IPAD PAINTING MADE EASY - Fall Autumn Lakeside Tree landscape Procreate tutorial

On this channel I specialise in making really complex looking images easy to create, so just follow along with my step-by-step tutorial of this painting and you will amaze yourself. Okay, so as always I'm using the iPad Pro and the app Procreate, but you could probably apply my process and techniques to a different tablet and a different app. But in terms of Procreate, I've opened an A4 canvas which is 297 by 210 millimetres, not pixels, and that's at 300 dpi. I'm going to be using default brushes that come within Procreate for free. I'm going to be using, within airbrushing, the soft brush, the medium brush. Within artistic I'm going to be using the leatherwood brush and that should pretty much do us. In terms of the colours, I have pre-selected some colours here. Each of the colours has what we call a hexadecimal code linked to it. Each of those codes are linked down in the video description. You just need to take a note of them, type them in here one at a time, press enter, the colour will appear up here and then you can piece it together yourself. Just tap it in there. Next to the codes, there's also a link that takes you to my Patreon page and you can download the colour file for free there which saves you some time. If you like this kind of tutorial, please remember to give this video a thumbs up, hit the subscribe and don't forget the bell notification. And with all that said and done, let's go to layer one, go to the colours. I'm going to choose the first colour on this top row, drag it from a little circle into the canvas area and it flood fills that area. Might as well stay on the same layer for this. I'm going to go to my airbrushing and soft brush, go to the second colour and I'm going to put the brush size up to 20% and 100% opacity. And with this brush now, I'm just going to do a line through the middle of the canvas, then go to the adjustments, Gaussian blur, blur it to about 50%. This time I'm going to create a new layer, layer two and I'm going to go to my third colour along the top row, change my brush to the artistic leatherwood brush. I'm going to have the size of the brush at the top end of 2% because even within each percentage there's some wiggle room. So I'm going to put it right up until it just crosses into three and then nudge it back down into the two. I'm going to have the opacity about 100% and just below halfway on this side and maybe just above this side, I'm going to have a range of trees that go pretty much from the distance over here. So I'm going to create a series of tree tops. I'm going to blur these in slightly so I don't need to really agonize over the details. I'm just going to create the suggestion that there are some spikes at the top of the trees and we're going to move across. We're basically going to take it all the way up to this point. It's going to be somewhat obscured by other features later on but it's still better to have a foundation point of something like this and I can just tap it in for the very top edges. They're slightly closer to us on this side so maybe you can spend a little bit longer but again I'm not going to get too bogged down in it. I could always refine it later on but certainly we're going to get the suggestion of these tree tops. So just go along, create some spikes, yeah and then this middle section I really don't care too much about. It's going to be like I say pretty much covered up and it's just about here that we need to be a little bit more precise again and you could turn it down to the lowest part of two percent if you really wanted to. Just refine some of these little shapes at the top, make them a little bit neater. Maybe we can do that but yeah don't spend too long on these. Then we could just drag fill that colour. It's on a slider so if you take it too far it just goes and fills the whole canvas but if you go back too much you get some little anomalies, some little gaps. So somewhere around here and with the brush I don't know set to three percent or something you could just go and tidy in some of those little gaps maybe. Okay we're going to create a new layer, layer three. I'm going to use the leatherwood brush still but I'm going to change this fourth colour on the top row. I'm going to continue to have the brush size at two percent and 100 opacity and I'm just going to initially lightly because you can press on a lot and the brush thickness varies depending on how you press. So I'm just pressing very lightly initially just to get the sense of the thinner portion of the tree in initially and then I'm just going to sort of bounce it left to right to create gaps and texture in the kind of branches and the foliage and the tree and this is a technique that I've shown before in my tutorials but it just seems to work quite well for this type of tree. Go in create another one again you know you can vary it up you can have some that are denser near the bottom and a little bit more sparse at the top or you can just mix and match them really. So keep doing that, build them up so we've got a layer of trees that are in front of those background ones and they can collide into each other near that bottom section that works and then it obviously shuts out the light in the lower section but really what we want are some gaps where we can see the texture of the branches and the foliage of the each individual tree