How YOU can draw a Woodland Path in EASY STEPS | Procreate Drawing Tutorial

You can draw this too. I'm gonna break this down into steps that are way easier to follow than you would imagine so that you can create this and amaze yourself. Okay, so as always, we're using the app Procreate and I've opened an A4 canvas, which is 297 by 210 millimeters at 300 DPI. I'm using the classic default brushes that come free with Procreate. You can't find them, come up here, tap back to libraries, classic library. And then finally, in terms of the colors, there is a link for the color palette that I've created down in the video description where you can download it for free. And if you have those things, then you're ready to get started. So the first thing we're gonna do for this piece is rotate the canvas to the portrait orientation. I'm gonna use the first color on the top row. You don't really want a white sky, so it's just a subtle bit different. Drag that color in and it fulfills the whole canvas. I'm going to create a new layer, layer two. I'm gonna go in with the second color on the top row. I'm gonna go to airbrushing, soft brush, 20% size, 100% opacity, and about halfway, just do a line of this. Just fill in the bottom part. Then I'm gonna switch brushes. I'm gonna go to the organic, rainforest brush, tap on the brush, gonna go to stroke path, spacing, put it at 45% on the slider, and done. I'm gonna put it maybe about 7% size, 100% opacity, just in the middle, a few bumps of this. Much of this is not going to show through, doesn't matter. If some of it were to remain through, we're gonna see it, then just a little bit of texture is helpful. I'm gonna tap on layer two and put on the alpha lock. I'm gonna go back to the airbrushing, soft brush. I'm gonna go in with a third color, top row, 20% size still, but I'm gonna turn it down to about 30% strength, opacity. And just from this side, I'm gonna bring in just a bit of that color, bring in this side as well. And then we have the alpha lock on, so I'm gonna go to the adjustments, the Gaussian blur, slide that across, and it's just gonna soften that blend in. I'm gonna put it to about 50% on the slider. I'm done. We still have the alpha lock on. I'm gonna go back to the organic rainforest brush. I'm gonna go for a really light green over here, so the seventh color on the top row, turn it down, about 3% size, and about 70% opacity. And then I'm just gonna go in. It can be quite loose, quite free. Again, much of this is probably gonna be fairly obscured anyway, but the top edges, the sunlight is gonna catch it back there. And then as it comes down, I'm just gonna have a few gaps. Any sun that's catching these top edges is gonna bring in some highlights. And then as it comes further down, it allows some little gaps. Again, much of this is gonna be obscured, so don't worry too much. And we are gonna blur it as well, so we're gonna go to the adjustments, the Gaussian blur, and again, slide that across to about 5% and deselect. I'm gonna go to the layers, create a new layer, layer three. But this time, I'm going to tap on it and put on the clipping mask, which you can see now has created a little arrow, links it to layer two. So anything we add to this layer, show you with a very different color, it's gonna stop at the boundary of the layer underneath. You're not gonna be able to apply it anywhere else. Just clear that. What we want to do is first go with the fifth color, switch brush, go in with the airbrushing, maybe the medium brush, 2% size, about 90% strength, and about a quarter of the way up the canvas, so there's half, half of that again. We're gonna do a bit of a line, doesn't need to be a straight line. That is our rough, very rough horizon line. Let's turn it up, let's go to 6%. We just sort of fill that in, just so we understand. It is on 90%, so if you go over it, you'll create textures, it's fine. We're gonna cover all of that up anyway. But it gives us that kind of distant horizon line, ground, and put it back down to 2% size, still a 90% strength. We can zoom in. Again, this is on a separate layer, but we can start to build up branches from that ground, tree trunks, I should say. Don't worry too much. Just get a few lines in there to begin with, and you can have them clustered closer together. Let's turn it up a little bit, 3%, and some of them, naturally enough, are gonna be a bit thicker at the base of the tree. So I just broaden them up, thicken them up in places. Don't need to spend a great deal of time on these ones. They're gonna be just the trees that show through. Maybe a little bit down, actually. Back in the 2% is a good size. The trees are just remaining through some of the gaps. You don't need to articulate. You don't need to go to any great detail with them either. Just one or two of them, a bit bigger, and obviously a bit broader at the base. We get down to the ground level, maybe just fan them