PROCREATE in EASY STEPS Cliff Path landscape Drawing Tutorial

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 amaze 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. In terms of the brushes, I'm using the default brushes that come free with the app. You can't find the classic library. Up here there's an arrow back to libraries. You can choose Procreate or classic library. Then in terms of the colors, I've pre-selected a color palette and you can download it for free. There is a link down in the description. And if you have all of that, then we're ready to get started. So the first thing we're going to do is rotate the canvas to the portrait orientation. I'm going to go to my colors. I'm going to choose the first color on the top row. Drag from the color circle at the top into the canvas and it flood fills. Then I'm going to go to my layers, create a new layer, layer two. Then I'm going to go to the second color on the top row. I'm going to go in with the element clouds brush. I'm going to put it pretty big, 50% size, about 30% opacity strength. And then just in the top section, we're going to create just some taps of this so that the blue is not completely uniform, not completely flat looking. It doesn't really need too much time spent on it. We'll come back to the clouds. But next I'm going to create a new layer, layer three. I'm going to move along some colors. We'll go to the sixth color on the top row. Back to the brushes. I'm going to go to the airbrushing medium brush. That's about 5% size, 100% opacity. And I'm going to have just some hills, mountain top here. It's only for the top section. It doesn't need to be overly neat or considered, but really we just want to leave a small section of sky at the top. And then we can just drag from the color circle into the bottom section. It fulfills that you may be left with a little bit of a gap because the brush itself had a kind of feathered soft edge. And that's fine. You can turn the brush down, 2% size. And if you wanted to just create some slightly finer textures along the edge, some lumps and bumps, there might be some very distant trees, rocks, beaches, just to give it a little bit more extra kind of detail. That's fine. Doesn't really require a lot. Probably not going to focus too much on the background anyway. Back to my layers, create a new layer, layer four. We'll go to the first color on the middle row. Medium brush with an airbrushing still. Top end of 2% size, 100% opacity. We're going to do a line across. Now it needs to be a bit above halfway. So we just want to leave a section here at the top, right distant hills. Start from either side, do a line across, hold it until it snaps. Now it can be difficult to get a completely horizontal line. So keep your Apple pencil on the screen, put it somewhere where you clearly know it isn't horizontal. Other hand, big finger down, and then it puts a completely horizontal line for you. Now I feel like it's a little bit low down, so I can go to the transform again and just push it up a little bit. I want that to be maybe a little bit smaller than the gap up here. Certainly on this edge, something like that. And if it's just come away from the edge, just close that. And then we can drag into the bottom section and it fulfills again. Again, any little gap anomaly, we can just go and fill that in. So we've got some of the areas defined now. And that's really helpful just in terms of visualizing where everything should go. So we're going to go backwards now. We're going to go to layer two that had some of the cloud detail. We'll probably create a layer above it, but underneath layer three. So we've got layer five underneath layer three. Go back to my colors. We're going to use some of the colors up here. So we've used the first two. We're going to go to the third color on the top row. I'm going to go to the Oberon brush within drawing. Again, with the third color. Put it down to about 10% size and 100% opacity. And well, the good thing about this brush, we'll zoom in so you can see, is that if you press lightly, you're going to get some smaller, rougher textures. But press on more, you're going to get some nice big round shapes, which is great. Now we're going to have cloud pretty much at the bottom of all of this. You can just color over that quite roughly. Probably most of this too. We might just have it, this bit of land, slightly above the cloud line. And then once we start doing the top of the cloud a bit more, we can just do a series of blobs. Take it up near the top of the canvas. Clusters of taps. Kind of round shapes of different sizes, all clustering. And then the bottom section, we'll just fill in. Don't need to be particularly precious about any of that. And your shapes don't need to follow exactly what I'm showing you. That's fine. They can just be their own kind of character. Make yours appealing to your eye, and that's fine. Do some more up here. And like I say, they can take on pretty much any shape. It's not really a problem. You can have a few little patchy breakaway areas too, and that's quite useful. Go to layer five, tap on it and put on the alpha lock. Little checkerboard appears on the thumbnail. When you go to perhaps the fourth color, you'll notice it stops at the boundary of the cloud detail and the colors we've