PROCREATE Forest Cottage landscape Drawing Tutorial in EASY STEPS

I'm gonna break this drawing down into steps that are way easier to follow than you would imagine, so that you can draw this too and amaze yourself. So the app that I'm gonna be using for this tutorial is Procreate. I've opened an A4 canvas, which is 297 by 210 millimeters at 300 DPI. In terms of the brushes, I'm using the classic brushes that come free with the app. If you can't find them, go up here, tick on the little arrow, go back to libraries, and you've got a choice between Procreate and Classic. So we're on the Classic set. And then in terms of the colors, I've created a color palette, which you could access for free. There is a link for that down in the description. And if you have all of that, then you're ready to get started. So the first thing I'm gonna do is rotate the canvas to the portrait orientation. I'm gonna go to my layers, layer one, and the first color on the top row, I'm gonna drag from the color circle in to the canvas, releasing it flood fills. We'll stay on the same layer, layer one. I'm gonna go to the second color on the top row. I'm gonna go to the Organic Rainforest brush, tap on the brush, Stroke Path Spacing. It will be, by default, about 27. Put it at maybe about 35, and tap Done. It's just slightly spread out the little grain of the textures there. Gonna put the size quite big, about 15%, 100% opacity. And we're just gonna do a sweep of this in on this side. I'm doing it as a curve. I just want to leave some of that top corner free. So you can see I've done more of it down in the bottom. That's a curve like this. We're just gonna leave this top section with less of that blue in there, maybe just a few taps. So there's plenty of gaps anyway. And you can see there's no gaps down in the left corner, the bottom, and the top left. There's more gaps up here. However, on that layer, I'm also gonna go to the Adjustments, the Gaussian Blur, and I'm gonna slide that across as well to about 20% deselect. I'm gonna go to my layers, create a new layer, Layer 2, and I'm gonna go to the third color on the top row. Still the Rainforest brush. I'm gonna tap on it again, stroke past space, and I'm gonna turn it up a bit more to about 40. A bit tricky on the sliders, but there you go. Done. A bit further down on the size, so maybe about 10%, 100% opacity. And again, I'm just gonna bring in some textures. Gonna leave it a little bit more patchy in the top, but then as we come sort of further down here, we'll allow it to just build up a little bit more. And then as we come further down, it really is just going to close up like this. And again, Adjustments, Gaussian Blur, blur it in significantly less this time, maybe only to about 5%, and deselect. Go to our layers, create a new layer, Layer 3, and we're gonna go to the fourth color on the top row. Still the same brush settings, you don't need to change anything. And this time I'm gonna start from the bottom to add some of this color. Gonna take it up about a third, so it is completely dense, there's no gaps really. Then I'm just gonna start tapping in some of this, and there's a good portion of this that's gonna be obscured by a structure in the foreground, but we're gonna have bits of that background where we start to see some things coming through. Then again, Adjustments, Gaussian Blur, blur it in, again to about 5%, deselect. Create a new layer, Layer 4, and I'm gonna go in with some darker colors this time, so it immediately gets quite a lot darker with the fifth color. Same brush settings, fill it in at the bottom, allow some of those natural kind of gaps and breaks to remain, and that's fine. We're not gonna take it up anywhere near as far, so something like this, again, a bit of a gradient of gaps and textures, and again, Adjustments, Gaussian Blur, and again to about 5%, deselect. Another layer, Layer 5, very similar process, we're gonna go for the sixth color, dark color at the bottom, and this now is gonna start fading out. We don't want too much of that dark higher up, it's mainly preserved for the bottom section, so we can go over a few times there. We don't want this to reach up as far though, just a few bits of it there, and you can see it isn't really going anywhere near as much up, so really about a third, and fading out at about halfway. Adjustments, Gaussian Blur, and again, predictably, about 5%, deselect. Create a new layer, Layer 6. We're gonna go backwards, we're gonna go to the fourth color, and we're gonna stay with the rainforest brush, same settings, but we are gonna turn that down to about 4% size, and about 80% strength, and then, well, we're going to allow bits of this texture to