PROCREATE Tree Sun Rays landscape Drawing Tutorial in EASY STEPS

Okay, I'm going to break this drawing down into steps that are way easier to follow than you would imagine so that you can have a go create this and image yourself. Okay, so as always I'm using the app Procreate. I've opened an A4 canvas which is 297 by 210 millimeters at 300 dpi. I'm using some of the default brushes that come free with the app. You may need to go up here, there's a little arrow, back to libraries, I'm using the classic library brushes. I've created a color palette and there is a link in the description where you can download it for free. And if you have those things then we're ready to get started. So the first thing I'm going to rotate the canvas to the portrait orientation. I'm going to go to my colors. I'm going to use the first color on the top row. I'm going to drag into the canvas releasing it flood fills, just makes the background a little less pure white. I'm going to go to the layers up here, plus symbol to create a new layer, layer two. I'm going to go to the second color on the top row and I'm going to go to the organic rainforest brush. Now I'm going to tap on the brush, stroke path, spacing, and I'm going to put it about 40% spacing and tick done. I'm going to put the size of the brush about 8%, 100% opacity, a line through the middle and then underneath that line. I'm just going to bring this down. So really what we're after is just a bit of a top edge. You can go over again, add a couple of points if you want to, just make it a bit more complex, that's fine. We just really want that top texture. And then we can go to something like the airbrushing soft brush to maybe 15% size, 100% opacity, and we can just blot in that bottom section. Go back to the organic rainforest brush, tap on it and I'm just going to increase the spacing a touch more to about 45%. Put it down to about 3% size, 100% opacity. And we can just add in a little bit of fine leaf work. It really isn't going to be that noticeable in the background, but just in case little glimpses of it appear through gaps, just looks a bit more complex then. But with that whole layer, we're going to go to the adjustments, the Gaussian blur, and I'm going to blur it in on the slider. Not much, about 4% looks good and deselect. Then I'm going to go on layer two, tap on it and put on the alpha lock. Little checkerboard appears around the frame. What that allows us to do is to go in with a darker color. In this example, the third color. Show you that again, third color on the top row. And it stops at the boundaries. It makes it impossible to add it into anywhere other than where we've already added some detail. So I'm going to go to the airbrushing soft brush again. We'll keep it at the 15% size still and 100% opacity. And then just at the bottom, we'll do a band of this. And I'm going to take it up about two thirds of the way up on this particular area. Whoops, let me do that. You've got about a third left. And simply adjustments, Gaussian blur, slide it across. I'm going to blur it in pretty significantly. It's about 50% on the slider and then deselect. You see, create a nice gradient. And that alone really goes a long way to create a sense of distant tree foliage and something that's more foreground. Now looking at it, I think I like the top of that foliage to be a little bit lower. Transform, freeform, a little blue circle at the top of the box. Just nudge it down just a little bit so that that top texture is about halfway on the whole canvas. If it's going up a little bit higher, that's probably too far. So nudge it down. Let's go to our layers, create a new layer, layer three. And then I'm going to go to the colors. I'm going to go to the fourth color on the top row. I'm going to stay with the soft brush with an airbrushing. Let's put it down a bit to about 10% size, 100% opacity still. And then we're not going to take it to halfway of that point. So halfway between there and there is about here. We're just going to do maybe about a third probably is about right. It doesn't need to be an overly straight line. Don't worry if it's a little bit wonky. Don't want it to look absolutely perfect. It is a natural environment. So even that might be a bit too much. Let's just test it. We'll go to the adjustments, calcium blur. Blur it in a bit, about 20%. I think that actually is about right. Go to our layers, create a new layer, layer four. And we will go along to the fifth color. We're going to do very similar again. Maybe just a touch down to about 8% size, still 100% opacity. And then we're going to do it just a little bit below that point. Again, we don't want it as a straight line. It can kind of undulate, give us that natural look. Fill it into the bottom. And then again, adjustments, calcium blur. I'm going to slide it across, maybe a little bit less, maybe to about 15% and deselect. It's given us something of a layered ground. Builds in a sense of perspective. So we've got a little bit of distance built in there. Again, we'll go to our layers. Now with this layer, I'm