MOUNTAIN LANDSCAPE IN A JAR drawing tutorial - Procreate made easy

In this tutorial, I'm going to show you how I painted this image on the iPad, much easier to follow steps than you might imagine, so that you can follow along and amaze yourself. Okay, so as I said in the intro, I'm going to break this down step by step, make it as easy as I possibly can for you to follow along. Now, I am using the app Procreate on the iPad, but I don't see any reason why you couldn't use a different tablet and a different app and still follow along and get similar results. But as such, within the app Procreate, I'm using an A4 canvas that is default within the app, and the dimensions are 297 by 210 millimeters at 300 dpi. In terms of the color profile, again, by default, it's listed within the options in Procreate. It is the sRGB, and it's the code that ends in 2.1 on the list. In terms of the brushes, again, I'm just using the brushes within Procreate that come free with the app. I'm going to be using the airbrushing soft brush, medium brush, and maybe the medium hard brush as well. I'm going to be using the Artistic Aurora brush. And in terms of the colors, I've already pre-selected a color palette suitable for this image. And down in the video description is a code for each of these colors. So you go to the value section here, and there's a section that says hexadecimal code. You type each of the codes that are listed down in the description into this box one at a time, press enter, the color appears up here, and then you just tap it together yourself. Or next to the code is a link that takes you to my Patreon page, and you can download the whole color file for free to save you the time. With all that said and done, let's get started. So the first thing I'm going to do is insert an image of the outline of a jar. Now, it's something you could easily find on Google. But again, if you follow that link for the colors, then I'm going to supply you with the outline that I'm going to use for this tutorial. So when you go and grab the color file, you can also grab the outline of the jar too, for free. So I shall insert that image, add, insert a photo, and then import the image, and we've got the outline. I'm going to go to the layers and create a new layer. I'm going to put it underneath the layer that has the outline on. And then on the layer with the outline, I'm going to change the blend mode from normal by tapping on that little N and just scroll down to multiply. So on this layer two that is underneath layer one, we're going to create our background first. And it's just going to give everything a really good background kind of context for everything else. So go to our colors, and we'll choose this really nice dark color, first color on the middle row. We'll just drag to fulfill the layer to begin with. I'm then going to create a layer above that. And we're going to go back to our colors, and we're going to choose the color at the end of the top row, which is just black. I'm going to go to our soft brush with an airbrushing. I'm going to set it to 2% size, 100% opacity. And we're just going to draw a line across somewhere pretty low down. Hold it until it snaps to a straight line. Just make sure it's as horizontal as you can. Let go. Then we can drag from the little circle there into the lower part until it looks about right. Now, if you go too far this way, it creates a gap between the initial line and the area we've just fulfilled. If you go too far that way, it'll fill the whole canvas. Just back a little bit, like so. But we're going to go to the adjustments, Gaussian blur. Blur it in just a little bit so we get a slight soft focus at the top edge. So about 8% looks about right to me. Back to my colors. I'm going to choose the end color on the bottom row. You almost won't be able to see that on camera, but there is a color there. Stick with the soft brush with an airbrushing. Go back to the layers. On this layer, I'm actually going to tap on it and put on alpha lock. That means that I can only add now to the area that we've actually already got some information on. I'm going to put this at around 10% size, but pretty low at around 30% opacity. And just a little bit down from that top edge, we're going to do some of this. Maybe go over it a few times, something like that. Don't mind if it sneaks up towards that top edge a little bit, and just subdues some of that real dark black a little bit, but not too much. Something like this. Now you just about start to see the outline of the jar starting to creep back in, and that's great. Stay on the second layer, but I'm going to change color. I'm going to go for maybe the fourth color on the bottom row. Turn the size of the brush down 5%, still only at the 30% opacity. And I'm just going to start bringing in kind of sweeping motions across here a little bit. Lightly pressing this time, quite subtle, bringing just a bit more lightness in. This is just getting a nice background, really. We're not even started on the main point of the task, but I think setting the stage is going to help with the drama of this. Then I'm going to go to the end color on the middle row. And again, with the soft brush, 5% size, probably even lower for this, 10% opacity. I'm just going to bring some of this across, and then even more reduce, so about just down into the 2%. And some streaks of this across now. It is even too strong at the 10%. So super subtle now at the 5%. Just bring some streaks of this across. It's just going to almost create like a grain on the table, just to give it some kind of clarity. Almost like it's almost coming into focus on a table with a grain on it. Just give this a few passes, not much. Now, it doesn't matter if it goes over the jar, because we're going to get rid of that anyway. We're doing things over the top. Back to our colors. Try this third on the left on the bottom row. Same settings. Add some of this into the mix too. Again, just some streaks across. Let's try that painting old brush. Put it pretty high at 20%, but really low in the opacity at 10%. And we'll just bring some of that in as well. It's really not going to be a very strong impact. It's just bringing in a bit more subtlety. Maybe just put a touch more actually. Try at 20% on that color. It's not going to do a great deal. It's just adding to kind of like the noise there. Okay, I'm going to create a new layer. Layer four above layer three, but crucially below the outline of the jar. I'm going in with the soft brush with an airbrushing. 