just to a certain point and we're just going to create this running all the way across. It's okay to have some of them just reaching a little bit into the sky perhaps just a little bit taller if necessary and at some point they're going to collide with these other ones and this row of trees is going to become this row but it's on a separate layer so that for example I can create something here and again just work into it so the two effects kind of merge together again combine it and you have a something of an orange kind of glow that's coming through and from behind but then yeah they kind of collide together which is exactly what we're going for and then lower down I really don't want much of the light showing through anyway so I can just go over that and just allow it to close up that area. On this section I'm just going to have them kind of petering out so they get shorter and just kind of dissolve into low-lying bushes and shrubs. I'm going to go over this with an airbrush just to kind of soften these in so you don't notice the hard transition between this colour and the next one anyway but something like this to begin with initially and we can move that across and creating not really a horizon line but almost that and if you want to just draw a line across snap and hold it and you'll see you get something of a harder lined edge like this to base everything from and again most of this in this area is going to be obscured by more foreground details and trees so you don't need to spend too long on that in fact I'm just going to allow it to bounce up to the very top edge of what we've already created now much of this was going to show through then I would take more time over this but really it's just going to be this part and that part now I'm going to go to the adjustments Gaussian blur and just soften that in not too dramatically but certainly to about three percent I'm going to create a layer on top layer four and switch to the airbrushing soft brush again have it at about five percent size and low on opacity at around 25 percent and I just want to soften the effect of these merging together they're a little bit more I want to be as sharp and dramatic over on this side something like that and even to that extent I might go back to my layer three with the eraser on the soft brush two still at the five percent size but lower at about ten percent strength opacity and just slightly soften the top edges of those trees just to make it slightly less harsh a transition again and again I can do this in the top section up here as well doesn't matter in this bit really but certainly at both sides you're just going to get a softening of that dark color going to create a new layer so we'll go to the top layer first because we'll just move back so we'll go to the top layer create a new layer on top of that so we've got layer five go back to my colors we've got a range of three more colors now initially I'm going to go to the middle color of those three colors so second in from the right it's a slightly darker color which if you use with the soft brush set to the five percent size and 25 opacity again I can just bring some of that impact into this lower section again I don't really care about the bottom edge of it because we're going to add water but certainly this bottom edge can just do with a slightly darker lower section and I can just keep building up the darkness certainly in this area in the lower portion of this because it's just going to allow me to add more kind of highlight textures and maybe even tree trunks places okay so I'll create a new layer on top of that so layer six prefer to keep things on separate layers it just makes it a little easier to adjust things later on if things are just a little bit off and need to be fine tuned I find keeping the elements separate layers just helps with that process so I'm going to use the third in from the right on the top row with a soft brush still down to two percent size and maybe about 15 strength opacity and I'm just going to start adding in some noise and texture into this area just kind of tap it in you can probably hear the apple pencil tapping the screen I'm sure it's a slightly irritating noise on the video but it is the noise it makes it's something that with a lot of use of the apple pencil on the iPad you just kind of get used to it but certainly I know if you're not familiar with this then yeah it can be a little abrasive to hear this kind of tapping sound but it is just part of the medium so lots of taps building up some stones and maybe a wall you don't really need to define precisely what's in this area then I can change to the color at the very end and I can do something similar with that one so you just got a little bit more variation again you don't need to be too specific I'll just go back to that third color in fact and I will turn it down to one percent size put it up to about 30 strength opacity and perhaps I'll just put in some tree trunks a suggestion of them in this section anyway you're not going to notice them too much over here but here certainly they're a bit nearer too you just get a hint a suggestion of the tree trunks being illuminated slightly again you don't need to overdo that yeah just a little bit of that I think goes a long way I'm going to stay on the same layer but I'm going to move to the artistic leatherwood brush again and I'm going to use this orange color on the bottom row so