PROCREATE Landscape Drawing Tutorial - Forest Sun Rays

Okay, I'm going to break this drawing down into steps that are way easier to follow than you might imagine so that you can create this and image yourself. Okay, so as I explained in the intro I'm going to break this down into steps so that you'll learn about the painting process and techniques as well as about the app that I'm using Procreate. That isn't to say you couldn't use a different app on a different tablet and still follow along. Having said that, within the app Procreate I'm using the default A4 canvas which is 297 by 210 millimeters at 300 dpi I'm also using the default color profile the srgb code the one that ends in 2.1. Also by default Procreate has a range of brushes and I will only be using the brushes that come free with the app. As we get to the specific points in the tutorial then I'll tell you what brush to use and how to use it. And then the only other thing that you really need in preparation for the tutorial is the correct colors. Now each of these colors if you go to the value section has what we call a hexadecimal code associated with it. Each of these codes is listed down in the video description here so you can copy and paste them into this box one at a time. Press enter the color will appear up here and then you can tap it into a blank color palette itself or alternatively mix the codes in the description is a link that takes you to my Patreon page where you can download the color file for free to save you some time. And Patreon is also the place that you can support this channel and gain access to exclusive content such as extended versions of most of these tutorials. I'd like to say a massive thank you to those people who do support me over at Patreon it really does make a huge difference so thank you so much. And if you'd like to support this channel but Patreon really isn't your thing then you can simply subscribe, give the video a thumbs up, maybe even leave a comment. All of these things really help our YouTube algorithm and it's much appreciated thank you. With all of that said and done we're going to get started. So the first thing I'm going to do is go to my colors I'm going to use this second color on the top row, drag it from the color circle into the canvas and it flood fills. Now before we get any further I just want to make you aware that the colors on my screen may end up looking a bit different than it does on your screen. That's simply the camera that might slightly adjust the colors maybe make them look a little bit more blue for example but as long as you've got the color codes from the description area or you've downloaded the color palette then you are using the correct colors even if it looks just a little bit different on camera. Next I'm going to go to my layers and create a new layer, layer two. I'm going to use the third color on the top row. I'm going to go to the airbrushing, medium brush, three percent size and a hundred percent opacity. I'm going to start about the middle point on the left side maybe just a little bit lower than the on the right side and then I'm going to create like a valley dip in the center and it just banks up on either side. I personally feel like I've put that a little bit too high and it's easy to fix you go to the transform move it down a touch and there I'm happy with that placement. I definitely want plenty of space at the top a little bit less at the bottom. I'm then just going to put it up to maybe eight percent size and just fill in the bottom area. It's going to get covered over with all the other colors that we're going to use but it just helps to visualize when we have it filled in. I'm then going to create another layer, layer three. I'm going to go in with the medium brush with an airbrushing. I'm going to put the brush size maybe about three percent and a hundred percent opacity and then we're just going to have some trees and depending on how you press it's going to be lighter or darker and that's absolutely fine. I don't care about the overall shapes, not really. Most of these are going to be obscured by other things. I'm going to turn it down maybe to two percent so we get some thinner ones as well. Don't be overly precious about these at all. They're going to be obscured by other things. We might actually knock it back with some mist and other things. So we've just got a layer of those and then I'm going to go to the artistic. I'm going to go in with the same color, same layer, maybe about five percent size, a hundred percent opacity and I'm just going to create mass of foliage up in these areas here. Now it is pressure sensitive so if you press lightly you're going to get a lighter version. Press harder you get a darker version and it does vary in size a little bit as well. So it gives you the opportunity to create some variety of texture which is really good. So tap it lightly as we get lower down. I want a really big mass of it up here. Maybe over here on the ground we can just create low-lying kind of bushes, foliage, organic matter down at the ground level obscuring that initial line that we created. It's more of a guide and then as we come further up press lightly. We don't need to change the opacity from a hundred. I think it's fair to just really go at