15% size, 40% opacity. I'm going in with the black at the end of the first row. I'm just bringing it like an arc across there. Maybe just again. And then I'm going to go to the adjustments, Gaussian blur, and blur that in to about the 80%, like so. We may tweak that a little bit later. For now, we're going to get onto the main focus, which is the landscape within the jar itself. So I'm going to go to the top layer. So what we're going to do on this layer with the outline is go to the selection, automatic, and just tap where the middle of the jar is. Then go to our layers and create a new layer. Go to our colors. I think we're going to use the fourth color on the top row and just drag from the circle into the jar. We can deselect. There you go. We've got the inside of the jar flat filled with a color. Back to our layers. And we should be able to just turn off that first layer, which means the black outline will disappear. But we're left with a nice clean shape of the jar itself. Next, we're going to create a new layer on top. And we want to make sure that everything we add is contained within that shape. So what we need to do on this layer is tap on it and put on clipping mask. That means anything that we add now will only add inside that shape. So with the soft brush within airbrushing, we're going to go to our colors. I'm going to use this first color, 15% size, 100% opacity. And I'm just going to do a band of that across that very top area. We can then go back to our color's second color. Still the soft brush within airbrushing. Still 15% size and 100% opacity. And I'm just going to do a band of this underneath. Just a slight curve, but not much at all. And we can take this further down too. It doesn't really matter. And I'm going to go back to my colors and use the third color. Same settings, but I'm going to do it further down. So we've still got a band of the blue and then the gray at the top. Then this white is down in this other section. Then I'm going to go to the adjustments, Gaussian blur and blur it in to about the 25%. And that looks about right to me. I'm going to create a new layer and again, tap on it and put on clipping mask. And then I'm going to go to the airbrushing, medium hard brush, back to my colors. I'm going to use the fourth color. Put the size at around 3% and 100% opacity. In fact, no, just a tad less, 90%. Again, we can only add to the inside of the jar shape because we've used clipping mask, which is perfect for what we're doing. Then I'm going to draw a mountain range across. It doesn't have to be massively fine-tuned. Create some peaks and troughs, however works best for yourself. We can then just scribble in some shapes underneath. Now, one of the advantages of only having it 90% is that when you do this, you naturally start to add in some texture. It might not be exactly how you want it to be texture-wise, it's unlikely to be so, but it just stops you seeing it as a completely flat shape. And I think it just allows you to imagine other things happening on that mountain. So once you've got it so far, maybe just put the size of the brush up and then you can just blot in some more areas like that. Stay on the same brush, but we're going to choose the next colour, which is a slightly lighter colour, turning down 2% and about 60% strength, probably the lowest part of 2%. And then we can just start to build in some textures now on our mountain. Now, I'm generally doing it in a kind of sloping downwards movement and I'm allowing it to be leaving gaps and breaks in that texture too. Now, I'm just going to do one side with this colour. So everything that's on this side of the mountain rather than that side, I'm going to use this colour for. The majority of this part is going to be more in shadow so we can use quite a bit of this colour. And again, I'm just going with the general movement and slope, allowing it just to sort of drag this colour down a little bit. But I can also add it to maybe like this side of a smaller section here. And when you do, I'm just having this slightly lighter colour, just dragging some colours this way. I'm going to move along to the third colour. And again, it's playing around with this idea more. Maybe there'll just be some little parts that plateau and catch the lights a bit more. So let's just go to the brush, turn it down to 1% even. And use this quite sparingly, be a little bit more careful. Just bring down, almost like differentiating between that and that shape. So it brings this one further forward just by adding a line there. And another suggestion here and there too. And again, just add some peaks within peaks just to create some divisions there so it's not completely flat. Back to our colours. And I'm going to do the lighter side. So I'm going to go for the, it's actually the fourth colour from the right. You can't see that, but it is a black, but it's fourth colour in. So it's the first warm colour towards this end. Stay with the same settings. And I'm going to start adding some much brighter colours now. So