going to tap on it and put on the overlock. And we have a sixth color. I'm going to go back to the organic rainforest brush. We had it on 45% spacing within stroke path. That's fine. I'll have it about 4% size. Maybe not quite 100% opacity. Maybe about 80. And then we can just build in some texture at the bottom here. It's going to be mainly dark. We'll build it in. Turn it down as it gets towards the top. Maybe about 3%. Press lightly. Allow it to sort of disappear up to the top. And you can't add it anywhere else. It has got the overlock on. You can see I press more lightly in the distance. And I've also turned the brush size down. Let's go to the next color, seventh color. And it's got a slightly more reddish tone. You can just start building in some variety of colors. We've got it on the smaller brush size here. 3%. We could even put down a little bit more. Maybe just really at the bottom end of the 3%. There's quite a range of percentage even within the same percentage. Let's go to the next color, eighth color. Slightly lighter tone. Different hue. Again, it's just building in those textures. Let's try the ninth color. And as we get down closer to us, we're going to get some of these warmer hues perhaps. And then we've got the 10th color. Now, the 10th color is quite a lot brighter. So let's turn that down to about 50%. And just be a little bit more careful with this color. Just nudging it in here and there. We don't want too much. We're going to add some really strong highlights to this as well. But for now, we'll just keep it with the subtler kind of look. You can see I've just evenly spread that all the way around. Pretty much. Now, with that layer, we'll go to the adjustments, the Gaussian blur. And we're actually going to soften it in quite a bit. We can go back and add clarity to it later. I'm going to soften it in to about 7%. Deselect. Let's create a new layer, layer five. Okay. And on this layer, we're going to go in perhaps with the sixth color on the top row to begin with. I'm going to go medium brush with an airbrushing. 2% size and about 60% strength opacity. And then just back here, I'm going to add in one or two little details, distant stones, other things just subtly there in the background. We don't need to do too many of them. We don't want it to be completely featureless back there. One or two. Then we're going to have maybe just a line coming in on a slope to start forming the bottom of the tree trunk. And we'll do the same on this side. A little bit down from there. Something like this on each side. I'm actually going to do the tree slightly over to the right. It's not going to be completely centered, but just a bit this way. And then I'm quickly going to have it kicking out this way. So the line bending back on itself towards, in a sense, towards that corner. And then this side slopes up here and then it's going to come back this way. So we've got this rising pinched in here and then starting to spread out a little bit. Bring that up a little bit. Start up a little bit. I'm going to change color. I'm actually going to go to the first color on the middle row. Stay with the medium brush with an airbrushing up to about 5% size, 100% opacity. And then what I want really is like a U shape here. So we've created almost like a shape that's going to contain and hold this shape. Let's just thicken it up. We've got a nice U shape. I'm going to make it thicker so that the center of the gap of that U is closed up more. Pinch together again. Something like this. And we've still got a lot of canvas to play with. I'm going to turn it down a bit to the 4%. And then I'm going to have this one pinching in, leaning in towards the center again. Maybe this side sort of doing the same as well. So the lines of this U kind of shape get thinner as they grow up. And we can round it off here as well if we want. Make that a little bit higher up. So you can see that large U shape. It's a bit thicker on this side. I'm going to have this as the kind of dominant structure. This is a lesser branch next to it. If we get the main shape of the tree set, then the other branches around it don't matter as much. Let's just really concentrate on that shape. And then once we get up to here, I'm just going to take this branch and shoot it off to the side. You can see I'm doing it not as a clean shape necessarily. I think if you do it as points, then you add automatically sort of build in this sort of knobbly, gnarly texture to the form. And it might need a little bit of sharpening up on some places, but for now it's fine. And then once we get to here, maybe just stir it off to the side maybe. And yours doesn't have to be exactly the same as this at all. I do recommend you go for this main U structure. It's going to balance the tree quite nicely. So we've got a 4% size, 100% opacity. We'll come to this more dominant branch structure. I'm going to build this up. I'm going to take that up higher. The overall thickness now should start to get thinner as it goes up. And get a bit taller on this side. Keep it going up. Not