it with a hundred percent but just change the pressure instead of your application. Another big mass of foliage over here. So we're really obscuring the tree trunks which is why I wasn't going to worry about it. We're going to pretty much cover it, render it non-visible. Invisible wouldn't say invisible but we can't see much of the tree trunks by the time that we put it anywhere. Obscure it. And then well when we get to the center we want to leave more gap, more of a blank area. So I'm just going a little bit more carefully tapping some points of texture in here and really let it kind of disappear a little bit more in the center area. Again just a few taps to fill in. Some of these gaps and that's fine. Maybe just let the edges close it down a little bit more. What I might do with layer three is tap on the end and just dial it back a little bit. Put it somewhere around the 60 percent. I'm going to go and create another layer, layer four. I'm still going to go in with the third color on the top row, still with the taro leaf brush. And then because we've subdued the layer underneath now when we go back over it perhaps we'll turn it down a little bit. Three percent size, still 100 opacity. We can create some darker textures over the top of that. Wherever we leave gaps we're going to see some of that background texture still coming through. And it is just a process of creating layers of texture to begin with. Perhaps we'll turn that down even further. Two percent, just zoom in a bit. And then we can really start to tap in around the edges. Again just going at that ground level. Create some more bushes and organic features. Keep panning around the canvas. Let's put up a little bit more again actually. Three percent, not quite ready to be too refined. So you can see we're creating layers of texture and circle some of this in again. Allow it to cut in front. Some of those other features we just created. Big circles, blot out big areas and then tap around the edges just for some little breakaway textures as well. Little leaves. Try to keep it random. If you're doing it too much in the same movements you're going to get some obvious shapes. Just try to vary it up a little bit. Keep it quite random. Sometimes you have to just kind of reset your hands so you're not just doing repetitive movements. We'll just blot out much of this center area. You can still see a lot of the colors coming through on the previous layer. And then I'm going to switch back to the airbrushing medium brush again. Two percent size, one hundred percent opacity. Well we've got a darker layer so we can still create trees to put in front. Again three percent. Some slightly darker, more prominent tree trunks in the mix. Kind of joins those areas together. Let's go to our layers and create a new layer. Layer five. And we're going to move along to the fourth color now. We're going to go back to the artistic. Tarellia brush. Three percent size, one hundred percent opacity. Perhaps a little bit much. Maybe put it to eighty. And then forwards of everything we just created we can have some different colors coming in. We're not taking it right up to the very edge. A little bit down from there. We're just creating some textures and allowing it to be kind of random. Little taps. All clustered together. And I'm deliberately, I mean I'm not doing it as one straight line. The way I'm applying it is more kind of just randomly trying to be as random as possible. Just a scattering of shapes more like this. Across. You can afford to be a little less worried about the texture. We can kind of blot in again underneath that top line. So let's put it four percent. And again we can just fill in. We're going to have other colors that will obscure this anyway. But you can see even when you fill it in it kind of has a mottled texture to it which is quite suitable. Quite pleasing. Everything is very rough at this stage and that's absolutely fine. So still with the Tarellia brush. And this fourth color. Eighty percent strength. Maybe three percent size. Well I'm going to start tapping in. In fact let's go for a bit smaller. Let's go for two percent size. We can start tapping in some of these more textures in the higher areas up here still. And this is very much still background tones and colors. We haven't really identified any main tree features yet. This is just a general sense of foliage in the background. Much more distant. We can also perhaps go to the organic rainforest brush. Now I'm going to reset it. Tapping it again. Stroke path. Spacing. I'm going to put it up to 45 percent. Done. Still with the same color. Three percent size. Hundred percent opacity. We can start to soften in some of these textures. Sometimes we want the textures to be really noticeable. Sometimes a little bit of softening works for us as well. We can just soften some of this in. Bring it down to various points. Drop it down into the lower areas. Becomes a bit more visible. Blend in some of those lower ground areas as well. Go to my layers and create a new layer. Layer six. I'm going to move along to the fifth color. It's quite a bit darker. We'll stay with the rainforest brush for now. Lowest part of three percent size. Maybe just a little bit down from 100. Maybe about 80 percent opacity. We'll bring