out a little bit so that they spread and they can support the weight of the rest of the tree. Some of these lines and edges are a little bit gnarly. Don't worry too much. I'm gonna tap on that layer and also put on the alpha lock. I'm gonna go in with the sixth color, this time the soft brush with an airbrushing, maybe 5% size, 30% strength, and just go over some of the ones at the edges. Want some of this cooler tone. Just a hint of darker, slight warmth in the middle compared, just at the edges, just a bit more of that more cool gray-blue. Tap on the layer and turn off the alpha lock. Adjustments, Gaussian blur, and we're gonna blur it in slightly again to about 4% and deselect. Zoom out so we can see it's in context. What I might do with that layer is just tap on the N. We've got the opacity slider, got it 100 max. I'm gonna turn it down to about 90%. Just softens it a little bit as well. I'm gonna go back to layer two, create a new layer, layer four. It is underneath layer three, and as such, it inherits that kind of clipping mask, which links it to layer two. Doesn't really matter. We don't need it for this layer, but it doesn't also make any difference that it is engaged. So just leave this as is. Going in with the fourth color on the top row, going in with the rainforest, brush with an organic, 4% size, 100% opacity, and we're putting in some of this foliage, and it's important that it goes initially behind some of the tree trunks to create that sense of depth. We can just circle it in in places. Maybe it thins out as it starts to go to the lower branches of trees. There's a sort of point in these kind of trees where they amass bigger amounts of foliage, and as you come further down, it kind of thins out. Weight it a little bit more towards the upper areas. And just a few taps as you come lower down. And well, we're just going around these trees, adding foliage to them. Again, much of this is still going to be obscured by other features. We need to make sure that it does have a presence. So apply it evenly. A similar approach all the way across. And taps when it comes to the lower areas, not too much. And even on the ground, maybe you can add sort of bushes, hints of things down there. Then adjustments, Gaussian blur, slide it across to about 5% and deselect. We're going to go to the top and create a new layer above that. So layer five is now at the top, and we're going to do the same thing, but this time, obviously, it's on top of the tree trunks. So some of that foliage is going to slightly obscure, especially at the upper areas, it's going to disappear the tree trunks a little bit. We don't need to do as much of this in front, something like this. I'm also going to go to the seventh color again, and also some of the light is just going to spill through. Maybe turn it down again, 2% size. Maybe in the middle section here, especially, there's just going to be some little sections, catch the light, sun is managing to spill through, catch some of the edges, and it kind of binds some of those areas together quite nicely. Definitely not as much lower down, not really so much at the edges either, more of a central area, more at the top, just like before. Again, adjustments, Gaussian blur, blur it in not as much this time, maybe only about 3% and deselect. So we've catered for some of the more distant trees, now we need some kind of middle distant ones. Okay, I'm going to create a new layer, layer six. I'm going to go in with the 10th color on the top row, medium hard brush, thin airbrushing, 3% size, 100% opacity. They're going to sit more prominently than the tree trunks we've already got in place. We are going to do dark ones than these, so they're somewhere in between the middle distance, so somewhere in that middle channel, maybe about a third of the way in here, about a third of the way in here, and then we're just going to start a tree trunk, let it fade out, a little bit thicker at the base, you need to go over that a bit. Don't worry if it's a little bit sketched in, you can always tidy these up, get the basics of them in. We could try actually go to the inking studio pen, 50% size, 100% opacity, continue these up all the way to the top of the canvas, release the pressure and they get thinner and smaller. Go over at the base if you need to, get in some branches. Don't need to do a huge amount of them, but you need some, we're going to have lots of foliage, need some branches to come up from them as well. Don't need to get too carried away though, just a few. We're going to have some more prominent ones closer to us and they are going to carry the burden of that detail. So for these ones, they need to be there, but they're not as important in terms of all those little fine branches. Add a couple, certainly. That looks about a decent amount, maybe just a couple more up here, but then it's going to be obscured. It just branches off into two substantial