IPAD PAINTING MADE EASY - Ocean Sunrise landscape tutorial in Procreate

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. So if you're familiar with this channel then you know that I use the app Procreate on the iPad but you can probably apply many of the techniques and much of the process to a different tablet and a different app. Having said that I've opened an A4 default canvas within Procreate which is 297mm by 210mm at 300 dpi. I've already pre-selected some colours and each of these colours has what is called a hexadecimal code. So if you go to the colour section within Procreate tap on the value you'll see hexadecimal codes are put here. Each of the codes is down in the video description. You can type them in one at a time, press enter, the colour appears up here and you can start tapping it together yourself. There's also a link that takes you to my Patreon page and you can download the colour file for free. In terms of the brushes I'm going to be using today, first of all I'm going to be using the airbrushing brushes, so the soft brush. Later on I might use the medium brush a little bit. Within the artistic brushes I'm going to be using the leatherwood brush. Now I have amended that brush and I will show you that later on. And within the organic brushes I'm going to be using the rainforest brush which might seem a Okay so let's get started. So we've got a blank canvas, I do not like it when we have a blank canvas, I prefer to get rid of that straight away. So I'm going to go to the first colour, I'm simply going to drag it from that colour circle into the canvas and it flood fills and just gets rid of that intimidating white. I don't need to create a new layer initially. I'm going to go to my second colour, I'm going to make sure that I'm on my airbrushing, so airbrushing and soft brush at the very top. There is a soft airbrush lower down but that's not the one we want, we want the one at the very top which is just called soft brush within airbrushing. I'm going to put my brush size up to about 20% and 100% opacity, so that's strength, on the second slider. And halfway I'm just going to draw a line, it doesn't need to be a particularly straight line because we're going to blur it in now anyway. So go to the adjustments, go to the gaussian blur and we're just going to blur it up to about 60%. Now I'm going to go and create a new layer and we're just going to add a few features for the very distant part of our sky. We're going to have some really prominent clouds but for the distance we just need some suggestion of other things going off. So we're going to go to the third colour on the top row, stay on the soft brush but we are going to have to turn it dramatically down now. The 2% size and also really low on the opacity, somewhere about 15% will do and I'm just going to start lightly because although we've got it set to 15% opacity I could press on hard and you can see it's really quite dramatic or as I'm going to start to piece it together with really soft light brush marks. Now sometimes people when they look at their painting they think well the brush marks look a little bit clumsy and sometimes it's because they've just not allowed it to build up as gradually as I'm trying to encourage you. I'm just doing some dashes, get some texture running across the sky, doesn't need to be particularly prominent, just a few for in the top section like this, maybe just a few taps, slightly more kind of blob shapes and then some stretched out bits, again pressing very lightly. This is very much the background so I wouldn't worry too much about this and then maybe about a third of the way down we can just bring in some longer stretched out shapes perhaps, doing it in long dashes and again I'm still pressing on lightly, I'm just allowing it to stretch out in that distance like this. So it's nothing particular at the moment, it's just it's not going to be a completely dead background now at this point, maybe just one or two slightly stronger highlights at the top there maybe. Okay so we're going to create a new layer, go back to our colours and we've used all the colours in the top row, now we're going to go to the second row. So we've got a darker blue colour, if I go on the disc you can see where it is located, so it's pretty much straightforward blue but quite a dark version of it. We're going to stay on the soft brush and we're going to put it up again to about the 10% size and we're also going to put it up to 100% opacity and I'm going to leave a section at the bottom of my canvas for the water, for the ocean and then just in this section here we're going to do a band that goes across. Again it doesn't really matter if it's not a particularly straight line, as long as it's generally straight-ish then we can go to the gaussian blur again within adjustments and blur it in to about 30%. I'm going to create another layer above, still on the soft brush, I'm going to go to the second colour on the middle row and I'm going to do the same again basically but a little bit higher this time, so it's a bit higher up. So just at the top of that darker blue section we're going to add that slightly lighter blue, again go to the adjustments, gaussian blur and blur it in this time to about 25%. So once we've done that I'm going to switch brush, so we've been using the soft brush and I'm going to go to the organic and I'm going to go to the rainforest brush. I'm going to use this brush to create some of the cloud textures. Now there is a cloud texture within elements but I find that the stamp that's been created for