fanning around and just go over this area a little bit more just keep adding more so it really makes it condensed see less of the light coming through then i might just put on the alpha lock open a layer alpha lock go to a lighter color maybe the eighth color there and just oops it's strong 40 percent add some lighter colors in there as well just so you're getting some highlights in there you don't need to do too much of that what i'm going to do with that layer is turn off the alpha lock selection free hand draw around that shape close the loop and i'm going to go to the adjustments the gaussian blur and just blur that in because it's more foreground like that deselect and now that's out of focus because that's really too close to us to focus on imagine it's a more like a photograph kind of effect back to our brush with the maybe the ninth color and the reeds brush maybe we'll put it up for this foreground area 20 percent 100 opacity just a few little tufts coming in the bottom area here as well just to kind of populate it a little bit more and again selection grab it adjustments gaussian blur and blur that in five percent deselect because maybe for the ninth color and the more in the distance maybe 15 size don't want them too potent back there in fact this is very much a tilt sensitive brush so you just need to be a little bit mindful of that what i tend to do is try and keep it more upright another thing you can do with this brush is you can go in there just create a pristine edge so eraser hard brush two percent size 100 opacity and then you can just create a nice crisp edge there it looks like it's just disappearing behind a section of the sand and that works back in with the brush and just create some suggestions of things here and because we've got some that are very much foreground that are more clarity and clearer than down to five percent the ones that in the distance don't need to work as hard because we understand what they are because they're here so anything in the distance now it kind of gives it the context you understand what it is because of the foreground detail again the eraser just shave off the bottom edge there back in maybe with the ninth or the tenth color on the middle row again add some more quite an easy feature to add really doesn't require a great deal of effort or time back in the eraser shave off the bottom edge okay i'm going to pepper in some of the ones in the distance too so again perhaps i'll go back to the eighth color and these don't need to be grass shaped so we can go back maybe to the airbrushing soft brush 70 opacity and one percent size and we can just have some shapes in the distance there and we'll know what they are because we've got them here but let's go darker than that let's go no it seems too much we'll go for the 10th color you can always subdue it down i'll just go in with the eraser and just reduce this impact if we need to put just some speckles of that across our scene like i say it gives it a meaning because we know what it's supposed to be from the foreground detail maybe just one growing on the top here quite interesting just bring a shadow underneath it go to the bottom of some of these shapes and just merge them in with the ripples a little bit more okay i'm going to go to my layer top layer create a new layer above that layer 16 and i'm going to add some more highlights to the ripples i think they need to be more prominent so i'm going to go for the third color and low on the two percent size 70 opacity and well i'm just going to make more of some of these features in fact that's not small enough we'll go to the one percent want this to be quite precise quite sharp we'll just ramp up some of the highlights on some of these ripples in the sand then you can see that just instantly pulls the light through we've got such a lot of light here we need to kind of explain that by having some of that glow off in the distance as well you can see it's channeling it through to this area quite nicely zoom in for this section we're going to have it in the central area perhaps we'll go slightly warmer we'll go backwards second color and that's a little bit too much so perhaps we'll go back to this color at the top the seventh color i do think that the mountain range is a little bit sharp so i'll go back to that tap on it turn off the alpha lock then go to the adjustments the gaussian blur and just blur that across maybe to the two percent just softens that top edge we'll do the same for that distant mountains as well which was layer two again tap on it turn off the alpha lock go to the adjustments the gaussian blur and just again two percent softens it slightly puts it in context with the rest back to the very top layer again layer 16 i'm just going to add some shadows through these areas maybe the first color on the bottom row soft brush two percent size 15 opacity and we'll just build in some sense of kind of ripples and undulations through here as well that will turn off a little bit actually high on the two percent we don't want it to look completely flat move along to a dark color maybe the ninth color turn it down again lowest part two percent maybe we could have some stripes that just run through here maybe kind of suggestions of ripples in the back to the ninth color and yeah i think just adding a little bit more clarity to some speckles and things like that in and around some of these areas we are kind of in the foreground area there's a little bit more clarity there great line cutting through to explain that division too i think actually i'm quite happy to leave this tutorial here at this point i hope you've enjoyed following along please do hit subscribe give this video a thumbs up and i shall see you back here soon bye for now