branches. Like so. I'm going to go backwards to layer five, create a new layer above that. So this again is underneath the tree trunk. So layer seven is underneath layer six, organic rainforest brush, same settings as before, ninth color, 3% size, 100% opacity. And we're going to create some foliage on these trees, create clusters and clumps of foliage. So it gives it some character and some shape. If you do it too evenly all over the tree, kind of becomes a little bit boring and dull. So give it some character, allow clusters in some places and not so much in others. So create like ball shapes, spheres of foliage, this kind of effect. And well, we can continue that. Maybe there's trees and other bits of foliage and tree trunks that we don't see necessarily. We're going to shut down some of that light anyway. Less of the sky to come through. We want a kind of central area, more exposed and revealed. Actually want to shut down some of these edges. A little bit more. You can bring that down. Again, much of what we had in the background is a little bit obscured and that's all fine and good. I'm going to make some of this actually a little bit denser back here. In fact, again, just shut down some of the lights on those little gaps. There's definitely too many of them, so let's shut them down. Take this all the way up to the top. It's just then like a split where the light pours through in a place or two. Not consistent though. You can see, just mainly this middle section. Some of the light escapes through. That really focuses it then in that area. Going to tap on layer seven, put on the alpha lock. Going to go in with a third color. The middle row, airbrushing soft brush. About 20% size, 20% opacity. Just at the top, do a band of this. Bring it down a little bit. Not too far though. And the alpha lock is on, so we can go back to the organic rainforest brush. The 3% size, 100% opacity. And then again, in these top areas, especially at the kind of edges where the light is coming through, you can see that it would impact on this edge here, for example, and just sort of split down. Maybe the top edge is up here. Cross there a little bit. Just some bits as you pick through. And again, we're going to obscure much of this. You don't need to overly obsess. Definitely more preference of this light at the top. Add some of that light texture in. And then this edge here, especially. I'm going to go to layer six. I'm going to go to the eraser. I'm going to put the eraser on the organic rainforest brush. 3% size, 100% opacity. And then I'm actually going to just remove bits of this branch structure as it gets higher up. And then it just creates the sense that these branches are disappearing into the foliage. It's obscured because it's covered over by leaves. You don't need to see all of it at all. You can add some on top as well. But this is just a really efficient way of disappearing some of it. Make it feel submerged in that foliage. Especially at the top. Not so much lower down. With that layer six, I'm also going to go to the adjustments, the Gaussian blur, and just blur it in slightly. It is a little bit too sharp. Just maybe about 3% and decelerate. I'm going to create a new layer at the top, layer eight. I'm going to use the medium brush with an airbrushing. 5% size, 100% opacity. And I'm just going to build in this side. Have it swoop in, duck down a little bit, and then up slightly at the side. Just this kind of bowed shape. I think it's helpful just to do that. And then you can just drag into the bottom section and allow it to fulfill. We're not going to see much of this at the end anyway. But it just helps describe the landscape in a way that's quite useful. Move it down to about 4% size. And then not quite at the very edge, but closer to it. I'm going to build a sweep of a tree in here. Zoom out so you can just see it all. Again, don't worry if it's got some of these sketched edges. They can be quite useful. They can give you ideas about where to have branches off shooting, or even just gnarly bits that are on the trees. Down 3%, maybe there's one over here. And again, you don't need to necessarily stick exactly to the shape of the trees that I'm showing you. You can have them with the character of your choosing, really. I'm going to keep turning it down. Turn it down to the lowest part of 3%. And then I am going to zoom it off the top of the canvas. Same with this one. We've got a couple of trees there. And then we can go in and we can have branches to shoot off, branch structures. And again, it should be obviously broader at the base of the tree in order to support the rest of the way the tree needs to be, broader down there. So make sure you do that. But then beyond that, it's really kind of up to you. Trees are all different. So construct it how you feel. Down to 2%. As long as the branches get thinner as they go further along. As I like to say, there's not necessarily