IPAD PAINTING TUTORIAL - Palm Tree Tropical Island Procreate landscape tutorial

Okay, during this tutorial I'm going to break this painting down step by step so you can easily follow along. You can create this and really amaze yourself. Okay, so as I said in the intro I'm going to make this as easy as possible to follow along. Now I'm using the app Procreate but I don't see any reason why you couldn't use a different app on a different tablet and still follow along and achieve similar results. Having said that, within the app I'm using the default A4 canvas which is 297 by 210 millimeters at 300 dpi, and the color profile is the sRGB. It's the code that ends in 2.1 and it's here by default within Procreate 2. I only use the default brushes within Procreate and as such I'm going to be using within airbrushing the soft brush, medium hard brush and within organic I'm going to be using the rainforest brush. Within artistic I'm going to use the leatherwood brush and then last of all within inking I'm going to use the studio pen. In terms of the colors I have pre-selected a range of colors here. Now each of these individual colors has a code that we call a hexadecimal code so if you tap on a color the coder appears here. Each of these codes associated with this color palette is linked down in the video description. You just need to type them into this area, press enter one at a time, the color appears up here and then you can tap it together yourself. Well next to the codes in the description is a link that takes you to my Patreon page and you can download the whole color file for free. And with all of that out the way let's get started. So the first thing we're going to do on layer one is I'm going to go to a strong color here at the top and it's going to drag it into the area to fulfill the whole canvas. Now it's way stronger a blue than we're going to use but it just gets rid of the white. Next we're going to create a new layer, layer two. I'm going to go back to our colors, use the second color on the top row, go to our brushes, airbrushing, soft brush and I'm going to put the size of the brush pretty big about 50% and 100% opacity and I'm going to aim for the center of the canvas like so. Then I'm going to go to the adjustments, Gaussian blur and I'm just going to blur that in to about the 50%. Then on the same layer I'm going to go to the adjustments, liquefy, I'm going to put it on expand, no momentum, no distortion, 50% pressure and 100% or max on the size. I'm just going to go for the middle, somewhere up towards the top, press and hold and it just expands it a little bit, maybe that's a touch too far, maybe lower it down more towards the center, touch there and a touch there and it just gets rid of some of that dark blue near the top and just reserves it there for the corners a little bit more. We don't care about the bottom because we're going to cover that with other things anyway. Go to our layers and create a new layer, layer three, back to our colors, we're going to use the third color still with the soft brush with an airbrushing, turn it down from 50 which is very big, put it down to 30% size and 100% opacity still and just a little bit under the halfway we're going to do a band of this, then again adjustments, Gaussian blur, we're going to expand that out to about the 60%. I'm going to go to our layers and create a new layer, layer four, still with the soft brush with an airbrushing, we're going to change color to the fourth color on the top row. I'm going to turn the size of that brush down once more to about 15% size and 100% opacity and this is just above where we plan to do the horizon line. So I'm just going to do a band of this, probably about a third of the way and then adjustments, Gaussian blur and blur it in to about the 50%. Okay so that's going to give us the kind of gradient, the different color, general color range for the sky. As such I'm going to take these layers and I'm going to pinch them together to condense them down into one layer and that if you're limited in terms of the amount of layers you can use will help you out a little bit. So let's create a new layer now which we're back to layer two. I'm going to switch, well no actually I'll stay with the soft brush, I'm going to switch colors and we'll go for this color, we're going to miss this dark blue, we're going for the sixth color from the left and with this soft brush we're going to put it really small, 2% size, not too strong actually, about 50% opacity and then just for this bottom section, so maybe about a quarter or a fifth, probably more like a quarter of the way up, we're going to do our horizon line now, just take it all the way across and hold and it will snap to a straight line like that and if you're not quite sure about it you can always go to the transform and you can move it around too. You can even rotate it, whoops go for the green, you can even rotate it, it's not quite horizontal and if you're not going quite to the edge you can expand it like so. That's just going to