in some of this color. Just a little bit back from that edge. We're getting this kind of fading sense. Things pushing there in the distance. Again a bit lighter in tone. Getting more subject to the atmospheric condition. Our little scene. We're just starting to fill in below that point with organic textures, colors, tones. It's starting to work for us quite nicely. Again we can put that up four or five percent and just fill in that bottom area again. It doesn't really matter. We're going to cover it over with lots of other more vibrant and rich colors as well. You can see it's starting to build up the overall look. Now I'm going to create a new layer for this. Layer seven. I'm going to go back to the airbrushing medium brush. Stay with the fifth color. Three percent size. 100 opacity. Then we're going to have some trees that are much more prominent. They're just cut up and we're going to have to really think about the overall shape of them at this point. We want a thicker trunk obviously. It will get thinner as it slightly goes up. Now the brush is pressure sensitive but it doesn't get thinner with less pressure. It just gets lighter so the opacity lessens. You will have to go over the tree trunk just to broaden up at the base. Make it thicker at the base of the tree and then allow it to become thinner as it grows up. Just set a line in place first then go back over the trunk area with the ground and make it a bit thicker. I'm going to go for the edge of the canvas. Why not? However you feel. At this stage it doesn't have to be an exact copy of what I'm doing. Any of my tutorials for that matter. Get some more in here. Don't have to be straight lines. So however your first line cuts in is probably going to be okay and then you can just go and tidy up the shape a little bit. You can also have some thinner ones in there too. You can also push them back in a moment if we need to. So we're going to go in with the eraser. Put the eraser on the soft brush. With an airbrushing I'm going to put it to maybe 4% size 40% strength. I might just knock that one back. I'm going to make it more distant and I don't want it to be as tall and then anything you've just added you can just knock it back a little bit. Subdue it if you want to make it more distant. I don't want it to reach up quite as high into the scene. Find the balance of the trees that you want. Back to the brush. I'm going to turn it down even further to low maybe 1% 100% opacity and then let's just get some finer branches coming off from some of these trees. So lower down maybe they just break away and they don't quite become much of a branch. I think most of the branches I want to keep higher up in the tree. Let's put it low on the 2% so I can just achieve a slightly bigger branch. Again just like the tree trunks go to the beginning of the branch and make it a bit thicker. It gets thinner as it goes. These aren't necessarily the most prominent trees yet but they definitely need more detail. Some branches for example. I'm going to create a new layer but I'm going to drag it underneath layer 7 so behind these three trunks. I'm going to stay with the fifth color though and I'm going to go back to the artistic tarrow layer brush. Low on that 2% size 100% opacity and I'm going to start tapping in some foliage. What I might do is go to the tarrow layer brush and just stroke path spacing put it from 15 up to 30% spacing. I'm done and that allows me to create more of a foliage look. A few more gaps. Let's go up in size maybe higher on that 2% and you can see now that introducing the gaps just gives it a different quality. Allows you to create a sense of broken kind of foliage leaves. It can be really useful. Now I'm going to keep a lot of this for the higher areas. You can blot out much of the colors and the details that we've already put in there and that's fine. Now I'm having this as a layer behind so if we need to go over with the tree trunks and change the color of the tree trunks we can do and obviously a tree is three-dimensional so you're going to have foliage that sits behind the tree trunk and then foliage that sits in front depending on where you stood in relation to the tree trunk. So we're doing a layer behind to begin with. I'm just using this one color initially. That's not to say that we won't go in with other colors in a moment as we absolutely will and we can rather than creating everything on separate layers we can actually alpha lock the layer and then we can use some other colors within the alpha lock just to really change up the overall color scheme. If you're not familiar with alpha lock don't worry I'm about to explain that in just a moment. Some foliage in there. I'm just going to put the brush size to 3% size. Let's go for 90% opacity. I want to blot out more areas actually. I want to make a bigger impact on some of this. The more that we blot out more within the textures actually we can add more textures using the alpha lock. So let's create a nice flat base with this color so you can hardly see the tree trunks. It's fine we can salvage them we can bring them back. Let's just blot them out a little bit for now. I'm going to add a couple trees for the real foreground as well. They're not quite there yet. I might go to the tree trunk layer, layer 