already put down. Before we go any further, I'd like to say if you like this kind of content, you like the content on this channel, please subscribe. It's the thing that helps out the channel the most. Likes, comments are all great, but simply subscribing is the one thing you can do to really help support this channel grow and move forward. So if you can subscribe, hit the bell notification. I promise you I'll keep this channel going and keep pushing the lessons so that we're all learning together. And next we're going to, with this color, think about where the light is coming from. So imagine it's coming from this side, the right side. I'm going to use the same brush. Turn it down slightly, about 7% size, maybe about 80% opacity. We can do a few taps on this side of the cloud. So you can just go along any of these shapes to begin with, just on that right side, without too much care. Quite an easy thing to just add in the first instance. But then as well as that, there might be some tufts of cloud, some blocks of cloud that just sit a little bit forwards. So you can start adding some taps and they can go all the way down to where the land and the top of this distant hills and cliffs are. Turn it back up a little bit, 10%, and turn it down now to about 40% opacity. And then we can just start adding in some softer sections of this as well. Again, if it looks a little bit different, well, cloud changes every single second that you stop and look at it. It constantly moves and changes. So the idea that yours has to be exactly the same as mine is clearly not the case. Using the same kind of colors and the same techniques is going to generally have the same kind of look and appearance as mine, but it doesn't need to be identical at all. So don't try for that. Go for something similar, and that's enough. This area is probably going to be mainly obscured, so don't obsess over it. So we've still got the alpha lock on. I'm going to go to the smudge this time, and then I'm going to go to the element clouds brush, about 10% size and about 30% trend, and I'm just going to slightly soften some of this in, and just a little bit of that smudge just blends it in enough, pushes it around a little bit, just to slightly loosen some of those edges, and that's fine. Back to my brush, the Oberon brush, and then move along. We've got the fifth color, which is much brighter. This time I'm going to be a bit more reserved with it, maybe 5% size, 40% trend, and, well, we are going to push that brightness, but just in smaller shapes, move near that edge, perhaps like this, push it a little bit further. Definitely want to emphasize that it's a really nice sunny day, really nice summer kind of light, spring light, however you want to view it. A little bit on this edge, perhaps. A few more taps of these, just adds to the variety, and then I'm going to go to the layer, tap on it and turn off the alpha lock, adjustments, Gaussian blur, and we still have quite a lot of brush texture, so I'm just going to slide that across. So we'll soften that into about 3%. When you zoom out, I think the balance of that kind of works. I'm also going to go to the layer slide and duplicate it. I think that it just gives it a slightly blockier look again, with a soft edge, but a kind of nicer look. So I'm going to take those two versions of layer five, top version, tap on it and merge down. So they're on one layer. That's enough detail for the clouds and the sky. So I'm going to go back to layer three again, where we've got the land. This time, I'm going to create a new layer above it, layer six, and I'm going to tap on layer six and put on the clipping mask, which links it to layer three, so anything we add now stops at the boundary of the land, but it is a different and separate layer. Tap on it and just clear that. So we're going to go to the seventh color on the top row, and this time, I'm going to go to the organic, rainforest brush, tap on the brush. We can go to the setting, stroke path, spacing. Let's put it about 40%. I'm going to put the size about 2%, and let's put it pretty subtle initially, about 30% opacity strength, and again, the sun is coming from this side. You're going to get more color variation on this side probably. Let's aim for the top of these hills, small kind of mountain tops, get some textures in there just generally. I'm kind of moving sideways, I suppose. We're also slightly going up with the slope of the kind of little mountain there. Move away, just create a little bit of variety of texture, and again, I'm preferencing the right side more. Just add more of it on this right side, just like we added it. More on the right side of the clouds as well. Turn it up 3%, and when we come down here, we can just have some kind of sweeps just generally diagonally all the way across this subsection just to create a little bit of variety and show the kind of sweep of the land a little bit. I'm going to create a new layer. Again, tap on it and put on the clipping mask. Little arrow, again, is linked to layer three. We're going to move along to the eighth color on the top row, and I'm also going to change brush, drawing, evolve brush. Tap on the brush, stroke path, spacing, and I'm actually going to increase it maybe to about 40%. Just opens up the brush a little bit more, which is