start coming through, and it's just gonna be a little bit sharper in contrast, just a few bits coming in, just raising the texture there a little bit, and we're gonna go down and reach for a much brighter green, so we're gonna go for the sixth color on the bottom row, same brush, but we're gonna turn the opacity down to about 30%, and we're just gonna introduce hints of this color back here, and I don't really want it to be overpowering. We're gonna preserve the real vibrant greens for the foreground, but we're gonna have just a few suggestions of it back here anyway. Not too much of it high up there, I feel like I've done a bit too much of that, so two fingers, keep backtracking, there it is, go back in, replace it in some of the sections further down, and again, much of this is gonna be obscured, but it only takes a moment to piece it in there anyway. We're gonna go back to the third color on the top row, tap on the brush, and I might just put the spacing even further up to about 50%, 51%, 50%, if it's 1% off and you struggle with the slider, don't worry too much, 3% size, 100% strength, we're just gonna introduce some of this lighter color, some of that light that's up there is just gonna really gather some of this foliage. Now what I'm gonna do at this stage is with layers two to six, I'm gonna pinch them all together, merges them, but we're still left with layer one remaining. Now with this merge layer, so on layer two, I'm gonna go in with the eraser, I'm gonna put the eraser to the drawing, evolve brush, tap on the evolve brush, and I'm gonna have the spacing at about 50%, about 5% size, 100% opacity, we're just gonna have some gaps, feel like we've kind of closed down rather a lot, so I think it makes sense if we just randomly have some gaps in here, between these trees, you can have big gaps in places, clusters, it's okay further up as well. As it comes further down, you're not gonna see too many of these gaps, it's definitely gonna be something that's in the higher areas, and then adjustments, Gaussian blur, blur it in, this time, quite significantly to about 10% and deselect. And it's just created foliage, it's created a sense of trees in the background, and it is quite impressionistic and that's enough for this stage. So we're gonna go to our layers again, create a new layer, layer three, then on our colors, we're gonna go to the eighth color on the top row, we'll go to the airbrushing, medium brush, 2% size, 100% opacity, and we're gonna pick a point about a third of the way down from the top, coming into the canvas, about a third of the way across as well. So a third of the way down and a third of the way across, just put a point, and we're gonna come to this side and then I'm gonna take maybe about a third of the way up, just a little inset, do another point, it's a bit higher than the third, that's fine, and take this point, draw a line, hold it until it snaps and they join, like that. Now I'm just gonna zoom out a little bit, I'm gonna take that point, draw a line, hold it off the bottom of the canvas, hold it until it snaps, and then we want it to be completely vertical, which is difficult to judge, just put it somewhere where you clearly know it isn't vertical, other hand, one finger on the screen, and it snaps to a perfect vertical line. And from this edge, we're gonna just trace back a little bit, not too far, to a point, draw a line off the bottom of the screen, hold it until it snaps, again, move it around, and then with your other hand, one finger down, and it jumps to a vertical line again. We're gonna come up on this line, not too far, to a point, and then on this line, we're gonna do similar, but not quite as high as that, it doesn't need to be too dramatically different, but that's just a little bit higher than that, just so it's slightly noticeable, and then when we do a line to join them up, hold it until it snaps, you'll see a slight angle to that line as well. From this point, I'm gonna draw a line across, hold it till it snaps, and you can probably judge this so that it's horizontal, it's gonna be obscured anyway, so it doesn't really matter, and just so that we're understanding where we're at, we can just remove, erase some of the lines we don't need, and we can start to see the structure emerge a little bit more clearly. Now we're gonna try and create a sense of a little bit of a thin view of the top of the roof, and now getting these angles so they look natural is really tricky, so one way we can do it is slide and duplicate the layer, top version, transform, I'm gonna move it up to the edge of the canvas, so that line there just goes off the edge, and I'm gonna move it slightly higher up than the original