a right and wrong. It's what feels more plausible if the branch structures get thinner and thinner and it is sturdy enough at the base of the tree to support it. Almost anything goes, really. And you absolutely do not need to feel that you need to replicate the exact shapes that I'm doing. If you want to, then go ahead. If there's safety in doing that, please feel free to do that or otherwise. Have fun, create your own shapes. Here, again, turn it down 2%. I think the main point is, it's actually very difficult to completely and faithfully copy every single branch and structure that I'm showing you when you do trees. So do your best. And if it ends up a bit different, then don't worry, that's not a problem. One or two look a bit awkward. Maybe this one. We have the inking brush, as I showed you. If we want to, a little bit later, we can go in and add fine branches. Or perhaps we'll do the foliage first and worry about that later. So again, I'm going to go to layer six, create a new layer. Above that, so layer nine is now underneath those new tree trunks. I'm going to go in with the second color on the middle row. Still the organic rainforest brush. 12% size, 100% opacity. And then behind these ones, these should be notably kind of darker, the tone. They should stand more prominently towards us. Certainly by contrast. But leave some gaps. We don't want it to just completely obliterate everything that's behind them. So keep it patchy in places. It's one of the reasons why we concentrate bits of foliage as clusters. I mean, it's partly because that's the way that it grows. But also within an image, we want to allow ourselves the opportunity to leave some of those distant areas still visible. And if you just evenly spread it all the way across every area of the tree, we're just going to destroy and obscure everything in the distance. We don't really want to do that. So create clusters that leave gaps. I think that's an important part of what we're trying to create here. So some smaller amounts, just little dots. Maybe just some near the ground there. We're going to add lots of textures on the ground later. That's probably sufficient. Go above, layer eight, and create a new layer, layer 10. And well, similar, except this time, obviously it's obscuring some of those branches. Apply it in perhaps similar areas. Certainly near the top. Go over those top sections. I think that's useful. And well, I'm going to go back to layer nine, actually. Before I go any further, tap on it and put on the alpha lock. I'm going to do something similar to what we did before. We're going to go to the third color on the middle row. Go back to the airbrushing soft brush. 20% size, but we're going to do quite a lot less in terms of the opacity, about 10%. Zoom out, and just a bit at the top. Just lighten up at the top a little bit. Creates more sense that there's light coming here. We are going to add some more foreground that are really more of a silhouetted. But for these, again, I'm just going to knock them a little bit further back. And then also for layer 10, tap on it and put on the alpha lock. And well, basically the same thing. Just a couple of touches at the top. Again, let's knock some of that a little bit further back in a really useful way. Let's create a new layer, layer 11. Now we really are talking about more foreground trees now. So these are going to be more important. On this layer, we're going to go in with a dark color. We're going to go to the fourth color on the middle row. Let's stick with a medium brush. It's quite a good all-around brush within airbrushing. Let's stick at 5% size and 100% opacity. We're going to have to go over it a few times to really build out the shape. And it's going to cover over and obscure things we've already created, and that's fine. So again, I'm going to swoop this in, bring it a bit lower down, and then swoop it up again at the edges. I'm going to have a tree that comes in at the edge, perhaps. Perhaps we'll just say a little bit of a corner there. Then it goes off the frame in something like this. I quite like that effect. And then maybe one here. Again, just cuts off the corner. And it is covering things that I actually liked, but that's part of the process too. Don't worry. Sometimes the way that it just, it needs to be. There's a couple of framing trees at the edges. I think that works. But I'm also going to do a really prominent one here as well. So I want that one there to be disappeared between two really imposing and prominent trees. Another one that maybe just swings out up to the top of the canvas. Again, let's just broaden it up. Now it's very dark at the top, so we might need to just go and lighten it up in the upper areas. Something like this. And now you can just feel the depth, difference in tone, difference in scale. It's really creating a sense that we've got the distant trees and now more foreground ones, which is