completely straight up. It's slightly tilted as you notice. You're rarely going to get something like a tree and absolutely dead straight up. Not this kind of tree anyway. Sometimes on fir tree, pine trees, that kind of thing, you might go dead straight. But not on this type of tree. Once we're getting up towards the top, it has thinned up. You can see it's getting gradually thinner. And then we might reach a junction where it splits off again. Just like we had a U shape here. It's less of a U. Certainly splitting two sections. Each branch is going to be thinner than where it came from. So we're just doing it incrementally in stages. Maybe this one comes to this point. And then you start introducing some more interesting shapes. Maybe it has a really nice sort of curve to it. Again, just in points. Keeps it a little bit knobbly. Gnarly. Then maybe just towards the top. This side. Once we get to this point, you can just have a slight change in direction. That tends to be the way branches go. They kind of twist and turn. Go so far. And then it might swing back on itself. Change direction. That's a really nice way of approaching it. And you can see so much texture is built in just by not doing it as a line. That limits the amount of interest that you're building in. To do it as points. Like this. And you've automatically built in a lot more interest. So we've got two of the most important areas now. We can add more branches. We'll keep it at the 4% size. Maybe a bit further down from that point. It can also have split off more. So maybe there's another chunky branch that came out on this side. It's grown out. Gets to this point. Has a little bit of change in direction. Again, do it in points. Comes up here. Swings up to the upper part. And again, don't try and replicate exactly what I'm doing. It's going to be impossible to do that. Aim for something similar. Your tree can be its own thing. Let it be and have a character of its own. It'll be better for it if you don't try and copy exactly what I'm doing. As long as you've got the general sense of it. If it helps, you can go back down and we can just fill in now. It's going to help you understand the tree form a little bit better. Shade some of this in. Block it in. A bit of a flattening out here. We'll go back to that and just fine tune that. You can start to see the overall shape of the tree. Let's put it down. 3% size. Maybe there's another branch here. Even lower down again. Swings this way. And some of the details of the branches is only going to make sense once we start adding in some perspective to them. In the sense that if we knock certain bits back, then they're going to look more like they're at the back of the tree. Or twisting away from us, for example. I'll have one that's meandering up here maybe. Maybe off the edge of the canvas. Maybe from it. You can have more branches going off the edge. Maybe this one as it comes up here. Splits into two. Nice big branch coming up here. Bring it down. This one sort of crosses its path. There's no absolute right and wrong, like I said. 3%. There's a branch out here. Swings down a bit and then back up. And just let it chart its own kind of path. As long as the branch is getting thinner as it goes, it's a general rule. And it can have a life of its own a little bit. It's just the general rule that the branch structure will get thinner as it goes. As long as you're sticking to that in a general sense, then you can't go too far wrong. So allow yourself a little bit of room to play around. Turn it down. Lower that 3%. And then again, just some changes of directions. Let's build in some complexity. More branches. Sometimes with trees, we can get away with not so much in the way of branch structure. We can just mainly make it busy with foliage. But in this example, we are going to have to put in a lot of branches. It's very prominent in terms of the detail. The branch structure is very noticeable. So you can't just ignore it. So spend a bit of time. Turn it down. 2%. From here, split off. And get these wavy lines twisting and turning. Really part of the interest of trees, really. Take some time. Try to get some branches that you find interesting. It's not always about even what's most believable. I think if you like the shapes that you're creating, that's actually sometimes more important. Branching off up here. Finer branches. Put on a smaller brush setting so we can have it go up here. See, I'm just moving in and around the different areas now. Adding in some subtler, finer branches. Go to this one. Quite like that little shape. So maybe I should have it splitting off here. And we have been applying it in sort of taps. You can get to a certain point. And then, well, I guess you can, just to speed up the process, do it as lines. Whatever works, really. You find it easier to work now doing cleaner lines, then feel free to do that. Back up to 3%. Some of these might just benefit from being a little bit thicker. And that's just a judgment call that you can make. As long as it doesn't feel like it's too heavy. So if we made it