7, tap on that and put on the alpha lock. Go to our colors. Perhaps we'll move along to the sixth color. Go in with the taro leaf brush at the same settings but we're going to put it to maybe 2% size and less on the opacity so maybe 30% opacity and then we can just start bringing some of this texture up into the tree and you don't need to be overly precious about this because it's got alpha lock on so it will find the tree trunk which will bring it out. You just need to sort of scribble in that area almost and yeah it starts to locate the tree for you, bring it out and it's also giving it a little bit of texture there as well which is great. Bringing it forward. I'm just initially just doing it at the top areas without any real care. They're quite rough, it's great with the texture and you can see it's just brought them forward. It's quite useful. We'll change color again. We'll go for the seventh color. We might just switch brushes, perhaps go for the airbrushing medium brush. High on the 2% size, maybe only about 30% strength and you can just start dragging up into the tree trunk a little bit more. Some longer gestures in addition to the textures we've already got. Again the alpha lock is on so you don't need to worry. Down here press lightly when you get down to the bottom area. Definitely want to darken them up. We don't want to just completely jam the apple pencil in and completely flatten the look of the tree trunk really. I'm going to go back to layer six. Behind the tree details we've already created, I'm going to go back in with the fifth color on the top row. Artistic. Terralia brush. 54% size, 80% opacity. I feel like there's just a bigger area here that I just need to blot in. I want to do some lighter colors over the top but I feel like I can't do that until I've got a base of light dark color on to actually apply the light colors to. I want to show the effect of the sun really impacting on the foliage. We're just creating a really nice background. We're just shutting down more and more of the light that's coming through. Creating some dense foliage and then we can show the impact of the sunlight on it. We're really just building that middle area. So once I've created that there, then I'm going to go for a lighter color. So I'm going to go backwards to the third color on the top row. I'm going to go in with the airbrushing soft brush. 10% size, 10% opacity and I'm just going to start at this side just gently bringing in the sense that perhaps just disappearing into the distance in this area a little bit. It's going to bring forward the tree foliage from the tree that just sits there in front of it. Just create some distance like so. Then I'm going to go to really vivid light green, the eighth color on the bottom row. Back in with the Tar-O-Leo brush with an artistic 3% size, maybe 60% strength and I just want to carefully start to apply some of this impacting some of the foliage various points back here. Now I don't want to overdo it at this stage but I definitely want to start showing some impact of the sun that's going to be pouring through in sun rays from this area. I'm just subtly bringing them in in the back area to begin with. Not too much, just a smattering of that just to start setting the stage a little bit. You might also from layer six create a new layer, layer nine, but it's above layer six but below layers seven and eight. I'm going to tap on a little N, scroll down to add blend mode. I'm going to go to the tenth color on the bottom row. I'm going to go in with the airbrushing soft brush, 10% size, 5% opacity and I'm just going to start deciding where the sunlight is really coming into our scene. It's going to be up in this area. I can really just make that decision. It's not saying it won't come through in other areas too. We can show its impact creeping through the little gaps but we'll just show the impact of it. This is really going to be useful just to start to make sense of the scene. Without this we're going to struggle to get that in place. Then I'm going to turn it down 3% size and even lower maybe 3% opacity. We've got the sun but we're going to have some sun rays coming through and it's going to be like a vanishing point. So everything goes up to that vanishing point and you can start from over here for example but it goes upwards and the vanishing point might be up here somewhere but you need to make a decision where it is. I'm sort of saying it's maybe just slightly off but I'm generally pointing these lines, these sun rays towards that point even though I'm angling around, changing direction, maybe turn it up a little bit, maybe 5%. You can start to just make them a little bit clearer. Don't worry about the bottom section we can always just remove that, tidy it up, rotate the canvas if you have to, if it makes it easier for you to do this. You're doing it in small increments so it's not going to destroy anything particularly. It's not going to be too rapid. You can undo the effect if it's too much. We don't want to do all of them just yet. We can just start to set the atmosphere and the kind of sense of it to begin with. We're going to do some rays that cut in front of some of the details as well. This is kind of sitting behind to some extent so we've got a sense of