give us a sense of where to place things so I might as well stay on the same layer and the same color and I'm going to switch brush to the organic rainforest brush. Now by tapping on the brush itself you can go to the settings, let's just check, was it on default? No it wasn't, so let's reset it to the default settings and we tap on it again and we're going to change the spacing to really quite spaced apart, I'm going to put it all the way up from 27 all the way up to about 70% and the jitter, it kind of changes the angles of it and it's a little bit too much so 50% is way too strong so maybe I'll just put it down to about 30, click done, and with this same color, with this new brush we're going to put the size at around 8% and the strength at about 50 and initially not near the bottom, just a little bit higher than that, I'm just going to start tapping in some of these shapes and it really quickly, without a lot of effort, just with a few taps and leave some gaps too, starts to get some nice really quite believable cloud formations in there and we can turn it up 15%, maybe even higher 20%, tap it a few times for some really foreground or closer to stretches of cloud that are just here near the top. Now some of them are not quite the right shade yet, not a problem, we'll just get them in place to begin with, turn them back down, back towards the 8% and we can just allow them to build up in places, get larger groupings, then we can turn it down 5% maybe, bring it further down here and the exact color of this to begin with doesn't really matter because I'm going to show you a couple of techniques to shift the tone, shift the colors to our advantage. Now we don't just want a line of these because you can see you're going to get very quickly too much of a pattern with equal spacing between them, it looks very unnatural, so what you need to try and do is just tap it in a bit more random, maybe increase it a bit to the 6%, maybe even higher 7%, punch them together where necessary, it looks like they're two spaced apart, just close them together a bit more, maybe we'll go back to the brush, change the spacing back down to about 40% and then we can go in and we can use the same randomness but just control it a little bit better, especially as we come down nearer to that horizon, maybe turn it back down to 4% and we can just kind of get more of a stretched out like a band, what tends to happen is a cluster of clouds in the distance don't look so much like fragmented pieces, they kind of bunch together and give the impression of more of a band or a stripe that cuts across, a little bit more so anyway, not completely but more so, back up to 5% maybe and then just a bit more down here as well. Like I say, I don't really need to worry too much about the exact colour because what we're going to do now is we're going to go to the layer, tap on it and put on alpha lock, that means that when you are adding something over the top of this layer now, so let's change colour to a much darker blue, small size 100%, you can only add this now within the shapes of the cloud on that layer so you cannot add it anywhere where there isn't cloud but where there is cloud you can start to change the hue and the tone, so as such with this alpha lock on we're going to go and trial out some different colours, so first of all try this fourth colour from the right and we'll go to the airbrushing soft brush, 5% size, 30% strength perhaps and we can just go in and we can soften some of these colours back, they are a bit too dark down in this lower area, we can soften them in a bit more, we can try the next colour, third from the right and we can add a warmer hue now and we can even bring it up into these higher areas as well, maybe just concentrate it around the edges in places so it's just like the light, the sun that we're going to put down here is just catching the edges of some of these cloud shapes, then maybe we'll try this dark colour which is fifth from the left, maybe bring in some darkness here as well, maybe that's a little bit too strong so we can change that from 30 to 15 perhaps, just bring some of that darkness into this cloud shape, just a few taps, remember it can only be added to the cloud shapes we've already got so you can just afford to scribble it in a little bit, if it's not quite right just dub two fingers, tap back and you can remove big chunks of your work, that's really quite handy, so again just go in some of these areas, darken them up perhaps, these are coming closer to us so the darker tones are going to be more exaggerated but you could always turn it down to three percent size and it could bring some dark tones into this far edge as well, just not quite as much but a little bit perhaps, it's only at 15 size, opacity rather, so it's subtler, bring a hint of it in there, not really on this side, go for the second from the right, same settings and we can really start to bring in some of this lighter color into certain areas too, just to start to take away some of the darkness of some of