this thick up here, for example, I will undo this. You can see that's way too heavy for this tree. So it needs to feel natural. That amount of weight could exist. High up in the tree. So once we've got something of a main branch structure. I'm actually going to create a new layer. Layer 6. I'm going to drag it underneath layer 5 though. It's important that we have some branches that are going to be a little bit further back. And we can play around with them. But they're on a different layer. We'll stay with the same brush. Same color. But we'll turn perhaps the opacity down to about 90%. Not going to be massively different. But you'll just see a little bit of difference between the darkness. Just enough to help us understand that it's a little bit further away and further back. So I'm going to add another branch in here. And I'm doing it as one pressure. I'm not actually this time lifting it off. You can see it's just a little bit further back. I don't want it to be massively different. Turn it down 2%. I'll just take that up there. And this literally branching off. I think there's space here for another major sort of branch. 4% maybe from this point. And this time I'm actually keeping it, like I said, as one movement. If you struggle with this, then you can go back to the tapping in. But I'm going to try and do it as one movement. Just because it preserves that slightly lighter tone. But I think you can see there is a difference anyway. And then blend them in. Let's turn it down 2%. Get that branch structure that goes up here. Twists and turns and does its own thing. Again, we can go in and add more branches as we see a little bit later if we need to. I'm just going to busy that up a little bit. And another branch coming in here. Twisting and turning. A little bit of a shake to it. It is important we have these on a separate layer. Because in a moment we'll go in, we'll adjust some of that. And it will really help knock them back. Maybe a little finer branch coming off it here. And around those. Maybe this has another branch coming off. And I'm going to resist adding too many now. Because if you are trying to copy what I'm showing you. Let's not make it overly complicated. Follow along. Maybe just another one back here. Twisting and turning. And like I say, don't feel you have to copy it exactly anyway. It's going to get to a point where it's just very difficult to completely copy every shape. So don't try to. So once we've got there. We can go to that layer. Tap on it and put on the alpha lock. Go back to our colours. I'm going to use the third colour on the middle row. Let's change perhaps to the soft brush with an airbrushing. 5% size. About 20% strength. And then we can just start knocking some of these back a little bit. That's going to help just push them further back as well. They want to be sort of noticeably further away. You see, it's only going to work on the branches that were on that layer. Which is really going to separate them in terms of the front or the back of the tree. You can just sort of hunt them out. Seek them out. Knock them further back. We're just really building in a sense as a structure now. What's foreground? What's background? But again, we can further refine this as we go along. Next, I'm going to create a new layer. Layer seven. I'm actually going to put it underneath layer six and underneath layer five. I'm going to go back to the organic rainforest brush. I'm going to reduce the spacing a little bit. We're going to put it to about 35% spacing. Within stroke path, I'm done. I want the foliage not to be too separated. Get the little particles of texture a bit more clustered. We will go in with a third colour. 3% size. 100% opacity. We are going to create foliage. It's very much in the kind of background areas. And again, on a lighter colour, we're creating a silhouette. But it is a different hue, different tone than the foreground element. So it is important we leave some gaps in the structure. But generally, we want to sort of build in nice clusters and clumps of this texture. Just circle it in. Tap it in. A variety of different kind of ways of applying it is fine. We have got other tones that we're going to use to help separate it from any of the branches too. Let's generally start moving around the canvas. At the top, we probably want to shut down much of the light. It's not to say there won't be any gaps. But just to feel we've got more of an enclosed environment here. Really feel that the tree is looming over us. Let's just shut down much of that light. Feels like you're underneath the tree. If you close down most of the light at the top there. It's very similar to the colours of the branches we've just added here. But we're going to change some of the colours in a moment. So don't worry. You'll start to see the difference between the foliage and the branches in a moment. But now it's a little bit destructive and that's fine. Don't obscure all of that background sky colour. You definitely want to leave some gaps. But have fun just sort of circling in bits of texture. I would