it's important to leave some gaps. That's going to give us the kind of crags and the splits in the rock. Again, make sure on the 1%, you can even turn it slightly lower on that 1%. It helps us get in there and really create some nice sort of rock splits and finer shapes. And just by virtue of the fact that one side is much cooler colours and then the other side is warmer, it really helps sell the idea that it's affected by its environment. And I'm not going to allow it to encroach but too much down here because this part of the mountain is going to, in this example, cast a bit of a shadow here and limit how much of this warm colour is able to get to certain areas. Okay, to have some of these close up the gaps. I want some splits and gaps, you know, it's okay to blot some of it in. Now, this takes a little bit of time. Getting these textures just right and your mountains are unlikely to look exactly the same as mine. Now, I would suggest that you don't try to make them exactly the same too. I think part of the fun is that they can take on a personality of their own. But I'm just giving you a general approach with the kind of colours that will work. And we can have some little breakaway pieces too that are just catching the light. Maybe as we come down here, it just starts to fragment a little bit too. And then we can move over and treat this part of this particular shape the same. Probably not really going to do too much over here. Might go in with a lighter blue. In terms of this warmer colour, I'm just going to really concentrate it over at this side more, bring it down and we can extend it over here more significantly too. Then we can go along our colours to the next warm colour. 1% size. It's still at 60% so I'm going to reduce that down to 40. Going to be a bit more subtle with this. And we're just pushing this a little bit further in places too. So even down on the lowest part, almost right at the bottom. Again, we're just changing the intensity here and there too. Needn't be as difficult as it might look. Something that you can obviously need a bit of practice with. But as long as you stick to the idea of a different kind of colour, treatment in different areas, the effect will kind of work. And as I showed you earlier on, keep your movements kind of suggestive of the shape of the actual mountain. So the sloped lines will actually do a lot of the work for you. We've got a white colour on this very end and same settings, but just be a bit more judicious with this and just reserve it, maybe just for the very edge. Don't go overboard with it. Just a hint of it here and there, I think is sufficient for that white colour. Then going to go back to the lightest of these dark blues. That is, if we're counting the sixth colour in from the left, then again, we can just go in there and just add maybe some sections where they kind of creep together here a little bit, fill in some of the gaps. Because it's in shadow, for example, in this section, but it's not going to be completely devoid of detail. It's going to have much of the same textures that we see everywhere else. It's just more in shadow. So you don't notice it necessarily straight away. But I'm just going to go in there and add them in anyway. Go back to my colours. I'm going to use this second colour on the top row. I'm just going to perhaps need to turn the opacity down to 20%. But I'm just going to add again more of this over in this section, perhaps like this. I think I'd quite like to turn that up. In fact, we'll switch brush to the soft brush with an airbrushing. Put it to about 5% size, low on the opacity again. I'll even put this at 15%. And maybe towards this side, we can just soften it in slightly because it's pushing it off almost into the distant areas there. I'm just mindful I'm encroaching into the sky there. So stay down here initially. And we could always go to the white or back onto the colour palette rather. We'll go to the second from the right. If we wanted to go any further up and just sort of soften it in at the very edge. Let me do a little bit of that over here as well. I think as we approach the edge of the jars, that makes sense. Turn that up 10%. Maybe just down here. Just bring a sense of the mist into sort of merge it together a little bit too. Something like this. Zoom out and we're already getting a really striking, quite nice effect. I'm going to go to the adjustments. Gaussian blur. Now we'll just soften that in a bit. It just takes some of the edge off it. So anything that is not quite perfect on the detail, just gets a little bit more fused in. I'm going to put it to 2% Gaussian blur. I think that makes a big difference. I'm going to create a new layer. Again, tap on it. Put on clipping mask. I'm going to go back to my colours. And I'm going to go for the fourth colour on the middle row. Still on the airbrush. Soft airbrush, 10% size, 15% opacity. Just at this lower part, I'm going to introduce this green and creep it up a little bit, but not too much. I can bring it down. That's not a problem. Creep it up a little bit. But it would start to look unrealistic to do it too much. Just be mindful of that. Perhaps we'll go for this green, second from the end on the middle row. And we can do similar again, but don't go too far. Something to about there. We'll stay on this same layer, but we're going to go to our brushes. I'm going to go to the artistic, aurora brush. Now I'm going to reset it. I'm going to show you what I want you to do to change it. So tap on it again. Now naturally by default, we go to the colour dynamics. The hue shifts and changes quite drastically. It's up at 16%, which means in reality, when you start using it, you get all sorts of different hues of green. And I don't really want that at this stage. So