these clouds, just scribble it in, don't have to be particularly neat, I'm just going to undo the alpha lock of that layer and just zoom in, I'm going to go to the adjustments, gaussian blur and I'm going to blur that in a bit just to take some of the crispness off that cloud, I do feel it's necessary, I'm going to create a new layer and put it underneath layer two and with the soft brush, with an airbrushing and I'm going to change the layer blend mode from normal, you see a little n here, tap on it and scroll down to add, that changes to an a, I'm going to use this yellow, now you've noticed I've added a couple more colors on here, I realized I was missing a few colors, don't worry though, those color codes are down in the video description and they will be on the file that you've downloaded, so that's not an issue, so with this yellow I'm going to put it around 20% size and about 3% opacity and I'm going to imagine the sun's in this area, so I'm just going to tap a few times into that area and I might even push it left and right a little bit too, not too much though, and then I just circle it in here, I just really want to get this area with a little bit of a glow, build up that light effect and I'm going to go back to the colors and change to this red, the end of the middle row, same setting, same layer, I'm just going to add some of this red in, extend it a little bit on the bottom, maybe even at the top section here, just extend that glow across, I think that helps and then I'm going to go to the white, I'm going to change brush to the medium hard brush, again with an airbrushing, about 5% size, 100% opacity and I'm going to pick out where the sun is going to be, let's tap it a few times like that, now something else we can do is we can slide and duplicate that layer which is too much, we're going to put one of the versions above the previous clouds that we've created and again it's too much but we're going to tap on the A and turn the strength not to zero but somewhere we feel that it sits about right and I think around the 40% works best, on this top version I'm going to go back to the yellow with the airbrushing soft brush, about 15% size, 3% opacity, I just need to tap some of the more of this yellow in, just really get that brightness in there, perhaps create a new layer, go to the white, again with the airbrushing medium hard brush, same settings as before so 5% size, 100% opacity, whoops, and we'll just create another version there, then we can go to the adjustments, bloom, turn the bloom up 100% and you can see that's featured there on that layer, it really does have a nice glow but we're going to slide and duplicate it and that's going to double the impact of it, tap on it, merge it down, slide, duplicate it again, tap on it, merge it down and that's really ramped up the sense of the sun there, we could even do it again and then on one of the versions go to the adjustments, gaussian blur and blur it in maybe about 20% and that softens it in even more, these sun layers I'm going to merge them together like so and perhaps we could even put it underneath, tap on it and merge it down with some of those cloud details as well, just in an effort to reduce the number of layers that we have, I'm going to go back to this layer 2 that had those cloud details and I'm going to create a layer above that, tap on the layer that's above it and put on clipping mask, now that does a very similar thing to the alpha lock, so I will show you, go in something with a medium hard brush and a white and now it can only add onto the areas where the cloud was, you'll notice that it stops at the edge where the cloud stops, which is perfect, so on this layer we're going to go for something like this, second colour from the right with the soft brush with an airbrushing, put it down so we can really control it now, 2% size and around 20% opacity, zoom in a touch and then anywhere that's just a little bit too dark, especially towards this sun, we can just go in there and reduce the darkness, we know I'm really going to get the warmest of colours as we encroach upon the sun area, so reduce these back a little bit with this nicer warm colour, I'm going to create another layer on top, not with the clipping mask this time and I'm going to go back a step, I'm going to go for the third from the right, soft brush, 2% size, 20% opacity and I'm just going to control it a bit more now and maybe even down to the lowest part of 2% and we can just really control some of these shapes a little bit more, refine them, add little extra fragments and break away sections to this cloud, little tufts that are just breaking free and we can really start to refine the clouds that we've already got, so the rainforest brush got us the majority of the way there but you know we might want to go back in and just refine it a little bit further now more manually, let's put it up, maybe close down some of the light down here, we're just getting some cloud that's just bunching together, shutting down some of the light in this