deselect. We don't want any of this bottom section of that new version, all we do want is this point and that point, we can join them up, we need to go back in with the brush, join them up, and the point was just on the corner there, and it corresponds, it's a similar one to this point, we need to join them up. Now we've got a line there, and there that are parallel to each other, and a line there, and a line there that are parallel to each other as well, and that's what we wanted, I'm gonna take the top version, tap on it and merge down, then I can go in with the eraser, put it to something like the hard brush within airbrushing, 3% size, 100% opacity, and just get rid of the bits that we don't need, which is that bit, that bit, and it doesn't matter if you've got some points, it looks a bit untidy, doesn't matter, we've got the structure right. Very awkward and difficult angle to do by eye, using that method, it makes it much easier. Now with that entire structure, I'm gonna go to transform, make sure it's on uniform, I'm just gonna pinch it down a little bit, I want a bit more of the top area there, visible, maybe a little bit of a gap there on the right side as well. I might even pinch it up a little bit, so we've got a bit more room for a couple of steps, and details and deselect. Back in with the brush, I'm just going to close up some of these corners, we can make sure that they're sealed shapes, and there's no gaps anywhere, that means we can go to some other colors, or maybe the 10th color on the top row, and we can drag into these shapes, and flood fill in those areas, which is really useful. I'm gonna go back to the structure, but I feel like I want to concentrate on the tree first, that's gonna cut in front of it. I'm gonna create a new layer, layer four, go for the medium brush with an airbrushing, and we're gonna go back to the darkest color, the eighth color on the top row. 10% size, 100% opacity, and I'm gonna have a tree coming in on this side, down to about 7%, and then it's gonna split off, maybe about 5%, and your tree doesn't need to follow the exact same shape, 4%, but if you use this as a kind of starting point and guide, to aim for, then yours can have a character and life of all of its own, and that's fine too, turning down 3%, the reason I'm turning the percentage down, is the branches naturally enough, get thinner as they go, as branches grow, they will just gradually get thinner and thinner, all the way up, my journey up through the tree, we can turn it down even further, 2%, some branches that just sort of kick out and meander, and you can still create thick branches, even with a smaller brush, you can just keep going over it a bit more, find the amount of branches that works for your design, don't be restricted to what I'm showing you here, you can do your own tree, your own shapes, back up to 3%, I think some of these edges, they're just a little bit gnarly, I think will actually benefit, don't want this tree to be too neat, just on the edge, you can make some bumps, don't want it to look too smooth, it's actually quite forgiving, sometimes just aiming for a slightly rougher appearance, a bit more sketched, not quite as neat actually, is a better way to go, nothing's too perfect looking at all, turn it down, again, low on that 2%, just a little branch kicking up here, bottom end of 2%, we can always go back in and refine some of these branches a little bit later, don't have to do them all at once, we're gonna add some foliage and then we can go back, add more fine branches if necessary, but we've got a starting point and that's what really counts, okay, I'm gonna create a new layer, layer five, but I'm gonna drag it underneath layer four, I'm gonna go in with the rainforest brush within organic and again, we're still at the 50% spacing within stroke path, gonna go to the first colour on the bottom row, 4% size, 100% opacity and I'm just quite liberally gonna start bringing in some of this foliage, make it nice and dense up in the top left corner, across the top, this is all foliage that's on the rear, behind tree branches, tree trunks that we've already added, bring another passive across, there's gonna have to be quite a lot of it, just reaches all the way across the canvas, but leave some gaps, we did a section at the top, another section here, bring it down, the branch structure here, whenever you've got branches, you're gonna need some foliage to match it, don't worry too much about what's lower down here yet, we can do more foreground foliage in a moment or two, to leave plenty of gaps, maybe just a few touches over here, a few touches in the top corner, but again, more and more gaps, makes sense that it's