it anyway but we're not finished. We can even go to the adjustments, the gaussian blur and we can blur that maybe 10% and it softens it in but it has left us with the impression, the kind of general look we're going for. I'm going to go to my top layer and create a new layer on top, layer 10, and similarly I'm going to go back in with the 8 colour, back in with the artistic, tarry layer brush, 3% size, 60% strength and some of that foliage now. Knowing where the sun is coming from we can start to just imagine that it will be impacted on those edges, just a little bit here and there, putting in front of some of the tree trunks and places. We don't want to be too heavy-handed with this, we want to keep it a little bit sparse. Maybe we can dial it backwards from that so we don't want all of it to be super strong. I'm going to go to the fifth colour, have some slightly warmer tones in here. Let's create a new layer, layer 11. I'm going to go to the organic rainforest brush, again the spacing at 45%, I'm going to use a darker colour so I'm going to go for the sixth colour in the middle row, 2% size, 100% opacity and well we're just going to have to start building in some darker tones, darker textures, and I'm quite happy to use a mixture of the tarry layer brush plus the rainforest, that way we're going to get a variety of different textures. So we've got the background sense of these textures and now we're just going over the top of them, creating some textures that really come to the foreground as well, all about layers of colours whenever you do foliage and forest aesthetics. I'll just keep going over it, different colours, different hues, different tones, it really starts to build up that impression. Again you can create some really heavy sections of texture in here as well. Let's try some other greens, let's go for the third green on the bottom row, it's really going to be much more vibrant and that's fine, we've got some really vibrant greens coming through here, we need to start dispersing these different greens throughout. The really warm green, we could even go for maybe the first green on the bottom row, it's a lighter hue tone rather, it has a slightly cool look to it as well, so we'll disperse some of that around. Okay, we're going to go and create a new layer, layer 12 and I'm going to deal with the ground layer, we'll stay with the rainforest brush, we need a dark tone so I'm going to go for the fifth colour on the middle row, three percent size, one hundred percent opacity and I'm just going to bring in this tone at the ground level, restate some of that darkness, whoops, tidy, reclaim that ground, like so, that's another colour, maybe the sixth colour on the middle row, some sort of dark greens even, a variety of different greens cutting through here, especially as we get closer to us, perhaps we need to go for an even darker ones, maybe they go for the seventh colour on the middle row, get some really nice dark rich greens coming through here in the foreground, just start to create that sense of perspective, let's go for the eighth colour, just create some variety, even warmer green, not noticeably that much different, let's go for the ninth, again just creating that richness, variety of hues and tones, tenth colour on the middle row, that's quite nice, and then we've got an even darker few colours at the very top, maybe the ninth colour, disperse that through that bottom area and it's just creating that sense of distance and even the tenth colour, that black colour, we don't need much of that, just hints of it coming through, we'll blend it through, add more features in there as well as we need to, but just to start with, it's starting to create that sense of distance, then we'll go to our layers and create a new layer, layer 13, and then we need to start populating this area, creating a kind of path and sun hitting the ground with lighter colours, we'll go for the first colour on the bottom row, still with the rainforest brush, two percent size, maybe eighty percent strength, and well we can start just peppering in some lighter colours, even the same percentage can have a little bit of a variety of size within the two percent, you can get a big two percent or a small two percent, let's go for the second colour, again more richness, those greens, let's go for a third colour, why not, as we're coming back here we're starting to populate now with some really nice lush greens and let's really go for it, let's go for the fourth colour green and this is going to be noticeably brighter, so we just need to be a little bit careful with it, you want maybe dappled sunlight coming through, we've definitely got the sun rays so they're going to impact the ground really substantially, just tap in, this is obviously a lot of foliage and other features, organic, it just sweeps through the centre area specifically, creating a lot of light, tap in a few, there's leaves and there's bushes that are just catching the light just so, then fifth colour and this is ramping up, even brighter and you can see the impact now, the sun coming through, lower that two percent maybe, be a bit more specific, again creating that light, taps, loose organic details are just kicking up and catching the light, let's move along, let's really