that particular cloud effect is just a little bit too shaped already and it doesn't really allow you to change it very much. I find that when you turn it down it stops looking like a cloud, when you have it large it has a very distinct shape and I want to be a bit more in control of it. So I'm going to go down to the organic brush and the rainforest one and we're going to stay on this blue that we've just been using for our second stripe and we're going to go to the top edge of our cloud. So we're going to have to turn it up to about 5% size, 100% opacity and I'm just going to start adding a bit more variety into this cloud. I'm going to have it slightly dipped in the centre and then slightly raised in the top section. I'm also going to go back to my adjustments, to my gaussian blur and blur it in a little bit to about 5%. I'm going to create another layer, I'm going to go back to my colours, I'm going to move from the third colour to the fourth colour and then we'll come back to the third colour. But with the fourth colour I'm going to do the same again, so I'm still on the rainforest brush at 5% size and 100% opacity and I'm bringing this second colour, it's more of a greyed out version and I'm just allowing it, now I'm tapping it in, so I'm not doing this, it's too much, so I'm building it up gradually. I'm going to allow it to, in a few taps, to raise up in this section, maybe I could turn it down a little bit to like 4% to be a bit more controlled in some areas, bring it into this lower region and then I'm going to just bring it up a little bit here as well. And then again we're going to go to the adjustments, gaussian blur and blur it in to about the 5% again, that works. I'm going to create another layer, go back to my colours and this time I am going to use the third colour, that blue, but I'm going to turn the opacity down now a little bit, so I'm going to turn it down to about 70% and I'm just going to start melding them together a little bit, just blurring them in, just creating some extra textures. It's going to be lighter than the darkest blue but obviously it just meets the grey somehow in the middle. I want to see some of that light texture just overlapping the dark bits of the blue a little bit but then I also want to use it just to smudge in some of that grey and I'm doing it in largely kind of like a tapping motion like this. We can allow it to creep up a little bit into the grey here and there as well. Okay, back to our colours. So we've used the first four, now this fifth colour is a much warmer and brighter colour. Now I don't necessarily want to apply it on top because you can imagine the sun clearly is often a very far distance, it's an understatement of the year really, but that also means that it's going to highlight the reverse part or the back part of the cloud as we're looking at it. So with this warm colour, still with the rainforest brush, we're going to create a new layer but it needs to go behind, I would say behind layer four is about the right position for it. Now we're still on the 5%, size all we were, let's put it up to the 5% again, probably keep it around 70% again, strong enough and then we're just going to go around this edge now and start tapping it in there and you can see it doesn't overpower, it doesn't go on top of the dark colours that we've already created, we're just creating a highlight that is showing through on pretty much the edge and that's where it's going to be the most dramatic. You can also have a few breakaway tufts but predominantly I'm looking to just keep it along this edge and I don't mind if it gets a bit more dramatic in the centre. We're going to have the sun and a really highlighted cloud right in the centre so if it starts to build up a little bit more in this region then that's all well and good. But then as it gets a little bit more over here it's just going to be hugging the very edge of that top part of the cloud like that. Okay we're going to go to our top layer again and we're going to create another layer and we're going to repeat the process but it's a bank of cloud that is coming a little bit closer to us. So on this new layer we're going to go to the second blue along and we're still going to be using the rainforest brush. I'm still going to keep it at well about 5% size and the 70% opacity and I'm going to start building in a really prominent bit of cloud. It almost feels like it's part of the same thing but it's just bringing it forward making it more a key feature in our scene. I don't want to close up the gap between those two areas I want to keep it as a distinct cloud and if you have a go at doing this it doesn't need to be exactly the same shape it's going to be very difficult to completely replicate what I'm doing. It's more about the overall effect so clouds change every single moment. If you sit and look at the same cloud a minute later it's going to look completely different shapes anyway so don't worry too much about that. We'll blur it into about the 5% just softens it in and create another layer on top of that and again go back to the colors and we're going to use the third color this time the third blue and we're just going to go over the top of that in sections just to create a variety of tones give it some 3d depth stop it being so flat maybe concentrate a little bit more towards the top because although we've got a predominant light coming from the sun you're also going to get reflected light which generally in the atmosphere is going to be coming from above so if you're going to concentrate some of these reflected