denser over here because we have more branches, let's go to the layer slide and duplicate it, just makes all of that denser, rainforest brush is a little bit almost translucent, so tap on the top version of layer five, merge down, that's all on one layer now, tap on it and put on the alpha lock, and we can go in with some lighter colours, let's go to the second colour, on the bottom row, the same brush, same settings, just tap in some lighter colour, that can make a big difference that, so we're gonna move along, let's skip a few colours, let's go to the fifth colour, we can tap some of this in, we can do layers in front as well, we are preferencing more the right side, the sun is gonna be coming in from this edge, anything that's reaching over to that part of the canvas is really gonna be bathed in the sun, and we're gonna start to exaggerate that really quite a lot in the moment as well, let's move along, sixth colour, especially over the edge, occasional back here, but not as much, it's definitely over this side more, you can already start to feel the sun coming in, keep tapping that around, let's move along, super vibrant yellow green colour, which is the seventh colour, and that's the kind of ultimate bright colour that we're going for, let's tap some of that in, over at this side, any little bits of foliage that are out on a limb, out on their own, gonna be mainly this colour, and I don't mind doing a bit more of this colour than I would perhaps want as a finished look, because this is the layer that's the back part of the tree, we're gonna do some foliage over the top, so we can have a bit more of this colour initially, than is going to look completely correct, so we can just go over this edge, tap some of this a little bit more, it's not the finish we're going for yet, this is only at one stage, so that looks about right, and then we can go to our layers, layer four, create a layer on top, so now we're on layer six, let's go to our colours, go for some dark colours again, so we'll go for the first colour on the bottom row, and some at the top, some of these branches are gonna be obscured again, we can bring this across a little bit, not too much over at this side, just a few touches of this colour in lower areas, let's move along to a more noticeable colour, second colour will be a bit more noticeable, a few touches up in the top left, and now we're gonna start using this to obscure the tree branches, a bit more of this up here, and we probably need to go to a more vibrant green, let's try the fourth colour, a few touches of this up in the top left again, bring it across here, and we can start to add it as like a closer, silhouetted foliage over the top of really some of those vibrant greens, don't wanna completely obscure it obviously, but we can add it here and there, let's go for maybe the eighth colour green, that's quite a nice green, we can just blend those two together a little bit, I'm starting to get a really quite nice effect, maybe the sixth colour green, just one or two in here, not many, one or two, I'm getting a nice sort of sense of layering of foliage now which is working nicely, maybe the fourth colour green, still the rainforest brush, I'm gonna turn the texture down, brush down to about 2% size, and we'll just be a little bit more controlled, and then it's almost, it gives the impression of more of a leaf texture now, in and amongst, you zoom in you can see that a bit better, a few more of this texture in there, looks a little less cloudy, a little bit more kind of granular leaves, I think it looks better, important to have a variety of different textures, just sprinkle this around, I think that's working better for it, gonna create a new layer, layer seven, and on this layer we're gonna go in with the eighth colour, the dark colour again, and again rainforest brush, spacing at 50%, we don't need to change it, maybe 5% size, 100% opacity, we're just gonna tap him, it's almost like the real silhouetted version of foliage, you want it to be taps, or gaps rather, tapping it in, but then we can allow it to become much denser, down at the bottom section, just a little bit of a gathering, these shapes in that corner, and then we can just fill it in for the bottom section, just a few bits here, and a few more a bit higher up as well, okay, we're gonna create a layer on top of layer seven, layer eight, we're gonna go in with the fourth colour, on the bottom row, rainforest brush, same settings, 3% size, 100% opacity, just a few touches of this, I thought we might turn it up a little bit more, top end of 3%, tap it in, this edge is gonna end up catching the light a little bit, we can go in and refine that further a little