it's the middle of those vibrant colors there I'm going to have it at the three percent size but really really low at about five percent and I'm just going to bring some of that texture into this bottom section just a little bit just a hint of this kind of more vibrant orange just sweeping through on the other side of the water but I really don't want to do too much of that at all just a hint now I want to go now to the selection tool and it doesn't matter which layer you do this on but I'm going to do it from the top layer anyway and I'm just going to carefully draw across the bottom of this area I crucially want to do it along that line and not incorporate any of this orange at the bottom but I'm going to increase it up to here so that it adds every bit of the tree top everything within this section I let go go to the wrench symbol within add and copy canvas and then we should have the option to paste it back in and you can see it's pasted it because it's re-put the rectangle back in you won't really see that until you go back to the layers but everything that I've created so far is now on a singular layer that is now copied on top of everything else so I'm going to go to the transform tool now with this layer and flip it vertically and bring it down so that it just slightly overlaps everything we've already created like this then if I just move the canvas up slightly I can then go back to the transform with a freeform this time and just squash it in a little bit just to slightly foreshorten the reflection I think that's going to work better you're not going to see much of it anyway I just want to make sure that the little bit is going to be clipped or just going to be revealed before I kind of nudge things above it like that I can then go to my eraser doesn't really matter what it's set on but I'm going to use the soft brush to a small size about three percent and a hundred percent opacity and you can see I just want to get rid of carefully some of these little anomalies that it has created anything that just stands out as looking a bit strange you can get rid of you don't need to be getting rid of too much but there you go I'm probably going to go to the adjustments for that layer the motion blur I mean it responds whether you go up or down or left or right so if I just start again with that and just try and do it super carefully let's go back on there the motion blur I'm just going to do it to the side as much as possible to about my example somewhere about the 15 percent just softens it somewhat I can then go to my layer and create a layer on top of that now I'm going to switch to my airbrushing soft brush I'm going to use the second color on the top row this nice lemon yellow more of a pastel lemon but I'm going to have a two percent size and about 15 percent opacity and I'm going to choose the starting point which is just where the water meets the lake edge I'm going to draw my horizon line if you like or the line across anyway at that point somewhere like here and it doesn't have to be totally straight it could be slightly tilted and I'm just going to go to the adjustments Gaussian blur and maybe just blur that in somewhat I don't want it to be too sharp and then still with those same settings I can just follow that line use it as my guide now and I'm going to intensify it in some areas and it's set to a low opacity it doesn't really matter too much I'm just going to try and carefully ramp it up and build it up perhaps over here and less so in other areas because certainly we've got more sunlight coming from over here probably escaping over the top of the trees and hitting the water in this section but then as it goes under here then the treetops are going to obscure the sun a little bit more so it's not going to reflect as much sun perhaps as we go further rightwards in that composition something like that I'm going to go back to my artistic leatherwood brush now I did say that I wouldn't amend this but I'm going to do this anyway I'm going to go to the spacing within the brush I've tapped on it and the stroke path has what we call spacing I'm just going to put that up to about 40% and about 2% size and 10% opacity I'm just going to use this now to subtly now I'm just angling my arm so that I can do this carefully I'm just using this to pepper in some texture you probably can't see it unless I zoom in but you can see it's creating this kind of dappled little grain of a texture in there which I think is going to be really useful just to pick up some highlights on top of the water there but you can also use it to create some suggestion of sort of bands that cut across as well especially if we turn it down even further to the 1% and we can just go over a few times create another band of water cutting in there and we can always go to the adjustments gaussian blur blur it into about 3% and anything we've just added becomes a much more subtle thing anyway perhaps I'll just go over it the airbrushing soft brush and again just ramp that up slightly more here as well back to my layers create a new layer layer 9 go back to my colors and I'm going to use some of these colors now I'm going to go for the first color on the bottom row and perhaps with my airbrushing medium brush I'm just going to start creating the land on this side of the lake so I'm going to put that to well the top end of 2% and probably quite high at about 80% opacity and I'm just going to use