perfect. Turn that brush size down to about three. And then, well, branches that shoot off. Turn down even further, 2%. Smaller, fine branches in. Don't need to go crazy with these branches. Just a few. I mean, really, because these are so much further towards us, we're actually only dealing with the lower sections of the trees. And if you look back over here, the lower sections of the trees, you don't see an awful lot of branches. There's only when you get to the upper areas, which, for these trees, would be way up here off the top of the canvas. You don't need to add too many branches for the foreground ones either. One or two, perhaps. Just a suggestion. Or if you want to, you can add them. I'm just choosing not to. I don't feel it's actually necessary to go too overboard with branches for these trees. Back to layer 10 and create a new layer. So this layer 12 is underneath those tree trunks. Add to our colors. Gonna use some of these more imposing greens, really vibrant. So perhaps go for the ninth green on the middle row. That's the organic rainforest. 4% size, 100% opacity. And we're just gonna create some foliage here. I'm gonna do quite a bit more in front, but these are just the ones that are gonna be situated just a little bit behind. Again, because most of the foliage is at the upper part of those distant trees, you can see there's not an awful lot of foliage in the bottom areas. Likewise, we're only gonna start to see it creeping in in the upper areas up here. You don't need an awful lot. Just a bit. Maybe a nice little cluster here. And just to really make it stronger, slide and duplicate layer 12. Really makes it denser, and I think in a way that really works. But we don't want too many layers, so tap on the top version of layer 12 and merge down. I'm going to create a layer on top of layer 11, so layer 13. And well, this time it can cut in front of sections, parts of the tree trunks that we've got here. I don't mean to sort of completely cover it up. You can see, it creates nice gaps. Quite useful. Just a section coming through here, obscuring. And there's some branches here. Maybe I'll just cover those over. Go back to layer 12, tap and then put on the alpha lock. Let's go in with the 10th color. Same brush, same settings. Maybe just some of that can be impacted by a slightly lighter tone. It is, if you look at it, the foliage goes behind. Therefore, maybe just some slightly lighter colors. Okay, I think we're at a point. We can come back and we can add more refinement to it, but we're certainly at a point where we can think about the ground and a path. So let's go back to layer 11. Let's go to the fourth color. Let's go in with the airbrushing. Medium brush will do fine. Let's go up to 10% size, 100% opacity. Just fill this in for now. Just helps. But we'll go to the top and create a new layer up there, layer 14. And on this layer, I'm gonna go back with the organic rainforest brush and I'm gonna use some of the greens, maybe the eighth color on the middle row. 4% size, 100% opacity. Let's just build in some of the groundwork. Before we add the path, in fact, let's just have some of the grass organic matter on the ground. We can just build it towards the kind of vanishing point here, sort. And this dark color is too dark when we get further back, but don't worry, we can just lay it in there to begin with. And we can build it up to the base of our trees. It all just grounds it in a really quite pleasing way. And I don't really care if it encroaches to where the path is gonna be. It's not a problem at this point. All good. Let's go to the ninth color. And then we can start building in some of this more vibrant green. We're gonna have some sunlight that's pouring through and just really blowing up some of these greens in a really nice way. Initially, these greens look pretty vibrant as they are, but they're gonna be more subdued. Let's turn it down. 3% in that middle distance area. So we'll just kind of bathe the whole area with foliage, grasses, with bushes. Doesn't really matter. It doesn't need to be articulated. It's just nice green area. I'm gonna tap on the layer, pop on the alpha lock. That's the second color on the middle row. And then just in the middle there especially, to create a sense of distance, well, we just need to go over some of these now with a slightly more cool, subdued green. The atmospheric conditions that you can see in the distance that really make those tree trunks dissipate into almost like a fog. Well, it needs to happen to anything on the ground as well. Bring that across. Don't need to go too heavy with it. It's just really for that middle area, just to push it further back. Okay, let's create a new layer, layer 15. And we're gonna go in with some of the colors that we have on the bottom row. Before we add the really sunny colors, we need to add foundation of more subdued colors. We'll go for the fifth color on the bottom