later, just a few taps of this to begin with, leave a bit of a gap, where we can see the tree trunk, a few taps of this, up here, perhaps we'll change brush, we'll go to the airbrushing medium brush, 2% size, 100% opacity, same colour, and we'll go in and we'll just add in some leaves that are just a little bit more vivid perhaps, just a bit clearer, and I'm not overly obsessing on leaf shapes, imagine like a knotweed leaf perhaps, that's just overgrowing everything, climbing up the tree, climbing up the building, but each individual leaf doesn't need an awful lot of detail, just a suggestion of a shape, and sometimes it can just be little blobs, and that's fine too, building up an effect here, it's not necessarily to zoom into the nth degree, to scrutinise every single shape, we're really about the overall effect, more important, so once we've got so far, we'll go for maybe the fifth colour, nice vibrant green there, same settings, let's just get some leaves that are starting to sit in the sun, a little bit more around this side, a little bit more care, a few dashes, we'll come back to that, we'll probably add to that effect, for now, starting to get the impression, okay, I'm gonna go back to layer three, gonna create a layer above it, layer nine, and on this layer, I'm gonna tap on it, and put on the clipping mask, which links it to this layer, so now anything we add will be contained within those shapes, so I'm gonna go in with the rainforest brush again, first colour, on the middle row, and what are we on? 4% size, let's go for 100% opacity, just a few touches of this colour, just so it's not flat looking on the side of the building, I can bring it across, again, it's gonna obscure some of the beams and some of that line, and that isn't a problem at this point, smattering of that across, let's go to the second colour, on the middle row, bring some of that in, bottom edges of this side is really important, bring it up, release the pressure, allow it to blend out with this side, I'm not gonna bring too much of it over at this side, this colour is mainly for this face, allow it to blend out towards the top, getting a nice gradient of textures, third colour, again, maybe just more of this for the bottom, again, not on this side, allow it to fade out, a bit more of it at the very bottom again, getting a nice gradient of textures, fourth colour, again, more of it at the bottom than anywhere else, sun's coming in here, it's really gonna impact this bottom edge more than anywhere, adjustments, Gaussian blur, blur that in a little bit, not massively, maybe only about 5% and deselect, okay, I'm going to create a new layer on top, I'm gonna go in with the airbrushing hard brush, and I'm gonna go to the eighth colour on the top row, 4% size, 100% opacity, and I'm just gonna reinforce this line, so I'm gonna go to that corner, can't quite see it, but that corner there, bring it down, hold it until it snaps, in fact, let's put it bigger, let's put it onto the 5%, repeat that, all the way down, hold it till it snaps, I'm gonna do the same for this line here, although you can't see all of it necessarily, you can guess at where it's going, and then I'm gonna do this line, hold it till it snaps, try that again, then you can manoeuvre it, get it just where we want it, turn it down, 3% and I'm gonna do a line at the edge, hold it at the bottom, and then manoeuvre it where we want it, so something like that, now for the tiles at the top, I'm gonna go for the 10th colour on the top row, hard brush with an airbrushing, 3% size, not 100%, let's go for 70% strength, opacity, I'm just gonna soften in, some of that line at the top, get rid of that, don't want this to be absolutely perfect, get bogged down in something like tiles, and just really drive ourselves a little bit crazy with it, we'll come back to the roof, but we're gonna add a window and a door, so from this layer, I'm gonna create a new layer, layer 11, and I'm gonna go to the selection, rectangle, draw a rectangle, go to our colours, go to the darkest colour, we have the 8th colour on the top row, and drag into the rectangle, and then deselect, now before we move it anywhere, I'm perhaps just gonna work on this, try to create a sense of a door, now it won't be the most detailed door you've ever seen, doesn't really need to be in context, so what I'm gonna do, slide and duplicate it, top version, go to our colours, 8th colour on the middle row, drag it from the colour circle onto the door, transform, uniform, I'm just gonna pinch it in, from the corner, arrange it so it's just a little bit smaller, deselect so we can see what we've got, we might need to go on freeform, drag it down, I'm gonna try and do