lower area, maybe we'll do something similar over here too, go to this second from the right, again turn the brush down, lowest part of 2% and maybe as we just get closer to sun, we don't want to lose all sense of cloud here so we can just go in and sharpen up some of these details as well, don't do it over the top of the sun though, although it's not really possible to anyway but just try and avoid this whole area where it's the brightest glow, let's just try and preserve that glow a little bit and not do too much in that area, I'm going to go for this nice blue forest from the right, a bit bigger, 3% size and again I'm just going to bring in some of these clouds a little bit more sharply now, false color from the right, 20% opacity, lowest part 2% and yeah I just think I want to go in and control some of these clouds now, really make them a little bit crisper and clearer across the various areas of the sky, maybe even a little bit higher, 40% it's quite strong but obviously we have pencil pressure so you don't always have to fully press, you can vary it up a little bit, going in with a circular motion, be mindful if you're going over darker bits you probably really just want to aim this for some of the lighter areas and build up the darkness, so just be aware of your background color, I'm going to create a new layer, layer 7, tap on the N symbol, normal blend mode and change to add, I'm going to go in with this second color from the right on the top with the soft brush, with an airbrushing set to about 10% size and about 5% opacity and I feel like I just want to do a band of this across a little bit, I'm going to bring some of that brightness in there, just exaggerate it a little bit further, you can see the impact it has if I move it with or without or with, I think it just creates a better dynamic, stay on that same brush, change to the yellow, turn it down, lowest part 2%, 5% opacity and there's nothing stopping us going in there and just bringing in a hint of this yellow in there to be maybe going around some of the edges and taking it just a little bit further out from this glow, it's just going to be touching the edges of some of these clouds and extending that warmth and that light across the canvas a little bit, not too much though, I feel like we could spend a long time on the clouds, I feel like we've already spent quite a long time on the sky, so perhaps it's time for a few little touches to move on to some of the elements. Okay, as such I'm going to go to the top layer and create a layout on top of that, so we're on layer 8, on this new layer we're going to go to our second row, first color on the middle row and we're going to go with the airbrushing, medium hard brush, 2% size, 100% opacity and we're just going to restate that horizon line by going across, snap, hold it so it snaps, again if you need to move it, go to the transform, just nudge it up a little bit if you need to, then we can drag, flood fill the bottom area underneath like so, I'm just going to take the edge off that by going to the adjustment, Gaussian blur and just blurring it to about 2%, just softens it in a little bit, then we're going to go to that layer, we're going to put on alpha lock and I'm going to go for the second color on the middle row, so we're going to go to the leatherwood brush, tap on it, we're going to change the spacing from the default 17% to about 40%, we have put on alpha lock on this layer, so now anything I add is going to stay within that C area, I'm going to put the size of the brush to 2% and 100% opacity and just trying to angle it to make it easier for myself, I'm going to do a straight line, a line across, hold, line across, hold and we can just keep building up, you don't have to do it so it snaps to a straight line, you can just keep doing large gestures all the way across and letting it build up a little bit, really we want to be starting to chip away at the dark color at the top there, so you can just go over a few times, doesn't need to be neat especially, then I'm going to change to the third color and again we're going to start bringing some of this in, perhaps I'll turn it down to the lowest part 2%, especially in this distant area and if it starts to reveal stripes and bands, well that's all for the better really, because that's going to help us create the sense that there's waves, which is just what we need, go to the fourth color and again it should be even lighter and just a hint warmer and we can just bring its influence across, not being particularly careful at this point, just bring large bands of it and near the top, we're going to go to some measures just to soften that top edge anyway, so don't worry too much, again you can see and now we're really starting to get to some warm colors here if we go to the fifth one, but we'll start adding them in, maybe we need to just start concentrating them in initially more towards where the sun is going to be, well the sun is rather, bring those across still, it does extend, it will extend a little bit towards