this now to carefully start to build in some features over on the side so I can have some rocks perhaps stick up like I say I wanted to preserve some of this edge up over in this area not all of it I'm just creating some kind of lumps and bumps and then we're going to have it just sort of raising up to meet more over here then and I can just drag to fulfill this bottom area and again it's on a slider so slide it as much as you can without it completely obliterating everything and if you need to just go in there and just fine-tune those little gaps and anomalies you can do that more colors here so we're going to use the second color I'm also stay on the same layer initially but it's just going to vary it up a little bit now it's quite strong that still 80% so I'm going to put it back to maybe about 40% for this new color and I'm just going to bring in some variation so again I'm just tapping some of this in what might be useful in fact is to create a new layer go back to my artistic leatherwood brush keep it the settings where I've put the spacing at 40% I'm going to have the size maybe at about 3% and the opacity up a bit more significantly to about 50% with this brush and I can just start bringing in this texture for more of this foreground area I'm just going to have a sense of kind of dry grass but it's got lumps in there little pockets of shadow and texture and things so I'm just building this in for this lower section I'll have a darker color as well but certainly going over this these two colors is quite a nice thing to do just stops it looking too flat and it's a nice foundation to start to build upon then I can always go back to layer 9 the layer underneath it and I could do the same again with this dark color now and it's not going to appear everywhere but because it's a dark color showing through some of those gaps I can then apply this and it's got a limited number of places where it can show through but actually for this foreground area that's really enhancing this little sense of texture I think that works quite nicely again we can fine-tune this but it's a good starting point okay go back to the top layer and create a layer on top back to my colors and I will use some of these lighter colors at the very top now so I'm going to go for the three on this side so the third in from the right and again back to my airbrushing soft brush I'm going to have it down at the 2% size and 15% opacity and just along the kind of top edge I'm going to continue to just eat away at the hardness of that edge in addition to adding kind of more highlights a little bit further down perhaps that's a bit big so we can even put it down to the 1% and I'm just nibbling away at the edge adding more highlights and textures along there at the same time you put it up slightly maybe about 25% why not be a little bolder and again just take away from the top edge add some more little anomalies in here more little features that just pop catch the light and stick out a little bit okay I've just made a slight color adjustment on these videos my camera does tend to oversaturate the colors I've just toned that back a little bit but do bear in mind that most of the colors that you see during the video tutorial are slightly oversaturated so if you really want an accurate sense the colors that I've given you are the most accurate and also the image at the very start of the tutorial and the still image at the end of the tutorial do more accurately represent the colors okay so I'm going to create layer 12 and I'm going to use the third color on the middle row and initially I said I was only going to use the airbrushing soft and medium brush and the artistic leatherwood brush but I'm going to change that up a little bit actually I'm going to use the calligraphy and script brush but I find the natural dynamics or the default dynamics within the script brush a little bit too extreme so I'm going to go to the apple pencil and the size and it's on max and if you look at the visualization you'll see that it's really dramatic difference between the thicker part and the thinner part is really quite a lot so I'm that allows me to press on lightly or press on hard and have some difference but not too much so that allows us to press on more at the base of the tree and then release the pressure higher up and obviously you might need to go over that a couple of times just to make sure that it's working exactly as you want it's better than having to use something like the airbrushing medium brush where you would have to adjust the slider which get those different thicknesses of but by adjusting it it's just a little less sensitive and I think works a little bit better as well so we can have a couple layer close together and then perhaps just fan it out a little bit at the bottom to represent the trunk sort of rooted to the ground then maybe another one and it's easy to get a little too much of a wobble in some of these tree trunks if you're not happy with that then redo it sort out the base of the tree until you're happy with it maybe a couple closer to as well again you might have to go over these a few times you could always adjust the size upwards so put it up to maybe like 30% really make it a bit more substantial and then again you can just continue to do the same thing basically to use that pencil pressure to really build and sort of sculpt in the tree trunk shape and size just choose to do a couple over