this in a way that doesn't require us to draw every single line, we'll take it as close to the edge as we can get, but still leaving a little bit of a dark line around, deselect so you can see that, slide and duplicate the top brown version, go to the 8th colour on the top row, the dark colour, drag it into there, transform, freeform, and then we can drag the edges to give ourselves a nice little door frame, try to keep it consistent all the way around as much as you can, like so, top version, slide and duplicate it, top version, let's go to the 8th colour on the middle row, drag into that again, transform, pinch it in just a little bit, just to reveal some of that dark line again, bit tricky, move it around, deselect, I'm gonna go to the 8th colour, top row, hard brush with an airbrushing, 2% size, 100% opacity, about halfway across, hold it till it snaps, one finger down, we should have got it perfectly horizontal for us, and we can do the same again, judge it by eye, hold it till it snaps and then just, you can probably do that without having to put the one finger down, I'm gonna pinch all of those rectangles together, 8th colour on the middle row, just maybe go in, reduce that a little bit, I'm gonna go to the 8th colour, on the top row, drag from the colour circle into that rectangle, it's a bit too keen, so on a slider, slide it back to the left, you can see it just fills that top version now, which is better, 8th colour again, 1% size, maybe a bit less than the opacity, maybe only about 60%, and then well, we can do some lines, make sure, yeah, we are on the 8th colour, hold it till it snaps, you can judge this by eye, goes a little bit wonky, you should be able to detect that enough, this structure doesn't have to be too modern looking structure anyway, so perhaps some inconsistency might not be a bad thing, maybe some lines just through there, representing grain of some sort, gotta agonise over it, I'm going to slide and duplicate that, top version, just move it across here, eraser, hard brush within airbrushing, 10% size, I'm just gonna remove the bottom section, be a bit more controlled along the edge, make it as easy as we can, 8th colour again on the middle row, still a hard brush, 3% size, 100% opacity, I'm gonna go straight through the middle, hold it until it snaps, and then I'm gonna do maybe slightly less, 2%, straight through the middle, hold it till it snaps, and then same again, there and there, again, it doesn't have to be overly perfect, it's fine, I'm gonna go to the transform, free form, just pinch that in, like that anyway, now I'm gonna go back to layer 11, I'm gonna go in with the selection, automatic, I'm gonna select the middle bit there, and it's on a slider, I'll try that again, automatic, slide it to the left, I just want the middle of that window selected, don't deselect it, we're gonna go to the brush, now you'll notice all of the bits that are not selected are lined out, just that bit we can affect now, 1st colour on the middle row, soft brush within airbrushing, 2% size, maybe about 20% strength, I'm just gonna do some curtains, some lines through here, just so it has some detailing, let's go for the 2nd colour, lower that 2%, some of these lines can just be a little bit more exaggerated, we want some texture in there without going crazy, don't need to go too far with it, they're just some textures, behind the glass, some curtains perhaps, deselect, go to the top version of layer 11, selection, automatic, we can probably on the base just grab all of those, again don't change anything, go to the drawing, still on the soft brush, we're gonna choose a lighter colour perhaps, but we'll start with the 2nd colour, we'll do some curtains through here, runs across all of those, quite easily done, maybe the 3rd colour on the top row, turn the percentage down, 15, just a suggestion of these through here, now what I'm actually going to do is go to a really light colour, so the 2nd colour, do some lines in this corner, just at the bottom edge, I'm gonna have it lined up with some other bits that are really catching the light as well, so I just want this bottom edge and perhaps we'll even go for the 6th colour, and some nice warm colours in there, so I just want the bottom right corner to really catch the light, deselect, select again, we can go for the wood frame, bit there that's not included for some reason, don't worry too much, brush, let's go for the 9th colour, 40% maybe, we can just add some of this light at the bottom of the frame, let's even go for the 10th colour, sunlight is gonna really catch the bottom of the frame here, deselect, it's gonna make more sense when you move it into position and we start adding