go back to the brush, tap on it, go to the colour dynamics and just put that down. Not quite to nothing, but I'm going to put it at 3%, which is almost nothing. So it's there. It's got a hint of difference, but really not very much. Zoom back out. We're actually going to go for the first colour on the middle row. I'm going to turn the size of this brush really quite low to the lowest part of 2%. Nowhere near 100%. We're going to put it at around 60. In fact, no, we'll go to 70. Be a bit bolder. And then I'm just going to start bringing some trees in this section. We'll do the trunks first, just emerging out the green mist that we've kind of created. You don't have to do them all the way across. Maybe just at either side. Something like this. Then for each one, we're just going to start with nudging it left to right, scribbling it in after a point. But we do want to create some irregularity. So for example, if I just took one and I just scribbled it left to right all the way down, it's going to look particularly full, which is fine, but occasionally you might want to leave a bigger gap. So I'm tapping it in a little bit more. That way we've got a bit more control over it. But then maybe after a certain point, you can just scribble it in. I do think the 70 could be upped to 80. And let's just repeat for all of these trees and see what we end up with. Obviously they're going to merge together as they get lower down. And that's absolutely perfect. Maybe you can leave some bigger gaps near the top of the tree, because you're going to get some different ways that they grow too. Then as we get towards the edge, we can just sort of mush a load together. Maybe you can just get a load sort of creeping in. You're going to get that sense they all just kind of squash together at the edges there. You get more of them all compacted in that particular area. And then repeat it over here on the other side. A couple there. First perhaps, and then move over and do the same again. So just do a couple of lower line ones in the center area too. Again, you don't really need to get into specifics here. To the texture of the brush and this very simple technique goes a long way. And again, just allow them to pile up a little bit. And you can always just put the brush size up and then just kind of plot in this lower section. You're not going to see much of this anyway, but we may as well have something starting to just fill that area. Okay, then our friend, we're going to go to the adjustments, Gaussian blur. Just blur that in a touch. Again, to about 2% I think works. And we're going to switch to the airbrushing soft brush again. Go back to our colors and I'm going to use this fourth color on the middle row. 10% size, 15% opacity. And again, I'm just going to bring this in. Soften some of the bottom edge of these trees. I think it's just going to help them sit in that environment a bit better. Okay, so we're starting to get somewhere now. I think I'll create a new layer. Tap on it, clipping mask. Leaves us with the same position where we're not going to extend beyond the edges, which is great. Back to our colors and we're going to go for a darker color this time. Back to the artistic, aurora brush, most part of two, 80% opacity. And yeah, well, we've got some trees that are coming closer to us here. So we do the same thing again. Don't be afraid of interrupting those initial trees. Now these have a base of the tree that is lower down. The other ones are just creeping a lot higher up. Normally the trees that are nearer to us would be tallest. In this case, they're kind of growing up a slope. So yeah, they're taller in the further distance, but that's just the nature of this scene. Again, we can just plot in some of these trees, get the basic shape in and then really a scribble will do. Once you get so far down anyway, it's just the top section really you have to be a little bit more refined with, but again, not too much. Just a few gaps and a few dashes and then so far down you can just scribble. And then just allow a few to kind of mush together here at the very edge. And we're going to pretty much repeat on the other side in a moment. Maybe I'll just do a couple of more prominent ones here in the center to really stand out a couple of small things too. Okay, and again, we could just increase the size of the brush and just plot in a nice section here at the bottom too. And again, just adjustments, Gaussian blur, blur it in a couple of percent, just brings it together a touch better. I'm going to go on this layer and I'm going to also tap on it and put on alpha lock, which now means that when we add something with another color, for example, this fourth color, anything we add here now will only be added inside the tree shapes we've just created. So I'm going to do just that with the same brush, but reduce down to the one percent. And I'm also going to reduce it down to the 20 percent strength. We're using this fourth color on the middle row and I'm just going to carefully go to some of the edges of these trees and start adding in just some highlights here and there, just to the very edge. And bearing in mind, the light is probably coming from over here, so it's likely to impact this side of the trees a little bit more. You're not going to notice this when it kind of merges with similar colors, lower down, but you will notice it here and there. And it's the here and there that matters sometimes. You don't need to be too heavy handed with this. You can just do it subtly, just tapping it in a little bit as it kind of comes down and we can kind of repeat that at least for that side of the trees all over that layer. I'm not going to bother with the ones behind it because they're going to become more flattened, muted. These ones that are