here too it's easy to overdo that size so I'm going to white dial it back a little bit back to the 20 press on more at the base and then have it disappear more at the top probably go over it a few times like I say it's not actually quite as easy this isn't it an element as it might appear so this is something you know it's going to be obscured certainly so you don't need to agonize over too much but it is going to take just a little bit of sort of teasing out trying to get the shapes that you're happy with another one here press on more disappearing up there thicken up the trunk it's got a little bit of stickiness this brush it likes to kind of round off the edges for you a little bit maybe just another one in this region something like that there's a basic for our trees and like I say don't don't forget to fan them out a little bit at the bottom those trunks need to be rooted into the ground literally okay I'm going to create a new layer layer 13 and I'm going to use the reset version of the Leatherwood brush so we amended it before for the water if you slide it to the right it gives you the option there to reset it now I've already done it so it's grayed out but yeah you just need to reset it again I'm going to use the same color third in on the middle row I'm going to have the brush size at around two percent and almost 100 opacity maybe about 95 I don't like to quite use things 100% I think it's just a little bit harsh but it's very nearly there and we're just going to do similar to what we did in the background similar principles so we're just going to rock to the left and right obviously we're going to have a little bit more control over it this time I'm largely speaking going to imagine the kind of branches slightly dipping down in places certainly near the lower parts but maybe actually on the upper parts they they're still kind of sprightly enough where the weight of the needles on the branches have not quite weighed them down so they're slightly more upright near the top and then as we come further down perhaps they just get a little bit more slanted downwards so over in this region we're just going to focus on a little bit more in that downwards direction so we can cut across the tree trunks it's on a separate layer so it doesn't matter I'm just petering out near the bottom just a few little touches and just sort of tap this in so it's quite a fragmented brush but actually it's also good to kind of piece it in with a series of taps as well so left to right mostly gaps I think the gaps are super important almost as important as the information you're actually adding those negative spaces and gaps really give the the trees a bit more believability and character okay so we've got a series of three three trunks that are all together so I'm going to add them as one block and then we've got a couple that jut forward a little bit more and another three that then maybe more that are on a separate layer as well but I'll treat these three initially just on one layer maybe on these two or these three just kind of collide together quite a bit in this region so the gaps are not going to be quite as apparent now you could alternate with that brush and the when you could go back to script brush that we're using but turn the size down to something much lesser so maybe about five percent and could still continue to use that to add some branches obviously justify the increased kind of foliage because you're not going to get increased foliage without actual branches to support them so you can thread them together using some kind of branch you don't really need to go over the top with it just hints of it here and there maybe some branches that don't even have that much growing on them too just a subtle kind of suggestion can go a long way and then yeah just add a couple more into this region too don't overdo it though back to the artistic leatherwood brush and obviously we've got this one too and a few more to this one so just a couple of bits that reach out like that okay so i'm going to with that layer go to the adjustments gaussian blur and blur it in probably about two percent should do i'm also going to go to the layer slide and duplicate it and the bottom version of it i'm going to put behind the tree trunks that i've created now i'm going to start doing some strange things with this layer so i'm going to take this color this first orange red color that's these vibrant colors on the bottom i'm going to drag in to anywhere where the foliage is and let go now what's going to happen is is it kind of gives it a warm glow all the way around and maybe some bits that we kind of miss if they're important you can just go to those individual little pieces and continue that effect and it just gives it a little bit more luminosity around those shapes and there we go and you'll notice just how well it's working if you remove the dark layer that was on top you can see now by doing that i'm missing a little piece so still on this layer i can just drag and fill that little shape there okay so that's the underpinning layer for the vibrant glowing tones but we've put that layer back that's above it and you can see certainly on the edges that it's starting to just sort of peek through and have an impact so i'm going to take the layer 13 that has the warm color on it and i'm going to further blur it in a little bit so i'm going to go to the adjustments gaussian blur and blur it in a