great, and then I'm going to put it to 3% size, about 30% strength, and we're going to do some foreground cliffs along the coast, but we're going to have some that are maybe not on the water's edge, but shows the same kind of rock. So we're just going to do some lines that come downwards. In fact, that's too small. Let's put it up 5%. There's going to be sections here, and they can go really quite high up. They're just sections of rock that are revealed cliffs, more kind of vertical drops just through a series of lines that we just drag downwards, really. Now I'm going to have it sloping down with the general line of the land as well, and you can see, really, it creates that illusion, the sun's sort of hitting it in places too. Perhaps we'll turn it down even further, 10%, and then in places, it'll be a little bit more subtle. Other places, it'll be a little bit stronger. I'm having that kind of variety, hints at bits that hit the sun, or bits the sun hits, I should say, and then much of this is probably going to be obscured anyway, so I'm not going to do, or not going to spend too much time on anything back there. Really this section that's going to be the most visible, just some of it that sort of sweeps up some vertical lines and go in there and just fill in bits if you want to. Still on the same colour. Let's put the strength of it up though to 50%, and maybe just turn it back down again to about three, just one or two sections, just like we've got the sun hitting in places. Just going to catch the light a little bit more. It's just suggestive enough to get that idea across to communicate that, and that's great. Now, before we add any more detail, there probably needs to be a slightly darker foundation of the bottom area. It's okay for it to be bleached out near the top, but near the bottom, it needs to be a little bit darker, so I'm going to go back to layer three. I'm going to go in with a soft brush with an airbrushing, and I'm actually going to go for the middle row, the eighth colour, which is still a blue, but a very dark kind of blue-green. 15% size, maybe 10% strength. Just on that line, do a few stripes of this. I don't really want to extend it up, but you can see, just by adding it there, it adds a darker base, which is really useful. It reveals some of the textures there. I'll just bring it up a little bit. Do a few bands of this, not too many, something like that. It adds a lot more depth, and then we can go back to layer seven, and we're going to switch colours. We're going to go to the ninth colour, on the top row, go back in with the organic rainforest brush, and 2% size, a bit more aggressive this time, 50% strength, and there's going to be bits of grass come down here there. The light is catching. It brings out some of the kind of warm green, which is really nice. Again, you don't need to add too much of this, really. Just a few sweeps, and allow some of that dark colour to remain. That's kind of the point of us adding it in there, is that it will remain in places. So don't get rid of it all. Again, all this area is going to be obscured, so it's only really that section that we needed. Then I've got the 10th colour, and we'll switch back to drawing evolve brush, 2% size, about 50% strength, it's 49, 51, as long as it's roughly in that region. Then we've got the rock back here as well. We're going to have little sections that just reveal this kind of colour as well. In places. And then as we come down to the actual edge, we can show more of it down here as well. Just rotate it, so it's easier to move along this line. The good thing about digital is you can rotate the canvas to make it comfortable. If you find it a bit awkward in this position to create something on a horizontal, then rotate the canvas. Do little gaps between the foliage and shrubbery, and anything organic there, just reveals some of that really bright colour as the sun hits it, and that's really nice. Now I'm going to go to the adjustments, the Gaussian blur, slide that across, not too much, about 3%, looks good. So we have detail back there, but it isn't super sharp, it isn't super focused, it's just enough to communicate what we need. Please be aware that some of the colours on your screen might look a little bit different to the way that my camera picks it up. I calibrate it so it captures the whole image at the end, but sometimes it means that your colours might be a bit more green looking, and that's better, that's actually more accurate on your screen. I'll show you the finished images that are still at the end, and then compare it to that, and you'll see that they are the same. Okay, let's move along. So let's go to layer four, create a new layer above that, layer eight, but we're going to tap on it and put on the clipping mask. Again, this links it to layer four. And on this layer, I'm going to go in with the eighth colour on the middle row. I'm going to go to the artistic leatherwood brush, tap on the brush, stroke path spacing, let's put it to about 30%. I'm done. 2% size, I'm going to put it quite low, 20% opacity. And then I'm just going to do some lines that cross here horizontally, keep them quite rough, quite sketchy, doesn't need to be more than that particularly. Then I'm going to go to the adjustments, the motion blur, and I'm going to drag it