row. And I'm probably gonna stay with the rainforest brush, 3% size, 100% opacity. Let's just, let's get the parameters, the basic path in there to begin with. So I want to bring it to about here, bring it to about there, without any great worry or concern. We'll just imagine it goes to about here. And again, this is the wrong color for that section, but don't worry. We're just creating the overall shape of the path initially. You can have a little bit of a kind of winding quality to it if you want. Let's fill it in. Try to get rid of any of those little shapes. It doesn't matter. We're gonna cover it over with other things anyway. Corner maybe there a little bit. Expand it out. That's fine. Tap on the layer, put on the alpha lock. And let's go in with a lighter color. Let's go for the sixth color, just in the distance. Bring it in, sweeps this color. Allow it to sort of disappear as it gets closer to us. Again at the top, sweep it down. Let's go for the seventh color. A little bit more of that up there. Again, sweep it. And I'm pressing a bit more lightly with this. It is at 100%, so a little bit less pressure. Generally speaking, it is gonna get lighter as it goes to the distance. We're also gonna go to the adjustments, the Gaussian blur, because the alpha lock is on. And now take that across. About 15%, looks about right, and deselect. So generally the sun, the light, is gonna lighten it up back there, even without direct sunlight hitting it. Okay, we're gonna create a new layer, layer 16. I'm gonna go in with the artistic Leatherwood brush. I'm gonna tap on the brush, stroke path spacing. Let's put it to about 30%. Done. I'm gonna go in with the first color on the bottom row. 2% size, 60% strength. And somewhere just nice in the middle of the path, we're gonna bring a sweep of this in. And we can turn it down. Even lower on the 2%, zoom in. Leave a bit of a sizable gap, and have another little shape of this. We can turn it down 1%. And a bit of a gap, so you can see separation. Something like this. Turn it back up, 3%. Maybe there's another nice big blob of a shape, and it could even be that it curtails this. Because really what we're doing now, by creating sort of like swathes of light that come in, but the bits where we're not adding it are essentially shadows from the trees. We can always add and remove this too. There's no absolute finish point with this. A nice big shape in here. Then we're gonna switch to the green, the ninth color on the bottom row. Top end at 2% size. And then it's got to correspond with the swathes of light that come in on the path. Some of this green can encroach up. You can see how it connects. It's only gonna appear when we have light on the path. So we need to turn that down for the distance, 2%. Look into the green areas. Got to correspond. Comes in here, this side. Comes in here, comes to this side as well. So therefore it's got to illuminate some of that grass, bushes, plants. Comes in over here maybe. And don't need to be exact about it initially. We're just getting a very sketched in sense of it. Not sufficient to begin with. But you can see the impact, how it's really lifted that sense of sun. The texture isn't quite right. It's more about getting those placements in. Adjustments, Gaussian blur. Blur it in. Top 4% is sufficient and deselect. And that has just made it feel better in context. So we're gonna stay on the same layer. We'll go back with the first color on the bottom row. We'll go back in with the airbrushing. Soft brush this time. 2% size. Maybe about 30% strength. And then we can just start working the edges of the dappled light. With shapes that perhaps work better. You can have one or two breakaway sections. The light is still managing to come through. Perhaps we need to turn that down even more. Lower on that 2%. Create some kind of oval shapes. It works well for this type of foliage and dappled light. So if you imagine a collection of these kind of shapes flattening out, it actually works quite nicely. I don't want those ones, but just those kinds of shapes anyway. I'm gonna turn it down even further on that 2%. Work on the edges. Now I might need to turn it down into the warm. You can go around. You just add little touches of this. Especially those edges. It's really gonna be useful. More so in the foreground area here. It's less noticeable at the distance anyway. You're not gonna, whoops. You're not gonna see those individual shapes so much. The textures we already have are doing a good job for us. You can just go over some of those channels of light and just make more of them. Lift them a bit more. Back up a bit too. Equally, we could go in with the eraser. So let's put the eraser to the airbrushing. Soft brush. 