the edges, even on this side when it's a long way away from the sun, allow some natural gaps to start to appear, that's fine, like so, then we're going to go to the adjustments, gaussian blur and just slide that across to, well not massively far, but I think about 4%, then I'm going to change brushes to the airbrushing soft brush, stay on this nice color, we're going to put it to 2% size and have it quite low at around 10% opacity, now I'm just going to again shift it and we're going to start putting in some bands, color that cuts across, doesn't have to be majorly horizontal, but if it starts to get too much out then I suppose you could put in a straight line all the way across, hold it till it snaps and then you can do that a few times just to kind of reset the expectation of that horizontal line, it doesn't have to be absolutely exact by any stretch, I'm going to just go to that top edge and soften that horizon line in a bit, it is definitely too dark in places, it's too sharp, we need that lighter color just to soften it in, we can always go back over it with a darker color if we lose it too much, okay so that started to give us some of the right kind of texture, okay so I'm going to create a layer on top, layer 9, I'm going to tap on it and put on clipping mask, which means when I add anything now I cannot add anything to the sky, it's only going to add it into the sea area, I'm going to go in with the soft brush within airbrushing, I'm going to use the third color from the right on the middle row, initially I'll just want to get some luminance in there so I'll put it quite big at 10% size and only 5% opacity, I want to build in some brightness into this general area, clearly it's where the sun is so we need to literally reflect that by adding more of that light coloring, then I'm going to dial it back to this next warmer color, 4th in, maybe we could just build it a little bit more here and here as well, not too much, then I'm going to switch back to the artistic leatherwood brush, 2% size, perhaps I'll just dial this back now to about 40% strength and just zoom in, angle it because I find it a little easier and I'm going to obviously bear in mind where the sun is and I also need to go back to the third color from the right on that middle row, I want to start bringing in with my 2% size, 40% strength, some kind of points of light that are just reflecting back from that bright sun, perhaps I'll turn it down even further, 1%, I can really control it now and we have the brush texture but I'm going to also add a kind of random spacing with it too, so not just doing straight lines across, I'm kind of creating and building in some spaces, maybe expand some of these bands across a little bit here and there, allowing them to concentrate, obviously in this kind of channel central area underneath the sun, maybe turn it up a touch, 2%, you're going to get slightly bigger shapes as you get closer to us, maybe even bigger, top end of 2%, I mean the bottom end of 2% and the top end of 2% are quite dramatically different in size, so bear that in mind, I'm starting to build that in, again I'm going to go to the adjustments, gaussian blur and I want to soften that in, 2%, zoom in a touch, go back to my airbrushing soft brush, turn it down, 2% size, 5% opacity, now perhaps a little bit further actually, 10% opacity and I can just start building in, in a slightly more controlled way, this texture will really band and bunch together to really create a stronger sense of vibrancy here and there too, gone a little bit off because I guess I was doing it at an angle, and again with a warm colour, go for this one, second from the right on the top row, bring some of this warmth in here too, just some nice stripes to cut across in this whole general area, a bit broader, a bit wider than the lighter colour even. Once I've got to this stage I'm going to create a new layer on top, layer 10, I'm going to change the blend mode from normal to add once more and with the soft brush, with an airbrushing, I'm going to go in with the yellow on the top row, 2% size, 3% opacity because it's really easy to overdo things, let's put it down to the 1% size in fact, and I really just want to bring a channel of this, the sun down into this area, now I don't want to overdo this, perhaps I'll turn it up a touch though, we'll put it up to 5, which is still super low, I just want to bring that down from the sun into this area, so I'm just tapping in a few dashes, I don't want to broaden it too much, it loses its impact if you do that I feel, and believe me I've tried different approaches to create the effect, I think just airing on the side of it being a little bit subtle is better, so a little bit broad here at the bottom when it's further away as it gets closer to the sun, just a bit of a narrowing of that band, perhaps we'll just change to this nice red colour on the middle row, still on the soft brush but we're not doing it in a controlled way now or not a very refined way, 5% size, so much bigger but only at 