go for it, where are we up to, we've done the fourth and the fifth, let's go for the sixth which is really nice sort of yellowy and green, now let's be a bit more careful now, so we're going to have some little patches that start to break apart, there might be another patch up here, it's separated, another one here and it creates that dappled look, not too much fine tuning at this stage, let's move along, I want to go for maybe the eighth colour and this is really vibrant, really bright and it's just going to help us lift and create that absolute brightest sense of luminosity I think within the scene, it's really important, so we've got that nice vibrancy, there seems to be a little bit of a jarring difference between that background and the foreground kind of light, so I'm actually going to go in and subdue it, I'm going to go to the first colour on the bottom row and I'm going to go in with a soft brush with an airbrushing, three percent size, maybe twenty percent strength and I'm just going to soften in some of these green areas there in the middle, slightly above that vibrant green, I just want to blend some of these areas together a little bit more successfully and then I'm going to actually encroach into that vibrant green a little bit, just bring it down, subdue it and we will go over it again, I'm just binding some of these areas together, they feel a little bit jarring, a little bit separate and we've already set the stage, we know where to put those highlights now, but this is just going to build everything together and we can go back in and we can re-establish what it needs that sweep, just to hold it together and make an overall impression that works, I'm going to create a new layer, layer 14, I'm going to start creating some rocks on the ground, so we'll go in with the 10th colour on the top row and we'll go in with the medium hard brush, 2% size, 100% opacity and well, we're just going to create some angled, really bold shapes in here, really jut out, I'm not going to be subtle with these at all, it's a hard edged brush, it really helps us just create some really angular shapes, you can do as many or as few of these as you prefer, if you struggle with rocks and rocks are not my favourite thing to do either, but if you struggle with them, then don't do as many, just do a small number of them, just to create an impression of them, then we can go to the layer, tap on it and put on the alpha lock, go to our colours, we go to the 9th colour in the top row and then we can just start to create some tones to vary them up, just tap them through, don't need an awful lot of time spending on it, not for this first tone, it's only subtly different, we're just hitting the top of those shapes with it and we'll go backwards to the 8th colour, this climbs through here as well, let's look at our colours, well we can go backwards, maybe skip one, go to the 8th, or rather the 7th colour, let's narrow our brush down a little bit, 2% size and we can just start to be creating some little shapes amongst our rocks, little bits of the surface that catch the light in a slightly different way and we're going to add some warmer tones in a moment, if the sunlight is hitting the grass and really illuminating the grass, then there's every reason why it's going to have a strong impact on the top surface of some of our rocks and stones, you can see I'm not really spending a huge time just doing the details, I'm just tapping through, creating a smattering of that hue just to create the impression, then I'm going to go maybe to the 9th colour on the bottom row and the sun is catching it in places maybe and you can see the impact that that would have, maybe turn the opacity down, maybe 50% it's a little bit strong, just along that edge in places, it's just sneaking into the light there, you can see the impact it has, you don't want to do it on every single rock and stone, just to create a little bit of an impression, I'm going to create a new layer, I'm going to do a tree now as well, it's a lot more foreground, so the 10th colour on the top row, medium hard brush will do, 5% size, 100% opacity and let's just get a tree in here that's much more prominent, I feel like it really is lacking something without a more prominent tree, so be a bit mindful, we definitely want it to be thicker at the base like that, where else do we need a tree, well I feel like we need another one back here, the black is way too much, let's just go for a lighter tone, maybe the 9th colour on the top row, still probably a bit too strong but we can subdue it and knock it back, another one here, 3% maybe, obviously we want the base of the tree to be broader and then narrower and obviously we can have branches that come off from it as well, branches coming in from the side of the tree trunk, down 2% size, metal anomalies, branches and this is a different tone going over the black tree and that honestly doesn't matter at this stage, we're going to introduce different tones, there's different hues to this tree as well, let's tap on the layer, put on the alpha lock, let's go to maybe the 8th colour on the top row, let's stay with the medium hard brush, 3% size, maybe 50% strength, I'm just going to start tapping in, mainly on the left side the light's coming from