getting closer to us, we're going to see more of the effects of the light. I think that will make more sense. I might just put it up a touch to the top end of 1% and lower about 10% opacity and that way I can just be a little bit bolder. Go for each side of the tree in places too and just keep building it up. We can also just go over and build up some of the texture, make some of these trees kind of jump forward in the mix too. I don't feel like I need to do a ton of this. This stage, but I think a suggestion of it here and there works too. And again, we have an alpha lock so if we go to the adjustments, Gaussian blur, when we blur it, it's not going to blur the outlines of that shape, it's only going to blur the details we've just added. So I'm going to blur the details of what we just added, 2% and then it softens it in. I think that works better. I'm going to create a new layer and again, we're going to tap on it, clipping mask, back to our colours and we'll go to this third colour on the middle row. Again, with the aurora brush, 1% size, 100% opacity and we're really going to go for it now. So we're going to do a nice big tree up here, maybe start at the top, bring it down, maybe snap to hold and get a nice straight line and another one over here too. Now it doesn't have to be perfect straight lines but sometimes it helps. Maybe do one next to it as well and then another one just at the very edge here. I think I might actually switch to a darker colour so probably go for the black colour on the end of the top row and yeah, we'll just go in there and I think it warrants being darker to really make them jump forward and basically the same technique that we're using before. Be mindful, don't go too wide and once we get so far down, we can just sort of scribble them in a little bit just like we were doing. I'm going to go over it with other colours anyway and yeah, same for this one and again, we can just allow them to blot together there a little bit. We're not too bothered. Scribble that in and I'll just do the one over at this side in fact. I think that will work a bit better. I'm actually going to use some significantly lighter colours on this too. Let's just get them blotted in first to about here. Then I'm going to tap on the layer, put on the alpha lock, then go to our colours and I'm going to start using some of these vibrant colours. So I'm going to use the fifth colour on the middle row. Same settings except I'm going to turn the opacity down to about 60. Zoom in. In fact, even 60 is too strong. So let's put it down to about 30 and then we can tap in some of these vibrant colours now. So they're really going to pop compared to the ones behind. And again, we can just move across these. Now, I think it's important to leave some gap. You obviously don't want to just fill it all in because it becomes flat again. It's about preserving some of that initial dark colour and texture. I do think that's important. Think maybe on that leading edge, it's going to have more of a highlight from the sun over at this side, just like the mountains do. So we can kind of show and respect that. Perhaps I'll turn the opacity down even further to 15% or so. Maybe I'll put the brush size up slightly higher on the 2% as well, just in the interest of getting bigger shapes. With that texture, I'm going to go to the adjustments, Gaussian blur, blur it in to about 3%. Then I'm going to go for an even brighter colour, this sixth colour along, zoom in a touch. And we'll put it back up to about the 20% strength, down to 1% size. And again, we just, we want some of the edge perhaps just to collect some of these highlights, just to really pop a little bit more. We don't want to overdo it though. Perhaps we could go in with something like the airbrush, soft brush, turn it down to 2% size, 20% opacity, and it might just be a bit faster, a bit bolder. And pick up some of these edges just a bit more emphatically. Again, we could just bring that in a little bit more. Maybe I'll just put it up larger part of 2% and just lightly press that in. And maybe we could go back towards that black, turn that soft brush down to the 1% and just restate some of that tree trunk in the mix. So we don't lose that. I think it would be a mistake to lose that. Okay, I'm going to create a new layer and we're going to put on clipping mask, you guessed it. And we're going to go in with the artistic Aurora brush, same setting as before. So I'm going to go in with this false color on the middle row. And I think really we need to start adding some suggestion of edges of bushes. So I'm going to put this at the lowest part of 2% and about 40% strength. And I'm just going to use it now to catch edges and some bushes and shapes. And we can start to build in the effect of this. And we'll just sort of bring it together here in the center area a little bit. I'm just creating not quite a horizon line, but just a collection of shapes that kind of cut across. Now this is a bright color, but the more subdued are the bright colors. So we're going to use some more zingy greens shortly too. Perhaps we'll turn that down 20%, just create a few more of those just in that middle area to kind of push them back even further. Then we're going to go to the next one, which is fifth in the middle row and just create a section here. And we're also going to bring it down here. So we're kind of creating a stream zigzagging a little bit. So we create a bit that comes in here and then another bit that comes a little lower down. And then we can create another section that comes in here too. And we just keep kind of building this effect. So I'm going to change to the next color, which is sixth. You should be able to see that this is a more vibrant green now. We're going to start playing around with the edges. So we're just really just thinking about the edges of bushes and kind of blob shapes. Light is just going to catch the edge of them in a really nice way. It really pours light into the scene, gives it a much nicer glow. I think you can also change perhaps this color on the end. It's really quite warm. But I think sometimes you need to just add warmer touches here and there just to create a little bit of variation. Don't go too much with this though. Don't be too heavy handed. We can bring in bits of it here and there. Go back to the lightest of greens in the sixth color. Bring in some colors down here. That will create a new layer. Tap on it. Clipping mask. Go back to our colors. I think we should use this first color on the bottom row with the airbrushing soft brush. 