some of the effects, let's start to shuffle this around now, so let's go for the door, selection, move it over here, let's go for the window, selection, transform, I should say, move over to this edge, we've got it on freeform, let's start to shuffle things around a little bit, pinch it in, we're gonna go to the top left corner, pull it up so it more closely is parallel with the roof, pinch it in a little bit, a little bit of just judging it by eye until it looks more appropriate, let's go for the door, transform, move it over here, I'm gonna line it up with the bottom of the house, pinch it in, pull it down, want the bottom line to line up, so that's bottom left corner, pull it down, bottom right, match it up, shrink it down, want it to run parallel with there, so we can bring that corner down, so it feels like a continuation of that line, and then this, you just have to fine tune it, fiddle around with it until it feels like a line that runs with that one, pinch it in, pinch it in a little bit more, find the right positioning until it looks coherent, okay, I'm gonna go back to layer nine, create a new layer, above it, so layer 13, tap on it and also put on the clipping mask, which links it to the structure, I'm gonna go in with the six color on the middle row, airbrushing, soft brush, 3% size, 80% strength, I'm just gonna start tapping in, you can see how it's gonna correspond to the window and the light we've already got there, tap in some of this, bring it in down here, tap it in down this area too, keep it a little bit broken, let's turn it down, 2%, a few taps of it in and around, let's go for the seventh color, perhaps we'll go to the layer, tap on it and put on the alpha lock, where we can just brush some of this lighter color through, we're not gonna lose that warm color completely, the two can work together quite nicely, getting a combination of those, turn off the alpha lock again, and a few little bits of light just coming through, touching the different areas on the door yet, so all we need to go back to the two layer 11s, pinch them together, go in with the ninth color on the bottom row, go on layer 11, we can just tap some of this color, impacting on the door, it is a little bit destructive of the detail if you really zoom in, not to worry, not that noticeable in the scheme of things, we can go in and fine tune that if we want, maybe on the curtains, we can go for the second color, just have that impacting there, just a couple of touches, back to the seventh color, control that a little bit more, we've got a smattering of that, which is really quite nice, what I'm gonna do is go to the top, create a new layer, layer 13 all the way up here, I'm gonna go in with some dark colors, let's go for the first color on the bottom row, organic rainforest brush, same settings as earlier, 3% size, 100% opacity, now we're gonna create some foliage and detail that just comes down, 2% and I'm gonna have it obscuring bits, falling down here in front of that doorway anyway, across the roof, down here, running across, let's go to the layer slide and duplicate it, top version merged down, let's tap on it and put on the alpha lock and then we can go in with some lighter colors again, so let's go for more vibrant colors, let's go for that really strong color, seventh color, we've got a really strong light here, so we should probably have sun impacting this as well, it makes sense of it, one or two touches there but not as much, let's go for a more subdued color, fifth color, that's still pretty vibrant, even then, let's go for fourth color, 3% size, turn off the alpha lock, let's go back in with a dark color again, first color, 2% size, we're gonna do a nice sort of bush down here, get into the light colors, let's go for the eighth color, again this is all gonna catch the light, it's very much in the sunlight, seventh color, really push it out a little bit in places, more of it up here perhaps, it's not one to play it, I might go in with the eraser, put the eraser to the organic, rainforest brush, 3% size, 100% opacity, I'm actually gonna remove some of this, I don't want it to completely obscure everything, I quite like that edge over here, so just remove some of it, it's about finding the right balance, the right amount for what you want to show, move back to layer 11, with the airbrushing soft brush and a dark color, so let's go for the ninth color on the top row, 4% size, maybe about 20% strength, build in some of this color at the top, build some of this shadow down, again it's just gonna further obscure some of that top section, build in the shadow quite nicely, you can see it wasn't necessary to go to too much detail on the window and