2% size, 100% opacity. And equally so, we can kind of imagine some of the negative space, the shadow, as a similar kind of shape to this. Add some of these in here as well. Again, it's only really relevant in the real foreground. I wouldn't worry too much about the distant areas. These areas, they're close to us, so we can spend a bit longer fine-tuning some of these shapes until we feel happier and get to decide what looks right. Back in with the brush. Gonna remove that one, actually, it's a bit too much. You decide what kind of shape and what level you're satisfied with it. And I'm gonna change color. I'm gonna go to the second color in the bottom row. I'm gonna build in an even lighter color coming in now. That's what I might do is tap on it and put on the alpha lock. We're not gonna accidentally get it outside of this area. Certainly, I want to lift it up a little bit more in places. It's on 30% opacity, 2% size. Yeah, just build in a bit more light, in fact. Back here, some of these. We'll see more. Let's turn off the alpha lock and go in with, well, we've got the most vibrant green in either color. I'm gonna stay with the soft brush, actually. 2% size, 30% strength. Well, I'm gonna be a little bit more controlled and lower that 2%. Build in some of this green and tap it in. Control it more precisely, exactly where you want it to be. Bring it into the base of some of these trees. It'll understand the context. Bring it in the surrounding areas. A few taps, just helping to articulate some of these details a little bit more. It's quite nice. Doesn't necessarily need a huge amount, but certainly some more points of texture. Those are highlights, I think, goes quite a long way. I'm gonna go back to layer 15 for the path. I'm gonna go back to the organic rainforest brush, maybe fourth color, 2% size, 100% opacity. Maybe just the edges here, just to create a little bit of variation in color and tone, just a few bits of warmth. And well, let's go for the fourth color in the middle row. Bring in some shadow, perhaps in the edges. Just a completely empty and devoid of details in the shadow. Again, adjustments, calcium blur, let's blur it in slightly, not too much, maybe about 5% if you select. I'm gonna go to the layer 11 that had the tree trunks in the foreground, tap on it and put in the alpha lock. Well, we have something similar to do with the trees too. Let's go for, let's keep it simple, medium brush with an airbrushing. Let's go for the fifth color in the bottom row. We'll do some of the shadow parts first. So let's put this brush down to 2% size, maybe about 40% strength. Let's go less, about 20. I'm not getting too bogged down in texture really, in too much. You can see a little bit will help. Just some separate kind of dashes that work together. They don't all have to join up. Gaps between them so the original dark tone comes through is important. We only really need to do it for the absolute foreground trees. The distant ones I'm not so bothered about. For these ones, just a series of dashes that sort of turn a little bit, go in opposite directions almost. Some lean to the left, some lean to the right. We all kind of lattice together and create an effect. For this one, we're gonna add warmer colors that perhaps will be more important than these more subdued ones. This is just the foundation kind of texture, just it's not completely flat. Then let's move along. Let's go for these colors up here actually. Let's go for the sixth color. Similar color, just a hint different. Vary it up a little bit. A few touches of this color. Move along. Seventh color. Something warmer. Then we start doing it on the right edge of this foreground tree. We'll add some highlights as well but certainly some warmer colors coming in at the edge there. Can hopefully appreciate what makes a difference with the edges. And well, I don't think we can avoid it. I think we need to go to the really strong highlights. Let's do that now. Let's go perhaps for the first color on the bottom row and we're gonna build in a similar kind of color scheme to what we've got on the path, but it is more subdued. It's only at 20%. So certainly this edge, it corresponds to the light that's coming through. The edge, just apply it in broken. Something like this. A few taps, you can see it goes, it does a lot for us without having to do and spend too long on it. Really lifts it, it connects it to the environment in a really nice way. Let's do this one. Even though it goes off the edge, it can really be quite powerful in the story it tells of the light as well. That works. It's gonna be less on this one. So maybe a warmer color for that actually, the third color. And I said the fourth, but the third color. And this can just have a hint of warmth. It's more reflected light from the ground. Just some of that warmth through there. Doesn't need a great deal. Especially higher up, it doesn't need it. You can see that these ones are strongly affected by that light. It really binds it together better. Now let's go back to the first color. Show a little bit further. In fact, look at those upper areas. Might just