3% strength and we'll just bring some of that glow just to hint more warmth into this area but not too much from the top sun area and then just a bit more down here into this whole region, I was only pressing lightly and bringing it in quite subtly, stay in the same layer, I'm going to go to the colour next to the yellow, there's pink, 1% size, maybe a 5% strength, I'm just going to bring just some extra sense of bands that cut across here a little bit but just cut through, maybe put it up to the lowest part 2%, I'm going to create a new layer, layer 11 and we're going to go in with the medium hard brush for the airbrushing, I'm going to use this colour, first colour on the bottom row, I'm going to have it set to, well initially about 4% size, not quite 100% so about 80% strength and I'm just going to starting over here, kind of higher up and then I want to make sure it just kind of cuts across over here and I can always just drag to flood fill this lower section as well, I'm going to switch colour to a lighter colour, switch brush to the soft brush with an airbrushing, 2% size, slightly higher up on the 2%, about 50% strength and I'm just going to start bringing bands of this across a little bit, just so we're breaking it up, try and keep a slight diagonal to it but essentially we're just creating almost like ripples, similar, almost like ripples in the sand now I suppose, we have ripples in the water but we also have ripples that emerge from the sand because of the water, just a few, go back to our colours, use the third colour along this time, turn it further down to the lowest part 2%, still at the 50% and we're just going to, perhaps a little lower actually, 30% and we can start bringing in some more fragmented broken texture and little points, things that are washed up on the beach, maybe there's some grass and some shells and things growing along the beach, so maybe it's a more established area, we're going to have trees growing so I dare say we've got things like grass, especially as we come further back from that very edge, initially we're just going to tap some in, could even trial going to the artistic, Leatherwood brush, same settings we had before, maybe 3% size, 30% opacity and we can just use that to build in some extra textures here which I think really is quite helpful, pull that across quite a bit, you can always reclaim some areas by going on top of this later on but I think it just helps create the sense that the sand has been churned up, trodden on a lot by animals and people or something else, let's turn it up, not sure what that something else would be other than animals and people but there you go, slightly larger size now, I think it works quite effectively, it's such a versatile brush, it's one of my favourite brushes to use in Procreate, I have actually created a video on my favourite brushes which I dare say we'll link up in the corner of the screen now if you want to refer to that and have a look at some of the use case for this particular brush and some other brushes too and that's well worth a watch after this. So I'm just going to change to this even darker colour now, the fourth colour, still the Leatherwood brush, 4% size, 30% opacity, let's just, we can bring a bit more of this into this corner perhaps, bring it along here like so, it really helps us build in some nice textures. Now I've been very careful not to go near the top of the sand line because that is going to be a kind of subtler, I've really tried to concentrate most of this in the slight foreground here, I might just go and create a new layer, layer 12, I'm going to go to my airbrushing soft brush, stick with the fourth colour, I'm going to put the brush size higher on the 2%, size maybe about 60% opacity and I'm going to have, in fact that's too high, so maybe 40% opacity and I can just build in an area now where I want the palm trees to grow from but I definitely sense that there's grass and there's just a generally more settled area. I'm going to build in, well a lot more darkness frankly, I'm not doing it as one smooth mass though, I'm allowing it to build up in gestures and that just helps with the texture of it too. So we've got the texture of the leatherwood brush too obviously and this in addition to that is really going to help, we can close down a lot of the light in this area, it's not a problem, we are late in the day so any shadows are really going to be quite stretched out and dark and it's going to be less light in the scene generally. So I'm going to turn that back down to the lower part 2% and in addition to that we're just going to play around with some more tufts of things, things growing. So we've already got that really nice texture of the leatherwood but we're just, I guess we're just adding a little bit more, it's not quite enough and then we can turn that down even more, 1%, perhaps a little bit lower on the opacity so more like 30% and then we can have some more things back here, not too much though, like I say I don't want it to be too strong over in that