across, try to keep it, if you go up or down, it kind of does diagonal, we don't want that, we want it smoothly across, just if you feel like it's gone a bit off, it's about 70%, deselect. Just create some bands that cut across, stops it being too flat. You could also go to the adjustments, the Gaussian blur, soften that in as much as you like. I'm going to put it to about 5% just to soften it in even more. I think before we add any more details, I'm going to go to layer four, I'm actually going to darken it up slightly. Adjustments, hue, saturation and brightness, just on the brightness slider from 50 to 48, it just deepens it that little bit, which is really quite useful. It should be a slightly richer blue. I've also noticed that it has a really sharp edge at the top. So with that layer, I'm going to go to the adjustments, the Gaussian blur, slide it across, just softens that edge. It's about 4%, deselect, and that blends in better. Back to layer nine, zoom out, let's go in with our colors. We'll go to the second color on the middle row, and I'm going to go back in with the evolve brush within drawing. I'm going to put it 3% size, about 30% strength, and there's just going to be some brighter colors coming in here now. Strengths of this across, a little bit more, 4%, some blocks of this slightly lighter color coming in, patchy, zoom in like this, just so we get some variety. Not too worried about this side because we're going to have cliffs obscuring it, so don't worry about detail there really. I'm going to change brush. Let's go to the airbrushing soft brush, 15% size, 10% capacity. Let's build in some of this color coming down, just in that middle section. Move along to the third color. I'm going to have some distinctly kind of more green colors coming in as we get lower down. Bring that down to the bottom of the canvas, and a lot of this effect is about that color change really, an important part of what we're creating. Let's build up a little bit more there, move along to the fourth color, some of this, and certainly this bottom area. Now you can see a really nice gradient of beautiful kind of green colors up to that richer, slightly darker blue. Let's go to the fifth color. Actual change brush will actually go back to the elements, clouds brush this time, about 25% size, about 20% strength, and we can just use it to build in nice sort of mottled texture, so it doesn't look too flat. Nice bit of variety of texture in here. You can do some surface sort of disturbance as well, like reflecting off the surface, but this is more of a color that's sort of deeper in the water, textures underneath the surface. You can also imagine that the cliffs come down and some of that texture goes under the water. We'll worry about that a little later. Let's go to the next color, the sixth color. We'll turn it down a little bit, 10% size, and I'm just going to add a few patches of this. But again, we're going to probably go back a little bit later and really focus in some of these colors a bit more. That's a good start. We'll come back to all the water. We'll create a new layer on top for now, layer 10, and we're going to go to the darkest color we have, which is the first color on the bottom row. I'm going to go in with the Evolve brush, same settings as before. We're going to be a bit more bold this time, so 10% size, 100% opacity, and I'm going to bring it in from the right side, about halfway down the canvas, maybe just a touch below halfway. I have a bit of land that sticks out here. I'm going to bring it up, maybe not quite as high as this. I'm going to have it more sloping up. We can allow it to build up in blobs, slope up in this direction, but almost goes up to here as well. I probably need to go in with some different kind of textures for the foliage. We'll just map out the overall shape to begin with, maybe turn it down so we can be a bit more controlled, 5% and from this edge, just bring it this way, fill in any gaps. You can see I've created a little bit of a curve too. Again, this bit is going to be obscured, but it makes sense to just map out the overall shape to begin with, so we kind of understand it a little bit better. 4% and there's just a little bit that sticks out here, tying up some of these shapes. We can always go in long press on the eraser. That means then we've got the same brush for the eraser, 3% size, 100% opacity. Well, we can shave off anything we want to remove, fine tune it exactly how we want it. Back to the brush, I'm going to go in with the inking. Dry ink brush will do, 5% size, 100% opacity. And then just towards sort of this cliff edge, press on more, you get a broader shape, but you can quickly sort of release the pressure and you get a thinning out of those branches, which is perfect. I'm just going to have some branches. Again, don't spend ages on these necessarily, but we definitely want to show some tree branches in this section, if it thins out. Here, less so because we're going to have quite a thick coverage of foliage and we won't notice the branches as much, but for this section, it just sticks out at the edge, perhaps matters a little bit more. And just a few tree trunks and branches that are kind of more visible. And that's probably enough for that section, maybe just a couple up here. Again, don't really