2% size, only just though, and about 70% opacity. We're just going to in fact lower on that. So the lowest, 1% probably, should do it. And we're just going to have the water creeping in here. As I was saying before, it's kind of zigzagging into our scene. This is the blue that is the base kind of color, but we're not going to see much of this blue because we're going to create a lot of white when the water actually kind of breaks and reflects too. If we get the water in there first, something like that. Stay on the same layer. We'll go to the next color. 1% size, but much lower this time. 20% zoom in, maybe actually a touch lower and we can just start to gradually soften in some of that blue, create some lines that cut across. Whenever you've got a section that sticks out, you get to the edge of the kind of stream and you're going to get this white. We're just going to cut into the water a little bit. Just do some lines that kind of cut across, maybe increase it up to 2% and just create some lines that cuts across in this section and then maybe just this white edge as it follows around the edges of some of these land features down again to the 1%. It hugs and links to the edges there. Now I'm not going to go into the nth degree of detail on an image like this. It is a landscape contained within a jar after all, but still, considering that we're going to quite a lot of detail. I think just a suitable amount and I think it's starting to work. We'll come back to the water and some of the foliage perhaps, but we're going to create another layer. Put on the clipping mask again, predictably. We're going to go to our colors. We're going to use this black at the end of the top row with the airbrushing medium hard brush, 3% size, 100% opacity and we're just going to create some rocks now that kind of jut in. So we'll create that really dramatic one over at this side. Maybe just a collection of rocks over this side. I don't want to cover everything that we've done, but especially in this lower section, but I think sometimes it's necessary to destroy things that even though in the working I think that it makes sense to go over them. So I'm going to create a nice silhouette of rocks to begin with. Turn it down 2%, just refine some of these shapes if you see fit. Okay, we're going to switch color this fourth color on the bottom row. Stay on the same brush, but we're going to turn it dramatically down on its strength. 20%, 2% size and similar to what we were doing before with the mountain, we're going to bear in mind that it has a lighter side and a darker side. So I'm just going to start putting in some of the lighter side now. Now I'm having to go over it quite a few times to start to see the impact of that and that's probably the right way to do it. Possibly once you get a bit more confident, you could put it up to say double that 40%, the lowest part 2%. And yeah, we could just define the edge of our rocks, get them in there. Every use, I happiest with. Then we're going to switch to maybe the third color on the bottom row. Same settings, maybe just get some lighter colors in the mix too. Some highlights, perhaps even down into the 1%, just really get into those little tiny edges and details. Sharpen it up a little bit. Boomed again for the top edge of this one. And then I've got an even lighter color, so fifth color. We'll just perhaps just go a little bit more sparing with this. It's really going to stick out compared to the other ones, so just be mindful of that. And then I'm going to switch back to the, stay on the same layer, switch back to the artistic Aurora brush, go in with some green. So I've got this second green or second color from the right in the middle row and the Aurora brush, maybe put it up to the top end of 2%, 15% strength. Just start going in here a little bit, adding some greenery amongst the rocks. Change to the third from the right, slightly down, maybe in size, maybe slightly up in strength. So let's put this about 40. We can really start to be bold. Let's just go for it. In fact, let's put this up to 70. Going to be pretty strong, but why not? This is super foreground, so we're going to get really strong, vibrant greens and highlights coming in here compared to the distant areas. So let's just go for it. Why not? Up, largest part 2%, turn it back down, 20%. Now everything we've just added can be just softened a little bit. Now with some more of this color, but just at a lower percentage. And then I can also go to some of these other colors. So I'll go back to the fourth color. Same idea, but we're just going to have some suggestions of more things in here too. Maybe even lower, 10% opacity, but bigger at around 3% size. And we're just going to have some sort of dirt and rocks and other things creeping in. Perhaps we can even go to some of these colors with the airbrushing medium hard brush. And we could have some different color rocks in here too. I'm not sure about these colors, but we'll try them. Suggestions, don't