suggest that you don't do it as too many small gaps that are completely separated. Have big clusters and clumps. There might be a big cluster here for example. But obviously it needs to relate to the branches. If you do it down here, well it's not connected to anything. So you have a couple of fine branches perhaps that support light foliage down here. Just a little bit and we can go back and add a couple of fine branches to support it. But the real heavy big clusters of foliage are going to be naturally enough where the bigger branches are. Now I feel like it is a little bit too evenly spaced out. So I'm going to add a bit of density over to this side perhaps. Bigger denser cluster and that in itself just stops it being too uniform. You can see in my example. Those clusters shut down the light in a few places. But equally you can long press on the eraser. Now the eraser is set to the organic rainforest brush. If you feel like you've gone too far anywhere. Set it to an appropriate size, maybe 3%. And you can use this eraser to thin out in one or two areas. In the same type of texture so it's not disjointed. You can interplay between the brush and the eraser. Crease gaps in one or two places if you feel it works better that way. You find the right balance. You've never gone too far. You've never reached a point where you can't do it. That's fine. So on layer seven put the alpha lock on. Stay with the rainforest brush. We'll go to the fourth color on the middle row. 3% size, 100% opacity. And we're just going to build in some variety. Might actually in the lower ones just knock them back a little bit. Don't want them to be too dark at the bottom. We're just building in a little bit of variety. This in places will allow us to knock some of this foliage back a little bit more. It'll bring some of these branches that were a very similar tone, bring them forward a little bit from the foliage. It'll be revealed a little bit better again. Again, you want that variety of texture. This is building in, further enhancing that kind of layering, which is really great. Keep it kind of randomly placed around. That's fine. Okay, we're going to create a new layer. We're going to tap on the N. We're going to put it to the add blend mode. I'm going to go in with the soft brush with an airbrushing. I'm going to use the second color on the bottom row. 3% size, 100% opacity. It's going to look a bit strange initially and that's fine. I'm going to do a point in the center here. I'm just going to bring it out on one of the longer sides. Hold the line until it snaps to a nice straight line. And from that point out again, hold it until it snaps to another straight line. Make it fairly broad. Something like that. Then just drag into the gap. Flood fills. Don't worry about these little anomalies that appear. It doesn't really matter. I'm then going to go to the adjustments, Gaussian blur. I'm going to blur it in. It's about the 15%. Deselect. I'm going to slide and duplicate that layer. Transform. A little green circle on this box. You can rotate it. And we're just going to move it around. Find other areas to connect it. You can just still see approximately where that connecting point should be. We are creating sun rays now. They're way too dramatic like this currently. But it's just a way of building in, starting this process. So with each new one, rotate it around. Make sure the origin point is lined up. You can stretch it out. It's on freeform. You can stretch it out wherever you want. Perhaps we'll go back to the original. If we start with the original, keep duplicating it. Again, rotate it with the green box. Line it up. You can still judge how it would line up. Again, line it up. Freeform. Drag it off if you need to. Make sure all lines up at the same point. If it feels a little bit awkward with the branches, well, rotate and move it. Until it feels like in a more appropriate space. Just needs a little bit of fine tuning, that's all. Back to the original. Duplicate. Transform. Move it around. Rotate it around the green point. Make sure it's the green one that you're trying to rotate it from. Find other areas, other gaps perhaps. Search around for somewhere where it feels like it needs more of these beams. I think it needs more over at this side rather than that side. So line it up. Find the right placement. Line it up. It doesn't matter if there's too many of them initially. We can reduce them down. We can erase them. That isn't a problem. The more we build in initially, I think, the better. Let's rotate this around. There's probably not going to be as much up in the branches. The branches themselves are going to kind of break up the sun rays. But it doesn't do any harm to put them in there. Just a few. Again, we can always reduce these. It isn't a problem. Okay. Let's go with all of those and just pinch them together. Including that last one. Then I'm going to slide and duplicate it. Transform. Again, from the green. Rotate it just a bit. And then line it back up. You can still see roughly where the center should be. Move it around so you can put them together somewhere about there. And then I'm going to go with that top version. Maybe the adjustments, the Gaussian blur. You can see a line there. Just blur that in about 20%. It's less of an issue anyway. Top version, tap on it and merge down. So now that they're merged, I'm going to go in with the eraser. On the soft brush with an airbrushing. 