overly obsess about them. Let's get a suggestion of these in here and we're going to cover it up and obscure it for the most part anyway. You can always add more later. That's a good start. I'm going to create a new layer, layer 11. I'm going to change brush. I'm going to go to the organic rainforest brush. Same settings as before, 2% size, 100% opacity and we're still using that dark color. And then you can just start to bulk out some textures here. So we'll be on 2%, maybe a little lower on the 2%. There's always a little variety within even one percentage of a brush. You can push it around and you have a really big version of the brush or finer, tune smaller texture version as well. So just some of these textures, slightly soften in what we've already created. It is a separate layer for now, at least. Create some separate blocks. And again, if it feels like it's missing some of the branches to support some of this foliage, we can go back in for now. Just allow yourself to add the textures in without worrying too much. I'm reaching up here near the top of the canvas. That's great. Circle it in, taps, circles, whatever means really. Some of that cloud is going to peek through, but not a lot actually. Which is why we didn't spend a huge amount of time in the cloud over here or anywhere for that matter. Lock in some of this, this big section here. Can allow some gaps to remain through in places, but otherwise build in some nice sections of this foliage. Down here, more dense here actually. I think I prefer that. I'm going to tap on that layer, put on the alpha lock and I'm going to move along to the second color on the bottom row. Same brush, 2% size. I'm going to turn it down to about 40% strength. I'm going to go over this and just soften some of that black in places for some of these greens. I think it needs to be a little bit lighter. That black is quite aggressive. Let's just move it. Certainly for the top sections, I'm going to put that up by 70%. Knock it back a little bit. We want that dark color to remain in places, but not everywhere. And then we're going to go to the third color. Still got the 70% strength. And just like we've got the right side and the top edges highlighted on other details, it's the same for the foliage. Same principle, fourth color. Again, just the top edges. It's really going to hit it and be more noticeable. You can add it in other places too, but to begin with, adding it there is the most beneficial. Okay, I'm probably going to tap on that and merge it down to layer 10. Let's go backwards a color. Let's go to the fourth, third color rather. We can build in some more kind of round shapes there. Add some more of them in here. What size are we on? 2%, let's put it up to 3%. Build in some trees that come this way a little bit. Let's go back to the fourth color. A bit smaller on the fourth color, 2% size. Again, highlight those top edges. They're just really kind of kissed by the sun. Just get some more vibrant look to it. We haven't got the alpha lock on, so we can freely apply it. Really building in that beautiful kind of sun look. Okay, I'm going to create a new layer, layer 11. Tap on it and put on the clipping mask again. Links it to the layer underneath. I'm going to go to the artistic hearts brush. Stroke path spacing at 20%. I'm going to go to this nice gray color, the seventh color on the middle row. 3% size, about 40% strength. Zoom in, start on this side, and we'll just do some lines that cut up and down. I don't care about the foliage for now. It's on a separate layer, and we're going to remove it where we need to. We want some of the gaps. We want some of those dark colors to show through. We're going to obscure a good chunk of this as well. So it's really in this section that we need. We'll leave some of those gaps, as I say. But we just, we want some of those textures to be going vertically. You can go slightly diagonally across each other in places too, but something like this to begin with. We've got a lighter gray, the eighth color on the bottom row. You can bring some of that through as well. Not quite as much, but certainly some. Especially towards the edge. The sun is going to be just affecting that more around that area. Then I'm going to go in with the eraser. Put the eraser on the soft brush with an airbrushing. 3% size, 100% opacity. We just want to remove this top section, certainly. There needs to be a bit of a gap between the foliage and then the rock texture. There's probably going to be a shadow underneath to a certain extent. Just nibble away at that. Turn it down 2%, maybe about 30% opacity. Just for this top edge, just remove it a little bit. Feather it in. That's fine. I'll just turn this up. 5% over here. We'll just slightly remove it, so it just gets slightly darker on this side like that. Then we're going to go for this really bright color, the ninth color on the bottom row. We're going to go in with the airbrushing soft brush just into the 2% size and 50% strength. Zoom in. This is when we're really going to have it hit by the light and it brings out this warmth and a bit more drama. We're going to have it certainly along this edge. That edge is a little bit crispy. We've changed that a little bit later on. Put it down to 1%. Maybe just some of this edge is going to have real