highlights they're going to be at the upper part of the cloud predominantly. Okay I'm going to create another layer but I'm going to put it underneath layer eight so the two layers we just created for this new cloud it's gone underneath those and we're going to do a very similar thing to what we did before we're going to go for this warm color and again using the 5 size and the 70 opacity it's behind again and we're just teasing it in around that very edge like this sometimes it can be barely anything and you'll only see just a little bit creeping around that very edge like this then I'm going to go to this color back again so we're on the fourth color this time and I'm just going to reduce the size down to about three percent and we'll keep it at 70 opacity and I'm just going to use that now just to add a few smaller details just to help blend that in a little bit just in places not too much of that. Okay we have a lighter color now so not quite the white at the end but the next one from it and we're going to switch back to the airbrushing and the soft brush we're going to be a little bit more controlled with this I'm going to from layer 10 create a new layer so it goes above that layer but behind the dark layers so it's just above layer 10 and with the soft brush set to I'll just show you more clearly to a smaller size of about two percent and a strength of about 60 percent I'm just going to start using it to build in some extra highlights around the edge so I might reduce it to the lowest part of two percent and just bring out maybe some little shapes that just break free as well and I'm just going to go around that top edge for example and just give it a thinner brighter line around that part just to really bring out the sharpness like I say it can also have some fragmenting sections too and you can see it's really starting to bring out a nice effect there still got a lot of steps to go through but you can start to see some of that effect coming through a little bit more clearly and then we're going to move down into this lower section too I'm not going to go right up to the blue I'm just going to leave a gap where we've got that warm color and then we've got a bright color creeping in there as well I'm still as you can probably hear using like a tapping motion building it up gradually allowing it to be a bit fragmented and broken a bit like the way I tend to talk when I'm doing these tutorials I'm half concentrating on what I'm saying obviously and then half concentrating on what I'm actually painting so yeah now we can just bring some of these highlights a little bit further down now as well just a little bit like that I'm also going to add just a few more breakaway bits of cloud up in that region as well just allow it to be a little bit random it doesn't matter too much I'm going to create a new layer and I'm going to go back to my colors I'm going to use this slightly darker color again stay on the soft brush this time in fact no we won't we'll go back to the organic rainforest brush we'll put it up a bit higher to about the and about 70 opacity still and we just add some sections of cloud here at the top using this warm color and then I'm also going to stay on the same layer and use the lighter so the third one of those warm colors or sorry the middle one of those three colors and blend it in there as well mix them together a little bit like this then go to the adjustments gauzy and blur blur it into well I guess about five percent works just like we did with some of that other texture we're going to go back to the airbrushing and the soft brush two percent size 60 opacity still and we've got that middle color and we can just start merging so we've got really quite you know precise little shapes there and then it's much softer up there so we're just going to do some in the bit where they kind of join together just to create like a transition doesn't need to be agonized over this at all just a little bit more sharpness and smaller shapes is going to merge them together really nicely okay we are starting to get a lot of layers so you know it pays at certain points to just start merging some layers together perhaps certainly between layers 11 and 12 we can just pinch them together which is a bit tricky and if you struggle to do that then the easy way of doing this is to tap on layer 12 merge down and it merges with the layer below it one of the benefits of doing this now is that we've got most of those real highlight points on one layer and we can use a technique here where we go to adjustments got bloom setting and then we've got it on a slider so we can slide it to the right to the point where it really starts to over brighten some of these shapes and you can really blur it out and it looks too dramatic and then obviously back to zero we want just a touch of this so probably somewhere around 12 now it might be slightly different on yours depending on how much you've actually added but i want a hint of it maybe 13 so you can see it's really starting to blow out some of these sections but you don't want to over saturate it in some of the top sections so it's finding that balance for me i think around the 13 where it's starting to add some of those highlights here and it's definitely building them in here but it's not over producing that white effect there so that's about right so i'm going to create another layer but i'm going to do this time on top of all the layers so i've gone to layer 9 and click the plus symbol and it's on top of everything now i'm going to change the blend mode so the layer