kind of centre but it doesn't mean it's the only place it gets texture but we'll preference it a little bit on that left side of this tree for example, slightly more on the right side of this tree and this one and that one and then we'll go for a more lighter colour, let's go for the 7th colour, this, run it through, then we can even go for warmer colours, let's go for the 10th colour on the bottom row, 2% size, 40% opacity and there's just going to be some sunlight that comes through, highlights the edges of that tree in places, maybe the 9th colour for these ones, just illuminates the edge of the tree in places, turn that down even further, lower on that 1% so you can just create a divide of that line and split it, more over here as well, so it's hitting the rocks, it's hitting the tree, again you've got those two colours so 10th colour, use a combination of the two perhaps, then we need to deal with the base of the tree so what I would suggest is we go to the layer, turn off the alpha lock, smudge, put the smudge maybe on the organic rainforest brush, again the spacing is at 45%, done, 3% size, 100% opacity and we can just blot in the base, it just helps blend it in with the organic matter on the ground, just grounds it in the environment nicely, we need to go back to layer 14 and correct the layer, so it goes behind those new tree trunks, we need to go and create some nice rich foliage so we've got some dark greens here for these trees, let's go for maybe the 8th colour on the middle row, we'll go in with the organic rainforest brush, 3% size, 100% opacity, let's not mess around, let's add some really nice foliage into these areas, this is just a background selection of foliage for these trees and then, well, we need to vary it up, let's go backwards, let's go for the 6th colour on the middle row, create some variety, some lighter tones, maybe the first colour on the middle row, on the bottom row rather, everything's about mixing and matching and changing things up, we don't get stuck with one particular colour scheme and then I'm going to go to the top and create a new layer, layer 17 on top and again we're going to do something very similar, I'm going to go for, let's try the 6th colour on the middle row, 100% opacity and it's just going to cut in front in many places, obscure much of these trees, just really put them in context, we can even just build in front of the trunks, the base and knock them back, let's go for a more vibrant set of greens, so let's go for the 4th green on the bottom row, 2% size, 100% opacity and then again we're going to have to show the impact of the sun coming through here, really impacting some of the foliage, less so on the side, maybe just the edges, as it comes in this direction certainly it's going to impact more, we can add it to the ground, we can add it to the trees, maybe turn it up a little bit, 3% size, tap it in, let's go for a lighter colour, let's go for maybe the 5th colour on the bottom row, let's pull this up here and around the base of the tree, start building in some of that sunlight on the ground again, getting more context, more positioning of major elements now, in a way that we can just start to ramp up that overall look, okay I'm going to go back to the layer that we had the sun rays on, which was layer 9, I think I'm going to further exaggerate that, so I'm going to go for the 10th colour again on the bottom row and I'm going to go for the airbrushing soft brush, 10% size, 5% strength, let's just go in there and continue to ramp some of that up, I want to push that even further again, I think what I might do is drag it above layer 8 and it just then diffuses some of what was on layer 8 and makes it a little bit more invisible, and then the sun rays have a bigger impact as they come through, I'm actually going to add some sun rays above, so I'm going to go to the top layer and create a new layer, tap on the end, put it to the add blend mode again, still with the soft brush, still with the 10th colour and maybe from this point we can further exaggerate the sun rays, so let's put it down, 3% size, 5% strength, we're bringing it through, now it can really start to impact on the ground, it can really firm up some of these rays, you just need to be very decisive where you want it to be, I want it to be really vivid, really bold, almost exaggerated and kind of anime aesthetic really at this point, a little bit exaggerated and I quite like that, you can have it cutting in front of the tree trunks and the foliage, it kind of fans out as it comes around here, again it's all pointing to the same location of the sun obviously, there's some down here, it's quite a forgiving keep adding it in these areas, I just want to fork it out in the centre area a little bit more and that's beginning to really build everything together, I'm going to turn down 2%, I want to be controlled with some of these lines, I want them to be even more sharp, we can completely control these, we can go in and we can erase them as well, if you feel like you've gone too far with any of them, well you can just go in and put them back in the correct amount, so erase top brush, 5% size, 40% opacity say, and we can remove them if we go too far, subdue them as much as we want, control them, shorten