highlighted sections. We don't want too much of it. Definitely want it along this edge more than anywhere. There might just be another little section here, for example. Sticks out, catches the light a little bit. Turn it down even more. Lower on that 1%. Again, plenty of it along this edge. That's where it's going to impact the most. But then other areas might just be little bits. When you zoom out, you start to get that sun kissed effect. Just thin sections. Anything that would stick out might just catch the light a little bit. You don't want to do too much of that. It's not encroaching too much on this side, certainly. Some small sections like that. We've got this nice color here, the seventh color on the bottom row. Same brush, turn it down to about 15%. I want to bring some of that warmth down a little bit. Just in places. Not too much. But I'm also going to go switch, change brush. I'm going to go to the organic rainforest brush with that color. About 60%. I've passed in 2% size. And there'll just be bits of slight change in color of foliage here and there too. I've got different colors coming in, kind of blending together quite nicely. Okay, so we're going to create a new layer. We're going to have a different section that puts in front. We're going to go to this dark color first. The first color on the bottom row. Let's go back in. The drawing evolved brush, just like we did the first time. Go 10% size, 100% opacity. I'm going to block in some of the shape. And it's going to come to about here, but all the way to the edge. And then it's going to come down. So really, we're only going to actually see a little bit of that jutting out. Not an awful lot of it. Let's turn it down 5% so we can be a bit more controlled. Maybe angle it out about here. And then we can bring it back in. I'm probably going to have more sections that come down as well. Like this. And then between them, like another little section that just kicks out and leaves the water. You've got little bits that jut out until we reach the bottom. And then we're just going to fill that in. 10% size. Fill all of that. Loosen down. There you go. Let's change brush. Let's go to the organic rainforest brush. 2% size, 100% opacity. And this top edge, you can just have more of that kind of foliage. Zoom in so you can see it. You don't want to notice it too much. We'll create a new layer, layer 13. And we're going to move along to the second color on the bottom row. Another rainforest brush, 100% opacity, 2% size. And there's just going to be some foliage in here, different bushes. You can identify even in the shadows. And certainly as we come around here, we're going to start having almost all of it in the sunlight. We'll start with a dark base. And we can always ramp it up. Move along to the third color. And more and more of it is just going to come into the light. So let's just build up some of this. Allow some of those dark colors to still show through. We don't want to completely blot out that black. Let's turn the size of it down. Lower on that 2%. Just do some longer sweeps. We're going to get kind of a plateau flattening out on the land. I suppose we can start to create an edge. So a nice curve shape coming in here. Just a few taps, keep it quite irregular. We'll just define some of that kind of edge of the cliff. Come down here, something like this. Keep it quite loose, that's fine. 3% and we can just start to quite loosely kind of fill some of that in. So let's move along. Fourth color, 2% size. We're going to turn it down to about 40% opacity. And well, I'm going to build in a nice area here that generally is affected by the sunlight more dramatically. So we can allow more of these lighter colors to just rest in that area. I'm going to move along. I'm going to move along to the sixth color, a warmer kind of color. Bring some bands of this through. I've got the seventh color, which is really a lot warmer. It's quite nice. Bring it in, as long as it's sort of couched in some of those other cooler colors and greens, the combinations really work. So we're just layering this up nicely. Bring some of that warmth in. We're going to have this color. You can see it's already there. We can have it a bit more on the bottom of the cliff. So it relates to several different areas, which is really nice. Zoom in. So still with the organic rainforest brush, 2% size. Let's just tap along this edge. Some of this warm color, just really define some of the boundaries. Quite nice. Okay. On layer 12, I'm going to go in with the soft brush with an airbrushing. I'm going to use the eighth color on the bottom row, 4% size, maybe about 60% strength. And I'm just going to create some general shapes with this brush. It doesn't have to be over neat at all. Let's create some lines that sort of crisscross. We just want to create some textures that go up more vertically. And I'm going to put it to maybe 5% size and 20% strength. And then just go over it again. Want to soften in some of those dark colors, like so. You can always go back in and add some dark colors back in as we need them. I definitely want to lighten and lift it. And then I'm going to go along to the ninth color. Artistic heart brush, 2% size, 100% opacity. And then, well, I'm going to use this brush to really pick out some textures now. Along