door, they're in the shadow, they're not back, I'm gonna create a new layer, layer 14, medium brush with an airbrushing, go for this really warm color, the sixth color on the middle row, 2% size, maybe about 30% strength, you can just create some dashes, just suggestive of roof tiles, I don't really want to get too bogged down in them, but just that little bit is actually going to be enough, turn it down more, lower that 2%, 15% opacity or so, do a line across, just suggestive enough of some structure, without getting bogged down in the details and just a few dashes in there, you can't quite see the roof tiles, but we kind of know that they're there, let's go to the ninth color, on the middle row, just some dashes where the wood beam is, it's gonna catch the light a little bit, maybe the ninth color, just for that bit of wood that's in the sun, I'm gonna go back to layer 11, create a new layer down there, layer 15, 10th color on the bottom row, soft brush with an airbrushing, 5% size, 70% strength, let's just create a kind of ground level, nice base color for down there, I'm gonna go back to the top layer, in with the 10th color on the middle row, still the soft brush, 2% size, maybe 30% strength, and we're gonna have a couple of steps, let's do a line across here, a line down here, doesn't need to be overly detailed, and then maybe a line up there, so you got kind of steps that come down, a line here, a line there, a line there, then we're gonna go in with the ninth color, do a dark edge on this side, not overly fussed, fussy with the details, doesn't really matter, something like this, then we can go back in with the sixth color, just create some dappled light, that's just hitting there, not really suggestive really, now I'm gonna create another layer on top, layer 16, I'm gonna go in with the first color on the top row, hard brush with an airbrushing, 2% size, 100% opacity, and we're just gonna create some lines, try to have them coming straight down, and we're gonna have a nice mixture of sun and rain, and then we're gonna go to the adjustments, motion blur, we're gonna drag it all the way down, like this, but we're gonna do more of it, just showing you the effects, so you know what we're aiming for, so we're starting with a sense of dashes that go straight down, so we need quite a few of these, near the top, bring them down, make it nice and busy, don't wanna leave any areas out, it's a bit clumsy at this stage, and that's fine, again, adjustments, motion blur, in the middle, straight down, till they become long streaks, deselect, you can obviously go to the layer, tap on the N, and you can turn the opacity down or up as much as you want, I've got it about 50%, I think it looks a bit more subtle, a bit better, then what we're gonna have to do is create another layer, layer 17, and we're just gonna follow that line of the building a little bit, do some lines, cut across, just do some of these lines, again, just following roughly speaking the bottom of the house, adjustments, motion blur, to the side, 100%, deselect, create another layer, layer 18, let's go in, six color on the middle row, about 20% strength, and well, we can build in some of the colors that we've got up there, reflecting on the ground, perhaps we need to go for the seventh color, we've got some of that white, bring it down, reflect it down, we've got water coming down, so it makes sense that we've got water, reflecting some of that color back up as well, no need to go overboard with it, just a little bit, adjustments, motion blur, and again, just to the side a little bit, about 25%, looks good, deselect, need to go back to layer four, have the tree trunks on, tapping it and put on the alpha lock, maybe go in with the second color, on the middle row, soft brush with an airbrushing, 3% size, 15% strength, just run some of this texture through the tree trunk, don't want it to completely lifeless, just a few points of texture, it doesn't need to be much, just brings it to life a little bit, back to the top, now if you want to, you can go in with some lighter colors, I'm gonna do that, seventh color, medium brush with an airbrushing, 2% size, 60% strength, and again, in just a slightly more controlled way, you can ramp up some of these light colors, add them in there as much as you want, you can control it a bit more precision, just a few touches, fifth color, okay, I'm gonna leave this at this point, I often push this a little bit further over at my Patreon, again, there's a link for that down in the video description, thank you to those people who do support me there, I couldn't do this without you, don't forget to hit subscribe, and I shall see you back here soon, bye for now.