10% size. 30% strength. And we're definitely going to subdue a number of these. We're going to start from the outer edges and push them back. You can see we've lost that really intense light in the center. But we're going to add that back in. Don't worry. We'll push from the outer edges and just retreat it back a little bit. Don't want it to be quite so strong on the outer part. Certainly higher up. This whole side, frankly, needs to be really reduced in terms of its strength. Might just be a little hint of it coming through here, but not a lot. We've seriously reduced it there. I think this center one is too much. Start at the bottom, the outer part of the sun ray, and just reduce it back. That's starting to feel a little bit more sensible in terms of levels of glow. But even that's too strong. So we'll start at the bottom again. Push it back. I'm not removing too much of it up here, as you'll notice. Just retreating it back, softening it at the outer parts of the sun ray. Predominantly. And just nudging it back. Again, if we remove too much, we can always go back and strengthen it back up. Again, it isn't an issue. That's starting to feel a more sensible amount. Maybe we can even reduce it a bit more over here. That feels a little bit more sensible. Again, let's just maybe just reduce it down at the edges. We don't want too much of it at the actual edge. This is just setting the foundation, really. The sun rays. Let's just remove it from this bottom part. We can always add more. Okay, I'm happy with that. Let's go to the A, tap on it, and just reduce it down to about 80% opacity. And that gives us a really useful foundation to build on. We're going to add more lines, but at least we know where to put them. We're going to be guided by what's already there, which is great. So we'll create a new layer. Tap on the N, put it to the add blend mode once more. Go to the fourth color on the bottom row. Go up about 30% size, 10% strength, five taps, another five. So 10 taps of that color. We're really starting to ramp up the focal point, which is here. Move along. Fifth color, turn it down, 20% size, still 10% opacity, 10 taps. Let's go for the yellow, which is the sixth color. 15% size, still a 10% strength. One, two, three, four, five. That's fine. And then let's go for the white, seventh color. Turn it down. Let's really be focused with this, about 4%. And turn it up, about 30% should do. I'm going to tap in real brightness in there, just in that center area. Just to really build out that color, go backwards to the sixth color. Still a soft brush. 2% size, back down to the 10% strength from that center point. And we're going to obviously have it lined up with the sun rays we've already got. But these are going to be slightly more in focus, a bit sharper. They don't have to stick absolutely neatly to the bands we've already got. They're going to work in conjunction with them. So build in some of those lines. They're going to be more noticeable, as I said, a bit sharper. Initial bands we put in, the two work together in tandem, create a really nice overall effect. This side especially, I want it to be really a bit more prominent. Let's turn it up 3% and turn it down 5%. Build some of those in, allow it to kind of meld together with the initial sun rays. Only in a couple of places though, we want to ramp them up, not go too far. That one maybe just a little bit more, not much. You can see it's given a real kind of sparkle to that light, which I think is much nicer. Okay, let's go back to layer five and create a new layer. So it's underneath all of that glow, layer 10. Keep the normal blend mode, move to some of these colors. Let's go for the first color on the bottom row. We're going to go back to the organic rainforest brush, 2% size, about 40% strength. The sun rays are going to hit the ground and well, it's going to start building in some light patches on the floor. Let's move to the second color, 2% size and a bit higher actually. Let's go for 60% opacity. Let's just start really building in some nice reflective patches and texture. The sun is really impacting here. Get a really lovely glow coming in. You can probably see. And here, the way I'm applying it is really quite patchy just as taps. Let's go to the fourth color. Get some nice warmth in there as well. Orange is quite intense, but because we're tapping it in and building it in with some other colors, it's actually not too jarring, quite nice. We have so much warmth coming from the sun. It is going to be impacting on the ground in a similar way too. Let's go to the adjustments, the Gaussian blur, blur it in slightly. Only to about 3% and deselect. Let's go to the top and create a new layer up there. Tap on the end, put it to the add. We're going to do basically the same thing. We've still got the orange selected. Nothing's really changed. 