some of these edges. Tap it in. I want to follow some of those lines and streaks, but it can be a little bit rough. That's fine. As I often say in the tutorials, we're going for an impressionistic kind of look. We're not spending 20, 30 hours on a piece of work. We're going for an impression. All about creating looks in a really nice, efficient way. Teaches you about colors and textures and composition in a way that isn't overly labor intensive. It can take people a little while to follow these, but not a ridiculous amount. Zoom out. You can see some of the light effects. It's not going to be the most perfect rock textures. It doesn't matter. Creating a look. Tap it down into some of these bits that come down. We don't want to lose some of these shapes. Jut out. Let's create lines that just help define those a little bit. Turn it up as it gets closer, 4%. Blocks of this light color, maybe. So keep some of the gray. Some of the gray is important. Turn it back down again, 2%. We need to allow some of that to still remain. We don't want to completely blot out all of that dark gray. It is doing quite a bit of work for us. Within that, we'll go in with the seventh color on the bottom row. Maybe turn the brush down to about 30% strength. Top end at 2% size. And within some of the gray, we're going to have a warmer hue. A mottled kind of variety of tone and hue. I might even turn that up, 3%. And 50% opacity. Pop some of this through. Now, once you've got to about this stage, I'm going to go to the adjustments, the motion blur. I'm going to drag it up slightly in that kind of diagonal direction, but not too much. About 15, 14%, you can see it's just slightly stretched it. Made it settle in there a bit better. I'm going to change color. I'm going to go back maybe to this dark blue gray color, actually. The eighth color on the middle row. Airbrushing soft brush, just into the 2% size, 20% strength. I can go in there, in fact, probably even lower. Let's go to 1%. And I can just darken up some of those little areas. Just create some channels, some crevices and cracks in the stone. Just to give it a little bit more depth. Just run some lines through. Otherwise, it's going to look a little bit too shallow. It needs to have some sense of it, having some deep areas. You don't need to go crazy with it. Just a few. We'll go quite a long way. And then, I think down here, 2%. And perhaps we just need to create a little bit of darkness as it hits the water in places. Turn it down again. 1%. 50% strength. It comes down here. We kind of want some of that dark tone right there where the water connects to it. That will work better. Once we got to this stage, we really need to address the water. So I'm going to go back to layer nine, create a layer above it, layer 14. I'm going to go to some lighter colors. Let's go for the third color on the top row. We're going to go in with some texture. So something like the artistic leatherwood brush. 3% size, 20% strength. I'm just doing it at an angle like this so I can control it a little bit better. 2%. Some thinner streaks. Build it up into blocks a little bit here and there. Lower that 2% even. Allow some gaps. Then adjustments, motion blur to the side. 30% or so. That's helping. 3% size, maybe just blocks in here. Adjustments, motion blur to the side. 40% deselect. I'm going to go in perhaps this time with the airbrushing soft brush. Lower that 2% size and really quite low actually, about 15% opacity. And then just more manually put in some dashes back here. And we can build them forwards. Again, allow some gaps. I don't want too many of those. I'm going to have to have some interaction with the water. So I'll create a new layer, layer 15. And well, I'm going to go for the eighth color on the middle row. Stay with the soft brush with an airbrushing. 3% size, still a 15% strength. Like I say, the land needs to have some interaction with the water. So we'll build in some shadow. It goes into this area here. Build a little shadow. Obviously a reflection too. A combination of just the light shutting down in that area, but also a reflection of sorts. We'll build it up. Kind of reflect what you see above. And then I guess a little recessed area here too. We want some of that dark tone coming in. Clap it in. I want it to be a little bit more textured. Probably going to cover it up with more broken water texture as well. A little bit of darkness there. Makes a big difference actually. Turn down, lower that 2%. A few dashes. It's not a completely consistent reflection or shadow. Probably need to add some of the highlights in there as well. So let's go for the ninth color. We can show some of the light color reflecting in the water. Doesn't need too many of that. Too much of that. A few down here. Adjustments. Motion blur to the side. 20%. Deselect. And it's settled everything a little bit better. Take layer 15, tap on it and merge down with layer 14. Create another layer above. So a new layer 15. We'll go in maybe with the fourth color on the top row. Soft brush with an airbrushing is fine. Turn it down. 1% size. About 40% strength. And then just along this edge there's going to be broken kind of water. Just suggestions at it. A few taps. Down here as well. Bits of broken water as it meets the rocks. More disruption to the water surface. Reflecting the light. Bouncing the light around a little bit. I'm going to go back to layer 10. Tap it and turn off the out block. Going with a smudge on the soft brush with an airbrushing. 