further two percent then i'm going to go back to the dark version of layer 13 that's above the trunk and i'm going to create a layer above that and by tapping on the layer and turning on clipping mask you can see there's a little arrow now that links it to the layer underneath so it is a brand new layer but it's very much attached to layer 13 and using the leatherwood brush still again with the vibrant orange red i'm going to have a brush at about two percent size but i'm going to turn it really dramatically down i'm just going to double check that somewhere about the 15 should do for the lower part of two percent and i can just now start tapping in and piecing in some extra texture into this so it's just kind of softening back some of what we've already done now bear in mind the reason it's got the clipping mask is it's impossible to add it into these regions now or even the tree trunks the only thing it's going to add this softer tone to are the areas where it's already got the kind of leaf texture or the needle texture rather the foliage so we can zoom back out continue to bring this in subtly yeah it will just continue to chip away at that there is some texture that goes over the top of that tree trunk i'll avoid going over the tree trunk because the tree trunk should be further forward you could go over it and yeah it's a slight anomaly so just avoid that tree trunk because it should cut in front of it but it's a small thing we can just take away from this edge because i'm going to do a bright sun in this area and yeah it's just going to turn some of this foliage into more of a glow so we can keep building it in a little bit especially on this edge just a little more in this area and that should probably do we could turn the brush size up a little bit more i just want it to be a bit more speeded up something like that is kind of working then on layer 15 we're just going to go to the adjustments gaussian blur and we need to blur it in because there's a bit of a grain there so we want to get rid of that grain just going to blur it in two percent is enough we're going to create a layer on top now we're going to add some foliage and some branches to these tree trunks above some areas of that so now i'm going to add a layer above layer 15 layer 16 we're going to add some foliage and some branches that now will cut just in front of this illuminated section of these branches so i'm still going to use the artistic leatherwood brush still on this third color on the middle row it's dark color i'm going to have it two percent size and 95 opacity and i'm going to continue to build in some of the foliage on these i'm going to leave it quite sparse in places i want some illumination coming from the sky coming through some gaps i also want some branches to show through but i definitely want some of it to just cut in front of things we've got there in the background too so every now and again i'll just have it obscuring some of those illuminated sections that we've created just to really show off that effect and it's it's relatively subtle but still we're going to go left and right we'll add some branches to this in a moment to shut down some of the light in some areas we don't want it to be too sparse everywhere i quite like some of the features here so i'm not going to do as much there perhaps if you notice there's some areas that you really like then obviously you don't want to make it too artificial and too contrived but you know preserving some of it it's sometimes a nice thing to do if it's working particularly well anyway and then similar for this one again maybe a little bit just thin of detail of branches in some areas then i'm going to start on this edge just to give it a little bit of contrast i think that some of the ones over here i just want to be a little bit more populated again a slight upward movement of the for the branches and the end of the branches and then perhaps as it comes further down we just emphasize some of that low hanging and downward movement just a little bit more anyway doesn't need to be over the top can even block in quite a lot of areas now i'm trying to preserve some of this detail and obviously the detail over here the middle section i'm not too bothered about but take your time find the level of texture of the branches and things that you happen to like you don't have to stick rigidly to what i'm showing you it can be your own version return to that kind of rocking left to right some areas are going to condense nicely into a really thick area that's going to obscure much of what we see behind but then other areas are going to be like say a little bit more sparse and that's good okay i'm quite happy with that level i could go in with the calligraphy script brush again set it to somewhere about seven percent perhaps just add in some branches here and there just to give it a sense that you know it is a tree there are branches it's not just the foliage obviously it needs to attach to something it's going to look a bit strange if it didn't have any branches at all so they need to be in there you don't need to overdo it probably only going to be some that would really stand out just a little just a couple of features lower down as well not too many then go to the adjustments gaussian blur again blur it into a two percent say duplicate that layer bottom version we're going to do exactly the same as we did before so we've got this red orange