2%, we've really got it quite high at 60%. Maybe that's a bit strong, but we're down to about 20 maybe. We can build in some of the sun's impact down here, just a bit more gradually. You can see that's really lifting it. Really important element of the scene is the way that the sun hits the ground. If you have sun, but you don't show its impact elements, then it doesn't really gel. You need to show its impact. I'm going to change to the airbrushing soft brush. Put it down to 2% size, about 10% strength, opacity. And well, there's going to be some edges that start to hit. Features perhaps we're not seeing yet, but things like tree trunk, roots. I'm going to start to suggest at them a little bit, some lines. Don't need to do too much to start to build in that suggestion. You see just a couple of shapes. There's a neater line, a bit of a crisper edge. That's just catching the light a little bit. And it actually does a lot of the heavy lifting for us really. So I'm going to go back to layer five, where we had the tree. Go back in with the first color on the middle row. Soft brush with an airbrushing is fine. 2% size, 100% opacity. And well, underneath some of this, we need to build in some suggestion of those. Roots on the ground, there's some dashes, points that kind of disappear into dirt, ground detail. That's fine. There's some points on the ground as well for little stones and other things that might be just in the ground area. Watch tree root and watch stone. There's a little bit blurred between the two. I'm going to go to a lighter color. Maybe something like the seventh color on the middle row. Still with a brush, put it down to the lowest part of 2%. Maybe about 20% strength. Or maybe the edges. There's just going to be some of the more ambient light, some of the cooler light that's just picking up on some edges. And I'm doing it in a generally kind of taut and loose sense. Not spending a huge amount of time on it really. Some bumps maybe in the foreground, mounds like this. One or two of these shapes just with a slightly cooler light, bring up some of the details. And I think the contrast of different lighting is useful. Too much there. Let's put it up, maybe higher on the 2%. And some of these lines could sweep up, join with some of the tree details up there. Maybe put the alpha lock on. So we're not blurring the boundaries too much. Let's put the alpha lock on that layer. And we can just more freely add some of this in the higher areas without worrying too much. There's one or two lines coming from the roots up into the tree texture. You don't really want to add too much. I think it's going to distract away from a really nice warm glow. We can build some just hints of texture coming up. I think that's probably enough. And really we could even go to the adjustments, the Gaussian blur. Now we've got the alpha lock, we can blur that in a little bit. Not too much, about 3% deselect. And actually that little bit of suggestion of texture is sufficient. I quite like that. I'm going to go back up to my sun ray layer. So I'm going to go to layers 8 and 9. Tap on layer 9, tap on it and merge down. So they're on one layer. You can see the difference with and without. I'm going to go in with a smudge. Smudge to the airbrushing medium brush, 5% size, 100% opacity. And there's just one or two of these that seem a bit disjointed. They kind of stop a little bit too soon. So we can bring them down. Give them contact with the thing that they're illuminating, in which case it's the ground. Makes sense if we just extend them down to that area. Just for this side really. I'm going to go to layer 5, create a new layer above it, layer 11. And we're going to add some more foliage this time that cuts in front of the tree trunks. So again, we're going to go back in with the organic rainforest brush. And we've got some colors down here. So let's go for 6 color in the middle row, just into the 3% size, 100% opacity. We want this to be quite powerful. We're going to have some bits of foliage that build up in these areas in front. In fact, you know what? Let's put this at the very top in front of everything. So it'd be quite nice if it just interrupts some of those sun rays a little bit more. Actually, it's less subject to the influence of them. As you see, it's now at the very top. I think that's a better way. That helps just build in some more depth in the layers. Some more in here. Add it in and around where it feels appropriate to add it anyway. Little bits in here, little bits in here. Maybe a bit jarring in places if the branch is really lightened up. And that might be something we need to go and do. You can see the influence there. It's a really useful thing to do. So I do want little bits of foliage in here, actually, in the foreground. So that tells me that that branch is too illuminated compared to that foliage. So I'm going to add it there. And then I'm going to go back to layer 8 with the eraser. Put the eraser to the soft brush. 