area, perhaps I'll turn it down to 20% in fact and we can just have some things as they're closer to the water. I feel like we need to shut down some of the light here too, so I'm going to go back to the layer underneath, layer 11, put on the alpha lock, go in with the soft brush with an airbrushing, stay with the same colour, I'm going to put it up to 5% size, 20% opacity and I just want to start shutting down some of the light up here too. I still want to preserve this as a shape but yeah I feel like we should shut down some of that, turn it back down, 10% strength, 2% opacity, like so. I feel like the line there is a little bit strong so we'll go onto that layer, turn off the alpha lock, go back to the first colour we were using and maybe the 2% size, 10% opacity and I guess we can just soften the edge a little bit more too. I suppose we could also go in with the eraser, set to the soft brush, 2% size, 50% opacity and there's nothing wrong with just chipping away a little bit on that top edge too in addition to that first colour, so just a combination of removing and then adding back in. We want it to be there but we don't want it to be razor sharp, it's not going to look quite right, we want it to be subdued and just a sense that's pushed back a little bit. I'll just put the Go to this third colour along again with the soft brush down, lowest part 2%, 20% opacity. I'm just going to tidy up this top edge here a little bit, just trying to get a bit more consistent, it seems to be dipping and it's too irregular. I'm going to try and just tidy that up a little bit, yeah I'm feeling happier with that. I'm going to go to the water, so that was layer nine, or the reflections on the water anyway, still with the soft brush, maybe a little bit bigger, 3%. I'm going to go in with this colour, fourth on the right in the middle row. I feel like I just want to lighten this up a little bit as it comes down here and meets the sand, just lighten that up a little bit. I want it to look lighter than the earth and the sand here anyway, I think it makes sense if it is a lighter tone. And if we see any dark areas here that are just too much, we can just dampen them down, lighten them up a little bit too. It doesn't matter off here on the side so much, but in this central area it shouldn't be too dark. Okay, we're going to go to the top and create a new layer, layer 13, and we're going to go in with the airbrushing medium hard brush. I'm going to use the fourth colour on the bottom row, 2% size, 90% opacity, and we're going to draw a tree trunk. So perhaps it might be a good idea to determine where you want the top of the tree to be and where you want the bottom to be, and then immediately just draw a curve. And if that doesn't quite line up, do it again. And we want it to be thicker near the base of the tree. All trees tend to fan out a little bit at the bottom just to help them be more sturdy, so make sure it is thicker at that base of the tree trunk and then it can be thinner as it goes up. Now we don't want to be too thin, we do tend to be fairly consistent as they go up palm trees. Just make sure it is thicker at the base. Then perhaps we'll draw a second one whilst we're doing it, so we decide where the top section is going to be, so maybe slightly higher next to it here. Draw the initial line, it's not quite met it but that's good enough. Have it fan out at the bottom. And looking at some of the edges, you can go back in with the eraser, also on the medium hard brush, turn it down maybe 1%, 100% opacity and you can just tighten up any little lumps and bumps. You could also go in with the smudge on the medium brush perhaps, 2% size 100% opacity and just you can use that to just smooth out any little imperfections too. It's okay if it has a little bit of an irregular surface because it probably would anyway. We're going to keep the leaves of the palm tree and the kind of branch structures as a separate layer, so we'll go and create another layer on top, layer 14. We'll go now to inking, studio pen and we're initially going to do some branches, rather the leaves, which is almost like a combination between a branch and a leaf really when you're thinking about a palm tree. I'm not quite sure whether it is just a leaf, I think it probably is but maybe it's strictly technically a branch. I'm not too sure, it doesn't really matter, we can still draw them. So we're going to have them kind of bending down generally, you don't need to be absolutely perfect, we don't want them too big either. Maybe you can straighten up near the top, it's too big I think, maybe bend it over, bend it downwards. Now what I need to do is zoom in and 10% size, 90% opacity with this brush, we're just going to start to add in some of the little leaves that would grow from that spine. Now it can be really quite quick, you don't need to overly labour this and you can kind of mush together a little bit here and there, overlap certainly, because really you have like a spine in the middle and then two parts of it with leaves that