the first color of those vibrant colors we're going to drag to flood fill that layer and you can see on the visualization the top version is dark the bottom version is light maybe untick the top version and you'll notice if there are any little anomalies that you've missed you can just simply fix those put the dark one back on and you can kind of see the glow emerging then on layer 16 again we're going to go to the adjustments gaussian blur and maybe blur it in a bit more significantly maybe about four percent i'm going to go to the top layer and create a layer on top this is now layer 18 change the blend mode from normal to add and with my airbrushing soft brush i'm going to put it up to about 40 size so quite big and about 10 opacity and i'm going to use the again this red orange and the bottom row i'm going to choose where the sun is going to be roughly and i'm going to tap in there a few times it creates that general glow in the area then i'm going to switch to the middle of those vibrant colors this orange turn it from the 40 down to 20 just fine tune it a little bit further focus it tap it quite a few times like so change to the yellow turn it down probably more about to the 10 and just really focus this in a little bit more now it's about there and it really wouldn't make sense unless we actually had the sun so i'm going to go to this first color that we had on the top row turn it down to about five percent still at 10 strength but let's really go for where the actual sun is going to be and tap that in quite a few times like that so there's the sun starting to emerge and that's really starting to build in that nice glow in addition on the same layer i'm going to go back to this orange color turn the soft brush down to maybe about two percent size stay on the 10 strength and i'm just going to build in some beams that cut out from that point now that your sun is your vanishing point or your origin for those beams so you can just have them cutting out obviously from there in any direction where you think will be noticeable across a darker region for example wherever it works and then we can cut back to the yellow again zoom in a little bit perhaps refine it down to the lower part two percent and just really kind of firm up those beams at the source of the sun there so tighten them up a little bit and we could always turn the opacity up to about 30 percent even turn it down even further so the lowest part of two percent you can go and then just really gently this time start to just like pushing that extra light then with the yellow color perhaps down to the lowest part of two and maybe about 20 strength just really pushing those powerful points at which it comes straight from the sun like that you just ramp it up when it gets blended into the sun there as well so on the top layer i'm going to create a new layer layer 19 and i'm just going to go in with the leatherwood brush with that dark color again set to two percent size and perhaps about 25 opacity and there are going to be some areas where it just is a little bit more resistant that glow and it's going to create a sense of layer upon layer this this is going to be one of the the nice sort of touches at the end is that some of this dark color isn't going to give in that easily so you know you can go back and just reclaim some of this top dark color texture and it's just going to push forward then a little bit more push some of the other areas back a little bit better and it's just not going to give in so easily to the dissolving of that intense glow and you can always put it up a little bit maybe 40 percent we were using 95 strength before so it's nowhere near that but you know it can still be quite strong over some of the tree trunks perhaps just bring them out and forward a little bit more right so new layer layer 20 i'm going to have to add some shadow and light effects on the ground i really like the intense effect you get by changing the blend mode from normal to add so i'm going to go for that we need to be careful what colors we use i'm going to use these colors at the bottom i'm going to use the one at the very end and i am going to use the leatherwood brush i'm going to have it low at two percent size and it has to be quite low because this is a powerful effect so about 10 opacity and i'm just going to start building this in now probably this actually could do with being shifted underneath where the tree trunks are so i'm going to go and replace that position so it's underneath layer 12 that way i can much more freely go across now and it won't interfere with the tree trunks which is perfect so i'm just creating some of this color across over here okay initially because on this area there's not going to be any shadows of trees so it's quite free to just really go for it and frankly we could just really kind of build this all the way across maybe what we'll do is we'll add these highlighted colors first and then remove it to create more of the the shadows so we'll just liberally start adding this in to begin with and it's important to leave some gaps in this texture so i'm just starting to create a general sense of it moving across and i've used that first color so i'm going to go for the next one in second from the right maybe just a hint warmer and i'm just going to build this in as well again just streaks across again there's nothing wrong with a sense of stripes that cut in there across the