them, back to the brush, exaggerate them, find the correct amount that really works, turn it up 5% size and just maybe just spot out in front of that tree, knock it back a little bit, and it is at the very top so it will do that, I feel like there's a tree here that needs to be subdued back, so where were we, we're on layer 15, I'm going to tap on it and put on the alpha lock, go in with the soft brush with an airbrushing and I'm going to go for maybe the seventh color on the top row, 3% size, 20% strength and just knock it back a little bit, it's a little too dark, I want it to be just the overall position, not be as dark as these two, so go over a little bit and it will knock it back and that works better in the overall placement and even perhaps this one a little bit too, knock it back a little bit, brings this one forward perhaps on the left and this one forward too, repositions things a little bit, sometimes you have to just re-evaluate things, I think on layer 10 there's too many of those things, so I'm just going to get rid of layer 10 completely, I think it works better without it, sometimes that's just the way it goes and I'm also going to go back to layer 6, I'm going to go in with the smudge, I'm going to put the smudge on the painting, turpentine brush, 10% size, maybe 50% strength, and I'm just going to start undefining some of, not a very good term, but just smudging in some of the foliage back there, it's a little bit too defined, it's a little bit distracting, I don't want too much definition back there, I want it to be a little bit more sketchy, softened, not quite as vivid and then we've also got a layer down here, layer 5, do the same for some of the details just there, soften it in, I think it works better that way, I'm going to go back to where we had the rocks, layer 14, tap on it, turn off the alpha lock, I'm going to go in with the smudge, put the smudge on the organic rainforest brush, turn it down, lower that 2% size, maybe 60% strength and I can just, in fact let's put it 100% strength, just softening these rocks, the bottom part of them, just mushes it into the ground, gives them a sense of placement, makes it a lot less jarring, definitely helps, and then I'm going to go up to layer 17 and we had some of the highlights and we're going to further enhance the ground areas a little bit, so back in with a soft brush, maybe the fifth colour on the bottom row, 2% size, 30% strength and just add some of this golden glow into the environment, we want to preserve this sense of dappled light, so just some broken areas, just a little bit on its own back here, a little bit on its own here, even just a kind of almost foreground little dapple there, another one in here and here and just disperse it around and that will help, maybe go for a lighter colour, go for the sixth colour on the bottom row and again we can just further continue building and we've got a stone there, so building some dappled light around the stone, when it's illuminated it makes sense, we've got sun around it, there's light as well, let's go even lighter, let's go for the eighth colour, it's super light at that point, which is quite nice, you can just add that back there in the background a little bit, disperse it around, maybe go for some of the cooler colours, let's go for the first colour on the bottom row, maybe just deliberately place some of these colours down here, just in the shadows, some slightly illuminated pieces, I'm going to go to the inking, dry ink brush, I'm going to put it at maybe 5% size, 100% opacity and I'm going to go to a couple of light colours, maybe the eighth colour, I'm going to go in with the smudge, put the smudge on the inking, the dry ink brush, maybe 10% size, 100% opacity and well I'm just going to drag up some of these textures, in fact let's let's do it more positively than that, let's go to the brush, dry ink brush, 8% size, 100% opacity, let's add some deliberate blades of grass in here, only just a few, let's go for slightly more subdued, the fifth colour, a bit more subtle, you start to pepper in some refinement, doesn't need to be a massive amount, just a few, it can go a long way, I might on the ground go in with the ninth colour, airbrushing soft brush, 2% size, 40% strength, maybe on the ground we've just got some dirtier colours coming through, as well as the green, it doesn't all have to be one tone, it looks slightly nicer, there's a kind of path in some earth coming through, as well as the grass, maybe the tenth colour in the shadows, it's just a slightly different tone. Okay I'm going to go back to layer 18, I'm going to slide and duplicate it, which is massively too impactful, but it gives you the option then to tap on the A of the top version, dial it back to nothing, none, or ramp it up more, and you just get the sense the, you know, by degree, by percentage, just by ramping it up a little bit more, maybe even only to 20% on top, and the two together, you can see as it was, an extra 20% on top, I'm going to take the top version, tap on it and merge down, I quite like that extra strength. Okay I'm going to leave this tutorial here at this point, I hope you enjoyed following along, don't forget to give the video a thumbs up, and hit subscribe, and I shall see you back here soon.