be a hint. Not gonna do too much up there. Better. More gaps at the bottom. It's better that we show the impact down here. I prefer that. Maybe for some of those more distant trees, let's have a look. We've got layer eight. Perhaps those ones need just a little bit. So tap on that. Pop that block on. Let's consider these colors down here. Let's go for maybe the sixth color on the bottom row. Similar deal really. Just at the right side of the ones on this side. Just hints. It's gonna lighten up and add a little hint of texture. Not much. And then over this side. Perhaps just on this one. Just a little bit. Again, not much is needed. Back to layer 16. I think more broadly, I'd like to go in with the soft brush with an airbrushing. And I'm actually gonna go to the second color. 5% size, 10% opacity strength. I'm just back here. Just give it a little couple washes of that lighter color. It just knocks it further back. It is needed. Look at the real darkness then in the foreground. And that helps. Back in with a nice color. Still the soft brush. 2% size. Let's go for it. 50% strength. I want more of this sun. Let's not skimp on it. It's such a beautiful effect. Let's just add more of it in there. Connect it up to that tree. I really like it. There. Works. What I might do is stay on this layer. Go in the smudge. Put the smudge on the inking. Bright ink brush. 100% opacity. And put it quite small. Make sure this brush, even at 20%, is quite small really. Maybe a bit smaller. 10%. And we can just build in a suggestion of textures. I don't wanna go too crazy with it. It's only for the highlighted bits. Just get hints. It's grass and areas. Don't need to do every bit. But that little bit really helps. Obviously more foreground. You're gonna get slightly bigger. More prominent, more noticeable blades of grass. And it impact more. You're gonna see it. But you can bring the dark colors through as well. Like that. I'm gonna create a new layer, layer 17. I'm gonna do something similar. Tenth color on the bottom row. Inking. Dry ink brush. 30% size. 80% strength. Let's go for the fourth color on the middle row. Needs to be a darker color actually. There's some blades of grass in here. Doesn't need too many. Just a couple. On that side. A few on that side. And then we can go to the adjustments. The motion blur. Decide slightly. 15%. Deselect. It's subtle. But it just creates the sense that we've got some foreground things going off here. Tenth color. Turn it down. 15% size. 80% strength. We can just add to some of the grasses in here as well. Again, I don't intend to do too many. Just one or two. If you feel it enhances, which I think it does. First color on the middle row. In with the organic rainforest brush. 2% size. 100% opacity. And just a hint of a cooler texture in here. One or two places. That's a little foreground point of interest I think which works as well. In addition to that, well, perhaps just some highlights up here. We'll go a long way. Let's go really for it. The ninth color on the bottom row. Still with the rainforest brush. 100% opacity. 2% size. Here. There's a little bit of foliage. Just like we have sun impacting here. Why not here? Just some edges up here. I think it looks quite nicely for that area. Not too much. And I also feel like I need a darker color there. So let's go again for the 10th color on the bottom row. Let's turn it up 3%. Add it in here. Why not? Create those nice contrasts. I think they work nicely for us. I might go back to layer 16. Go in with the smudge. Put the smudge on the airbrushing. Soft brush. 4% size. 30% strength. And then if there's any of these foreground areas that you just think a little bit too sharp, you can always just soften them in. Doesn't get rid of anything. Just slightly softens in a way that I think can actually be beneficial. And then back in. Airbrushing. Soft brush. With that first color. On the bottom row. 2%. Anything that you just want to bring out that little bit more again. I feel like this foreground dappled light, it's worth spending the time just getting that to a point that you're satisfied with it, that you like it. It's perhaps one of the most impactful areas. Spend a moment or two. Worth investing it. I think I'd like to go back to layer nine. As a finishing touch, tapping it and turn off the alpha lock. Back in with the organic rainforest brush. Second color. On the middle row. 2% size. 100% opacity. I feel like I just actually want to subdue this tree a little bit. Knock it back. Bit more foliage. Maybe up here a little bit. For some reason I just feel like I actually want to subdue some of that a little bit more. And your trees, your specifics are going to be that little bit different than mine. So scan around. Find areas that you want to just fine tune. But otherwise, I'm going to leave it as it is. I'm really happy with the overall effect. 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