grass so we're going to have the shadows that are created from the actual trees but if you have undulations in the grass then they're going to naturally create a little bit of a side perhaps that isn't catching the light quite as strongly so leave gaps in this too perhaps i might even go for one of these really warm colors maybe this orange the middle one that's i'll turn it up to three percent size and i can just really cut that across over here really quite illuminated remember the sun's here so now it's going to really pick up some light especially in this middle area that's immediately underneath the sun and it's really starting to be quite vibrant now which is nice then straight away we can start going in with the eraser so i'm going to go to the eraser maybe with the soft brush version turn it down to two percent size i'm pretty potent it's going to have to be somewhere about 50 so i'm just going to kind of line up the the shadow with the sun roughly speaking it's going to be a little bit sharper and more intense when it joins up with a tree and as it gets further away you can even increase the size and press more lightly so it kind of diffuses out and becomes a kind of softer version of that shadow further away sharpen it back up to the two percent when you have a tree maybe even smaller down to the tiniest the smallest version of two percent you can get especially for the where the tree starts and then yeah we can increase it up a little bit for larger percentage when it gets further away i mean these shadows and the making of the piece really it binds it all together it gives it that sense of a really powerful light in the scene without these shadows it really doesn't quite communicate it so they're absolutely crucial and they're just the tree trunks obviously but we have the actual foliage of the trees so we're going to have to start dappling in some of the effects and the impacts that they would have too you're going to have whole sections where you've just got large amounts of the foliage that are just blotting out much of the light so you start with the tree trunks and then the rest of it just kind of goes and blotches or it certainly starts to block out the sun but not in it quite as a uniform consistent way again turn it down there's going to be areas where perhaps we just need to match it in with the tree trunks back up again blend those shadows in a bit more perhaps i'll change now to the airbrushing soft brush again we're still on the layer that's on an add mode so just need to be conscious of that i'm going to go back to this vibrant color on the very end and it is a very bright vibrant color so i don't need a strong opacity still i'm going to keep it at 20 percent at the lowest part of two and i could just build in some strongest little highlights here and there if i want to just really exaggerate some little features i think can work really nicely so obviously we're going to add these in the highlighted areas rather than adding them in the shadows and in addition to that it's going to go up to three percent size and just really focus in there's a whole area here where there's no trees so it's not going to be obscured in any way so you can just ramp up the highlights in some of these areas perhaps it's starting to get a little bit exaggerated but why not and i'm going to add some slight textures to where the shadow are so i'll create a layer above that with the soft brush still i'm going to go to the darker color third in on that row turn it down to two percent size and keep it at 20 opacity and i'm just going to add just some blending in lumps and bumps just to soften in the shadow to the bottom of the tree there because otherwise it looks a really strained kind of contrast which doesn't look quite right so the roots are going to stick in the ground there's going to be disruption to the the earth and yeah complications to the shadow as well so just mess it up just confuse it in a little bit and i think that will just give you a sense that it really is rooted there as well and there's nothing wrong with going in perhaps with a go in and just create some little anomalies more clusters of little lumps disruption in the earth and the grass sort of disperse that around a little bit this makes a little bit more naturalistic okay last touch i'm going to go back up to layer 12 again which was the one with the tree trunks and using my soft brush still i'm going to go in with this second color on the bottom row with two percent size and maybe a 50 opacity and i'm just going to use it to create some slight hints of i don't know a hint of texture on these tree trunks i don't like the idea that they're just completely flat so i'm just adding a hint of a slightly lighter color in there as well and you could actually go in for a really lighter color so we've got this color on the very end perhaps just whack it down a little bit more about 30 percent and yeah you can just click even more for just a hint of bark texture just do it sparingly though wouldn't go too much into that and yeah i think i'm going to leave this tutorial here at this point i hope you've enjoyed watching if you have a go at this i want to tag me on instagram there is a link down in the video description don't forget to give this video a thumbs up if you have enjoyed it hit the subscribe and don't forget that bell notification thanks for watching i shall see you back here soon bye for now