2% size. 100% opacity. And we just need to adjust this edge. It's way too sharp. Kind of ruins the overall impressionistic look a little bit. A bit too jarring. So let's just go and remove the edge. Same with that edge but it's on a different layer. So let's go to layer 10. Soften that in. I'm going to go back to layer 9. I'm perhaps going to add some more colors down here. So let's go back for some of these warm colors again. Sixth color. Go in with the elements. Clouds brush. 5% size. 40% strength. We'll just tap in some of this. Not too strong. We need some of these. Again it's going to relate to the bottom of these cliffs as they meet the water. Let's go in with a nice aqua color. So let's go for the fifth color. On the middle row. Bring some of these colors in here. Especially for the bottom area. We need a bit of a lift with these colors. Especially relating to almost like a continuation of those underwater kind of details. Seventh color on the bottom row. Just one or two little touches of this color. Also go in with the eraser. Put the eraser on the elements. Clouds brush. 5% size. Maybe 100% opacity. And just maybe here and there. One or two bits of the darker blue nibbling away there as well. Not too many. Just creates a bit more texture there in the shallows. Go up to the top. Layer 13. Stay this warm color. Seventh color. Go in with the organic rainforest brush. 2% size. Maybe 30% strength. And we can just put some of this warmth. It's going to relate quite nicely to the water. So we'll bring some of it up. Just maybe in these bottom areas perhaps. And we're going to relate it up here as well. So let's put it up to still 2% size. 60% strength. Bring some of it maybe just at the edge over here. We've got it along the edge here as well. Quite nice. In fact, let's go to layer 12. Let's go in with a dark color. Maybe the ninth color on the middle row. And just underpin some of that brightness on the edge with a slightly darker color. I'm just going to set it off a little bit better I think. For it's more of a distinction between the top edge and then those areas. Maybe I should go in with the airbrushing soft brush. 2% size. 30% strength. And just build in some darkness. Just in two places. Doesn't need too much. Okay, I'm going to go to the top. Create a new layer. Layer 16. On this new layer, I'm going to do a little path. So I'm going to go for the ninth color on the bottom row. I'm going to go to the rainforest brush with an organic. Lower that 2% size. 70% strength. And I'm just going to carve out a little path. My sort of cliff edge route. People can come and admire the views. Let's turn it down. Lower that 2%. Just meanders this way. And then it just kicks back this way a little bit. Sort of zigzags off there. And we don't know where it exactly goes. It doesn't matter. 10th color on the middle row. Some slight warmth coming in there. Mix it in. I'm going to go to a brighter color. Let's go for the sixth color. And we're going to go in with the rainforest brush with an organic. 2% size. 70% strength. I'm going to use it to build in some highlights. I'm going to keep this one quite simple. It's just a nice little path. It runs along the cliff edge. What I might do is an extended version over on my Patreon. Where I add a little structure in here perhaps. But for this version I think it's perfectly enough just to have it as a nice natural landscape. If you are interested in an extended version of this. With a little structure. And links for my Patreon are down in the description. But it doesn't need it. It's perfectly scenic and beautiful without the extras. It's always nice just to experiment and see how we can push it a little bit further. I'm going to take this color. Because I think it's a particularly nice sunny color. Extend it over here as well. Trees. Some of these ones. Builds it all together I think really quite nicely. I might just go in with the ninth color on the middle row. Keep it quite simple. Let's just go in with the airbrushing soft brush. 2% size. 30% strength. There might just be a suggestion of tree trunks in here. We've got trees and we've got lots of foliage. So maybe just a suggestion here and there. Trees. I don't need to go too far with that. I think that's sufficient. Sometimes subtle is best. Something like that. I might go in with the 10th color in the bottom row. One or two of these. 1% size. 50% strength. I could probably push it a little bit further. In terms of brightness. I don't want to get too bogged down into the textures necessarily. But you know, a little bit. Ramping it up here and there perhaps. Makes sense. Over in this section. On this edge perhaps. And along this edge. Okay. I'm going to leave this at this point. I hope you've enjoyed following along. As I say, I will push this a little bit further on my Patreon. Doesn't really need it. But I think it would be interesting to explore what a little structure might look like there on the coast. Again, link for that down in the description. Otherwise, don't forget to hit subscribe. Hit the bell notification. And I shall see you back here soon. Bye for now.