will kind of cross over each other, so that's fine. You can have some that just sort of kick out the other side a little bit and make it irregular and that's absolutely going to work. Then you can just from this one have it going a bit more untidy perhaps. We do have finer ones, little ones, smaller ones at the end, so just press more lightly with the brush towards the very end. If you get some irregularities that are not quite working you can always just go back in with an eraser to remove some of those. You have to be a little bit aware of the shapes or the forms that you're making but it can be quite quick and untidy anyway. So it can be really quick like this and then press lightly at the end so you get smaller versions. Then you can go back over it because it's folded over you're going to get more that kind of overlap on it and then we can have some more in this section and we're just repeating the same process fundamentally. Probably better to do it outwards, if you try and start it from here and go towards the centre it could be thicker at the end of those smaller leaves, so kick them out from the centre is probably a better bet like so. I'm just going to move around and then finer ones on the end just keep adding them on and if they overlap and they kind of mush together a little bit then that's absolutely fine too. You don't want them to look too contrived, too well organised, it's not going to look naturalistic. So really press lightly towards the end there, press more as it comes towards the start and then have some lines that just kind of blend them all together a little bit and you start to get the effect so I'm going to carry on the rest of it. Small ones probably require a lighter touch, I'm not changing the size of the brush I'm just pressing more lightly. Move across, rotate the canvas however helps, just one or two kicking out perhaps, generally they can overlap and fold the same way. Like I say some are going to be really thin, perhaps you can have other ones where you get to see more of those individual, I'm going to turn it around, individual leaves so you get to see a broader looking section like this and then you can do some that just kind of overlap, cuts across, again go back in tidy up some of the edges if you need to and I'm going to go back to the airbrushing medium hard brush, put it up a bit bigger, three percent and just add some shapes in there. Obviously we're going to have, well we might have coconuts in the tree, I can just close down some of the light in there. Now this is on a separate layer from the tree trunk, that means we can go to the adjustments, motion blur and you need to be careful with this but you can just send it in different directions, either up and down, left and right, you can just find the right balance, you don't want to blur it out completely but just a hint you can see it just it helps with some of the bits that didn't look quite good on closer inspection anyway, it just takes them and just disguises them a little bit, put very light in the breeze so it will move them around a little bit, create a new layer and we're going to do exactly the same thing again. So I'm going to speed you through this because you already know how to do this, inking, studio pen and it's okay if it overlaps, you can have some lower hanging ones, don't really want it going off the edge of the canvas, not too much anyway, a little bit here and there is okay but I'll do and we'll do exactly the same thing again. Again back to the airbrushing, medium brush, 3% size, 90% opacity, put some big shapes in there, again it's on a separate layer from the tree trunk so we go to the adjustments, motion blur and choose a direction, we don't want it to be too dramatic, you don't lose all of the detail so find whatever works, you can see some of the details have just mushed together and that's absolutely fine. I'm going to go back to the layer with the sand, layer 11 with the soft brush with an airbrushing and this same colour, 2% size, perhaps lower, 30% opacity and I'm just going to, perhaps a bit smaller in fact, 1% size, just start to add some extra dashes and things along here, looks a little bit too dark still. I'm just looking at that horizon line, I feel like I want to just do a little bit work with that so maybe I'll create a new layer for that, layer 16, go in with the soft brush with an airbrushing, maybe try the second colour on the top, on the middle row and it's a bit sharp, I'm going to put a 1% size, 30% opacity, I think I'd just like to build in a suggestion that maybe this land features even, over there in the distance, not too much, maybe something similar over here too, just a suggestion, other islands perhaps, who knows. Okay I'm going to leave this tutorial here at this point, if you've enjoyed following along with this you might want to watch one of my recent videos which is a crashing wave on a beach, similarly themed, so it might be worth checking that out, linked in the top corner. Thanks as ever for watching, I shall catch you soon.