really want to do too much of that. I think that's enough. So I'm going to create a new layer, put on clipping mask, and I'm just going to go in with the artistic Aurora brush and just pick out some of these vibrant colors. I'm going to go for this most vibrant one, which is this from the right. I'm going to have it at the 2% size and about 30% opacity. And I'm just going to use it judiciously just to start adding in bits of vibrancy here and there, just to pick out some extra details where I feel it's warranted. I'm also going to go back to the airbrushing soft brush with still on the same layer with the third color on the top row, 2% size, 20% opacity. And I think that maybe just in this distant mountain area, maybe I should go back a few layers. In fact, let's do that. So let's go back to where we had the mountains, layer seven. I think I'd quite like to add some lighter color mist in there. Let's even put it up to 3% size, bring in some mist over on this edge. I think it will benefit it. Creep some more coming in here, bring it down. So in the lower tree area too, I think it's going to add a kind of atmosphere that works. Okay, I'm going to come back to layer three and I'm going to create a layer above that. I'm also going to put on a clipping mask so it hugs everything we've already done on layer three there. So on this new layer, I'm going to create with the airbrushing soft brush, black color, 2% size, 50% opacity. And I'm just going to kind of echo the shape of the jar there a little bit in this shadow. We can just scribble that in. It's echoing the shape of the jar a little bit. It's going a little bit wider and that's fine. I'm not too bothered about going over a few times. I can blur this in in a moment anyway. So we'll do that to begin with. Adjustments, Gaussian blur. Just blur that in to about the 10%. I'm then going to increase the size of that to about 5% size. Reduce it down to about 20% strength, opacity. Maybe just have a slightly bigger shadow. Goes either side as well. So we get like a doubling. Again, another echo of that. Adjustments, Gaussian blur. Blur it in another 10%. Then I'm going to go in with the eraser set to the soft brush, 2% size, 50% opacity. We're just going to remove some of that from the bottom. So I'll just increase that up to 5% actually and put it down to 20%. And we're just going to reduce, increase some of that dark shadow in this bit. So we're going to have light coming through the jar which almost then kind of undoes some of that shadow. So something like that. Then I'm going to go back to, I'm going to switch to this color at the very end. Still with the soft brush. And airbrushing. And I'm just going to bring in some more of this light and cut across down at the bottom too. And I'm also going to switch to maybe this third color on the bottom row. Maybe extend that across. Fill in more of this area. And then over here. I think it's important. I think it's going to set the stage even better for the jar. And then I'm going to put more of it in this section because the light is coming through the jar. It's just really amplifying in this particular bit. I'm going to go for the fourth, oh sorry, the fifth color on the bottom row. Reduce it down to 2%. And only 10% strength. And then just some streaks and detail almost like the rain in here too. I think it's going to be important. As well as going to a darker color. So we'll go to the fourth color. We get some nice variety of textures in there now. I'm then going to go to the very top. I'll create another layer. Tap on it. Put on clipping mask. And then we're going to start adding some more details to the actual jar itself this time. So again, with the soft brush within airbrushing, we're going to go down. Probably this last color on the bottom row. And I'm just going to add into this section at the bottom just a bit of a highlight where the glass sits on the table. Not too much. More focused in and around the center there. Something like that. I'm just going to move it further down. We're going to think about this top section. I'm going to add something over here. And over here. Again, with the soft brush, I'm going to put it up to about 4% size low at around 10%. And I'm just going to start creating some more anomalies. A section here in the center. Perhaps I'll turn it down actually to the 2%. I'm just going to get some things that are being reflected in the jar. Some more kind of anomalies. Put it back up to 3%. We can have something cuts in across here. Just do a streak that goes up the side there. We're also going to have the background table reflected on the jar. So perhaps we ought to go to the third color on the bottom row and just bring that in a little bit too. So again, the table and the surface reflected onto the jar itself. Go with this warmer color too. Don't overdo it. If you have overdone it, you can easily just go back and darken that up. It definitely needs to kind of show a connection to the environment that it's sat in. That looks about right. Second color from the end. And just create, again, more suggestions that it's streaks of light that are just cutting through on the jar. Then really we need to tackle that top section. So I'm going to go for something in the center here. Or it's bouncing the light back a little bit more. Maybe go for the second color from the top, from the right on the top, rather. You just create some highlights in the jar. We can just create something in the center here. Zoom out and you can start to see the impact. It's starting to look more like glass, I would say. Maybe we just run along one of the edges. Exaggerate it on this side a little bit more for this top edge. We're just gradually creeping it up running it up that side a little bit more. And zooming