properties here we need to go from normal and we're going to scroll down i'm going to put it to add and with the soft brush still i'm going to change color we're going to go for something much more dramatic you can see it here this orange color it isn't going to appear orange because we've got the layer properties different you can see the effect that it creates now so if i had that layer on normal i'll put it back to normal you can see how the color would look but when you put it on to add in this example then it just changes the feel of it completely so i'm just going to clear that layer still on soft brush but i'm going to put it up it's about 10 size and really low on the opacity that's around 10 as well and i'm just going to tap a few times into this lower section and it's starting to really ramp up some of the light effects there not working for us just tap it in a few times not too much and that's starting to work really nicely maybe just a bit more in this lower section just to blot it out you can start to just eat away a little bit of the lower part of the cloud you don't want to do too much because i want to preserve that real darkness i think it is working well i'm going to add some sun rays to this but i'll do that as a final finishing feature i'm just going to have to do some water down in this section i'm going to create a new layer on top of everything go back to my colors i'm going to go to this bottom row color which is an even darker blue than earlier and with the medium brush it's about 15 size and 100 opacity and i'm just going to use this now across this lower section hold that line so it snaps and then just fill it in and we want to blur that in so i'm going to go to the adjustments gaussian blur and blur it in to about the 25 percent create a new layer go back to my colors i'm going to start using some of these lighter colors now so i'm going to go to the fourth color that fourth blue in and perhaps i'll go back to my soft brush have it about the three percent size and five percent opacity and i just want to start building in with a few stripes section here on the ocean different bands the light is creating different effects as it cuts across and we can continue some of these stripes further down too if you're not happy with the way you do lines then you can just snap hold it hold it until it snaps you can keep building it up a little bit like this keep doing that quite a few times i'm going to then put the brush size up to about five percent and still only at five percent opacity i'm just going to build in slightly lighter section here in the foreground just go over it a few times build in some of that light just a bit okay i'm back to my colors probably going to go to this orange color again and therefore we're going to need to change the properties to the add once more i'm only going to keep it at the low opacity of five percent on the soft brush and still at the five percent size and i just need to start bringing in some of the effect obviously we have a glow up there so it's going to impact on the water too so i can just start to build in very gradually the glow in this lower section too it doesn't matter if it's a little bit patchy obviously you're going to get the movement in the water and the different effects is going to make it irregular anyway and then just turn it down to about three percent size this time and i can just start to build in some bits perhaps where it's just glowing a little bit more a little bit irregular something like this to begin with you can also switch to a lighter color stay on the same layer so we've got that first warm color on the middle row and we're just adding it to the mix just to bring in some extra light and we can also go to the adjustments bloom and just turn it up not too much because you can see it can easily blow out way too much so we just want to have it at around 40 percent in this instance i'm going to create a new layer on top so lots of layers here but each step is not that complicated really and then we're going to go and use these two colors now these are the important texture for the ocean so we're going to change brush and we're going to go to the artistic and the leatherwood brush now if you tap on the leatherwood brush and you go to the stroke path you'll see there's a spacing option now i'm just going to cancel that and i'm going to reset the brush so you'll see what it was before and you can see that the visualization of the brush is quite different so i'll tap on it again stroke path spacing is at 17 percent by default and i'm going to put it up to 40 percent and you can see it's changed it it creates more of a gap between each component of that brush texture which means when we're using these colors now it's going to fit much better so we're going to go for the warm colors initially so that middle color like a bronze type color we're going to reduce it down to the lower part of in fact we'll put it at one percent and we'll put it about this 60 opacity and then we're just going to start bringing that in in fact it's too much at 60 even so i'll put it at 50 and i can just start bringing in some of this texture across maybe when it gets closer to us we can have it as a bigger size or have it at three percent when it gets really quite close and obviously we get the transitioning between that larger texture and the smaller texture too so maybe more than one percent for the distance and as it gets closer to us we hand off to the three percent and we're also going to use the dark blue and we're going to continue that around