5% size, about 20% strength opacity. I'm actually going to just subdue some of the sun rays over at this side a little bit. So that actually, that branch is a bit more prominent. I think that actually really helps. It helps us to understand what we think should be more important in the scene. And you can move around and make these branches just a bit darker again, actually. So reduce some of the influence of those sun rays up near the top. So it reveals some of the nice dark tone and hue of those branches. We're not stuck with the level of sun rays up there. That makes a massive difference, actually. I'm very much happier with that. We're just shrinking back the sun rays influence. Back to the top layer. Back in with the rainforest brush again. Adding some of this foliage back in. Continue that process. That means we can add it happily down here, and it makes more sense now. Much better. Let's move along. We've got a slightly greener color, which is the seventh color. It doesn't look very dramatically green, but it is. It is slightly warmer. You'll notice it if you zoom in. It's about 100% opacity. It's not usually noticeable, even at 100%, but it has its influence. It is a bit warmer. Like that. Now some of these tree branches back here, if we go to layer six, you can see them there. I actually feel like they're a little bit too subdued in places. Again, we can go back to layer six. It has the alpha lock on. We can go back in with the airbrushing soft brush. This is all part of the shifting and adjusting things. We're going to go to the sixth color, middle row, 3% size, and about 50% strength. We can go in, and we can just build some of them back in. Make them a bit more prominent if we want to. Go over them if they feel too subdued. Make them darker again. The alpha lock is on, so it's easy enough to do. Here, for example, search them out wherever they might be hiding. Let's go to a darker. Let's go to the first color on the middle row. We've not got a full percentage, so we can just scribble over that, and that's brought that out a bit more in a really satisfying way. We do want them to be back there in some instances, but if they've got lost in the mix, then actually, and because with the alpha lock on, we can really be quite free with the way that we do this. Brings them forward a little bit more again. I think that they work better now for being lifted forward. Go to the top, create a new layer, layer 12. Go in with a soft brush with an airbrush. No, we won't. We'll go to the medium brush with an airbrushing, a little bit sharper. We'll go to the sixth color on the top row. I think in this area, there just needs to be a bit more clarity of texture, 2% size, 100% opacity. Maybe a couple of stones and anomalies, beaches in this lower area. Just give it a bit of clarity. You've got strong lights, therefore, more likely to have a strong silhouette or a strong shadow as well. You've got an object in that environment. It's going to have a really bright side that is hit, but then the reverse side of it is going to appear all the darker as well. It's important we include a bit more clarity like that. Let's go to the organic rainforest brush again. What settings are we on? 3%, let's turn it down to 2%, 100% opacity. A bit more of this texture off the bottom. Off the bottom here as well. Makes sense. Not too high up there, interfering with the light. I'm going to go to the very top, create another layer, tap on the end, put it to the add, blend mode. I'm going to go with the brightest orange we have, the fourth color on the bottom row. I'm still on the soft brush, 3% size, 5% strength. I think, perhaps, think about the direction. We could just sneak in one or two sun rays. Just in places you might not expect it as much. Chart its course back there a little bit internally in the tree. Sneak it in through one or two places. I think it is nice if it does feature. It doesn't have to be as strong. Chart its course through there a little bit. Push it through. Just one or two places. I feel like it adds just a little bit of magic there, up in the tree canopy. Doesn't have to be as much. You can see, I think it just brings it to life a little bit more in those upper areas. I think I like that. I think I'd like to go in with the soft brush, still orange, 2% size, 30% strength. And I think, just go around this sharp detail here, just soften it in slightly. Put it up, 3%, just happening around there. Just takes away from crispness, that edge. Still with the orange, the fourth color on the bottom row. 2% size, 30% strength. One or two intense features. We're at the top, the add blend mode on. Just one or two. Okay, I'm gonna leave this image at this point. I hope you've enjoyed following along. If you really wanna help out the channel, the best way of doing that is to subscribe and hit the bell notification. Not only will you not miss out on future tutorials, but you'll really help out the channel. It's much appreciated. 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