out. I think I'm starting to be happy with this. We just need to finally start to tackle the top section. I'm going to create a new layer for this. I'm going to go in with the medium brush down to 1%. And what color should we pick? Well, probably best to go for this second color from the right on the top row. 1% size, 60% opacity. And let's just rotate it. Let's get this curve. Probably need to go lower. And then just, if we get that shape in to begin with, hold it, snap to give us that nice top edge. Then maybe go in with the black. And we can do the same thing again, just directly underneath it. I have to do it in two sections now that I've zoomed out. Not a problem. Go to this second color from the right on the bottom row up to 2%. And then we're going to have a band of this. Maybe I need to turn that down to more like 30%. Just do a band of that. I'll go across, just sort of put across there. Don't worry if you go beyond the edges. We can always go in with the eraser and hide it this up. Then we're going to go back to the second color from the right. 1% size. Stay at around 30% this time. I'm going to go for the edge. Zoom out so you can see where the other edge is and you can hopefully match it up. Just roughly aim for that curve and snap and hold. Just about gets us there. And then we'll do the same for the bottom part of that same shape. Snap and hold. That kind of gets us there too. We can afford just to tidy that up a little bit. I'm just going to go and fill in that shape. Just scribble it in. Maybe just go around the top edges so we get that nice highlight in there too. And the bottom edge. And then, as I said, with the eraser, if you need to, you can go to the medium hard brush. 100% opacity and just 1% size. Just tidy that up. As required. Not been quite as tidy. Back to the brush. We can just go and kind of join these in a little bit. And you can see, bit by bit, we're starting to bring that effect out. Bit of a tricky element, but stick with it. Again, just encroach this down. Bring it round and down. We'll do the same over here. Bring it down. Curve it round. Bring it down. And that's getting us closer again. Now we've got this other rim of the jar here to deal with. So we'll take a line across. Best we can. Snap and hold and then just adjust it so it gets it right. Back to the dark colour. Increase the size up to maybe the top end of 1%. Still down at 30% opacity. And we'll just take this across too. Then I'm going to go in with the soft brush. Second colour on the top row. 2% size. 10% opacity. And I don't really want to get too bogged down in this detail. I'm just going to soften it in at that edge. Soften it in at that edge. And then maybe in the centre here as well. We're going to have a lighter bit. A bit over here. A bit over there. Reduce it down 2%. And then underneath that second shape, we're going to have a kind of lighter section here too. Now I'm okay for this to be a little bit vague. But I'm going to go over this more and more. Build up the light. Maybe in this section just shy of the top. Brilliant. Bringing in a section over here. Allow this to curve across. Go over a few times. Zoom back out. Maybe increase it to 4%. Still only low at the 10%. We can just bring in some more light here. Just kind of bleach it out a little bit. I think it's an easier fix than getting too bogged down in detail. Going over the edge there a little bit. Doesn't matter. Go over this. Bleach it out. 2% size. I can add just a hint of something that's just a bit more significant here in this section. Just add a little bit of noise in here just to add to the kind of chaos of that reflection a little bit. We can even go to something like one of the warm colours third. And just bring more of that into our jar. Just so it's not completely one dimensional. And a hint more of it up here as well. Back in with the second from the right. 2% size. Let's just really go for it. 40% opacity. And I think I just need to use a smaller brush. 1% ramp up some of these highlights. In fact, let's go for a white. I think this third on the top row was whiter. Let's really make this pretty bright on some of the lines that we've just created. I knew this was going to be the section. Which is why I've left it to last. So this might be something that you struggle with. And to be fair, this is a difficult element. So don't beat yourself up if it's proving a little bit tricky. You need to find a reference and just spend the time getting this bit right. And go for that. We're getting there. I think that's getting close. I'm going to go in with the last dark colour. Last colour on the top row. And I think I just want to further define some of this a little bit. But not too much. And I'm going to go to the adjustments. Gaussian blur. Blur that in just a percent. I'll just go back to the background colour. One last detail. I feel like we just need a hint lighter. I'm going to go for this colour. With the soft brush set to 20% size and 20% opacity. And I'm just going to bring just a touch of that in here. I think it's just going to bring a background. Make it a bit more vibrant. One last thing at the top. It will help just disguise some bits that you're maybe not quite happy with. We can just go back to the luminance. Flare. And we'll just put it up to about 30%. 100% opacity. And just find an area like this. Or you can just go over it like that. And I think that that helps. Okay. I'm going to leave this tutorial here at this point. Hope you've enjoyed following along. Do lots of other landscapes. And other things too. So do make sure to check out my other videos. I also do extended tutorials and exclusive content over at my Patreon channel. So be sure to check that out as well. Thanks for watching. Catch you here soon. Bye for now.