the edges so i'll put it up to the three percent for the foreground textures you can have these blending in here then maybe i should do it in stages i'll do the two percent for the middle section and then the one percent for more the distant bits and if you want to do the distant bits by snapping and holding it to a straight line you might be more confident with doing that because obviously as it gets further away you're going to see more of those absolute straight lines anyway and you might want to blur it in somewhat so you can go to the adjustments gaussian blur and just soften it in a little bit so maybe about three percent i'm going to create another layer on top so i want a separate layer for the highlights so i'm going to go to my highlighted colors i'm going to go to this first warm color initially and we're going to have it at the two percent size i'm just going to start building in some of these highlights maybe go for the next color even brighter why not again with this layer we can always further enhance this with the adjustments the bloom just to really bring that glow out a little bit more so maybe put it up to like the 25 that works nicely it really brings in a strong light here let's bring in some more highlights here slightly more in the distance too it's okay to have highlights in some sections but not all sections and then as some finishing touches really we're going to create a new layer and we're going to change the properties of that layer to the add and we're going to create some sun beams that just brings the two elements together a little bit more so we're going to use the airbrushing and soft brush we're going to have it at the three percent size and five percent opacity but we're going to change it to this strong color again and create a what i'm going to raise in a bit but i'm going to create a vanishing point and we're going to have beams of light coming from there now onto our water so it's poking out from behind the cloud or the light is escaping through the cloud in sections more obviously and it's just creating these really nice sun rays and obviously we've got that vanishing point if you like so we've got that origin point of the sun and all the beams need to angle and line towards that now don't overdo this try not to build this up gradually which is why we've only gone on the five percent we're doing it really gradually and we can still have some beams coming over into this section but they're going to be more subtle not as obvious maybe over in this section as well but again more subtle not as obvious and then maybe in the upper section of these beams we can just build in so i'm going to put it up to about five percent and just soften that in a little bit have them more impactful and they're obviously higher up and if you feel like you've gone a bit too much with the brush strokes and it's just a bit too dramatic you can always go to the adjustments the gaussian blur i'm going to blend it into about 10 which softens it but then it also doesn't stop me from continuing working into it so i've just softened them a little bit so we retain the effect but it's just a lighter touch and then if i want to go back in and just strengthen up bits that i feel need that extra and i can also reduce it down just to have again a little bit more precision and sharpness if i feel it appropriate in one or two areas and i'm going to stay on this same layer and i'm just going to just move across bits here where i want to continue that luminosity just a little bit more in places i can just ramp it up i want to further enhance and spread that it is a lovely effect so if you want to lean into that a little bit more in places then you can go for it and just push it need to remove that section before i forget about that there's another piece there perhaps just with a slightly stronger sunbeam coming through just some finishing touches so i'm going to create a new layer just for some fine tuning here and there go back to my colors so i've got this fourth color in on the middle row and i'm just going to make slight more features of some of the edges of some of these clouds in these lower sections but you know arguably it doesn't need it but i do like to fine tune and just bring out some elements and then they'll stay on the same layer not really doing anything too dramatic i'm going to go to this warm color up here add a few more breakaway bits of cloud in fact i'll move to the brighter color here let's go for it put it higher up 40 percent why not and if i feel in any places i just want to make a little bit more of the the highlights around things so just sharpen it with a two percent size and a forty percent strength i can just go in and just sharpen up some of these edges if i feel that it needs it in one or two places but you can decide where you want to leave yours and then with the white color on the end just for any bits that i feel need to be extra bright which they do in places i'm going to put that up to about 50 size really low size and just bring it out the white where i feel maybe i just want a bit more of it okay i'm going to leave that there at this point before you go please make sure to give it a thumbs up hit the subscribe button and also the bell notification to be notified of future videos if you do have a go at this and you want to share it with me tag me on instagram or join my facebook group we're heading towards 40 000 members they're great community all the links for everything to do with my socials are down in the video description thanks for watching i shall see you soon