PROCREATE Landscape DRAWING Tutorial in Easy STEPS - Waterfall Tree Sunset

Okay, I'm going to teach you how I've created this image, break it down into steps that are easier to follow than you might imagine, so that you can have a go and amaze yourself. Okay, so as I explained in the intro, I'm going to break this down into steps so that you learn not only the painting process and techniques, but also about the app that I'm using, Procreate. That isn't to say that 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. And one of their default color profiles is the sRGB, the code that ends in 2.1 on the list within Procreate. In terms of the brushes, I'm going to be using within airbrushing, the soft brush and the medium brush. Within inking, the studio pen. Within artistic, maybe the leatherwood brush. Within elements, the clouds brush. And within organic, the rainforest brush. And in terms of the colors, I've already pre-selected a color palette. Each of the colors has, if you go to the value section, a code called a hexadecimal code in this box. Each of the codes is listed down in the video description that corresponds with each of the colors. You just need to copy and paste them into this box one at a time and press enter and the color will appear up here. And then you just tap it together and create your own color palette. Or to save you some time, there is a link next to the codes that takes you to my Patreon page, where you can download the color file for free. And Patreon is also the place where you can support this channel and gain access to exclusive content like extended versions of these tutorials, for example. I'd like to say a massive thank you to those people who support me over at Patreon. It really does make a huge difference to my ability to keep this channel going. Thank you so much. And with all of that said and done, I'm going to get started. Okay, so the first thing we're going to do is rotate the canvas so it's in the portrait orientation. I'm going to go to my layers, I'm on layer one. Go to my colors, the first color on the top row. I'll just clear that so it's less confusing. Drag from the color circle in the corner into the canvas and flood fill the whole canvas. I'm then going to go to my layers and create a new layer, layer two. Back to my colors and use the second color on the top row. Go to my brushes, I'm going to use the soft brush within airbrushing. I'm going to put the brush size up to 40% and 100% opacity. And just about two thirds of the way up, I'm going to do a band of this color. Then I'm going to go to the adjustments, the Gaussian blur, and I'm going to blur that in, slide it across until we get to about the, well, we might as well do it to the 100% actually. And it's a little bit weak in areas, so I can go back to that layer, slide to the left and duplicate it. And that doubles up the strength. I might as well just pinch them together and it merges those two layers just to keep the number of layers down. I'm going to go back to my layers and create a new layer, layer three. And I'm going to tap on a little N, change it from the normal blend mode by scrolling down to the add. I'm going to change brushes to the elements, clouds brush. And I'm going to use this strong, ready orange, the fifth color on the top row. And I'm going to put the brush size to about 3% and the opacity is about 30%. And I'll just zoom in just for this top area a little bit. And we're just going to subtly tap in some more horizontal kind of stretched out shapes, just tapping them in. We just generally want to build in some texture. Maybe we'll put the opacity up a little bit, actually, maybe 50%. You can see it a little bit more clearly. I don't feel the need to do too much of this. The sun is going to be about this area, so maybe just preference it a little bit in this kind of region. But we'll see it generally just a smattering of it all the way across. We don't need to do too much. Maybe just some stretched out bands of this kind of highlights and little bits of texture. As it gets further down, we can have some slightly more stretched out long shapes. They're not completely perfectly horizontal at all. That's absolutely fine. So just a suggestion of it to begin with. I'm then going to go back to my layers and create a new layer, layer four. Again, change the blend mode by tapping on the N, scrolling down from normal to add. And you know you're on the add blend mode because the little N is changed to an A. We're going to go in with the soft brush, with an airbrushing. And again, we're going to use this fifth color on the top row, this red orange. I'm going to put it at about 25% size and 10% opacity. And then just about three quarters of the way up, a band of that across. Maybe do it twice. Go to the Gaussian blur within adjustments. Blur that to about 30%. Deselect. Turn the brush size down to maybe 15% and do another band in the center of that. Again, go to the adjustments, Gaussian blur. We can blur that even further, maybe to 20%. We'll go to our layers and create a new layer. Again, tap on the N, scroll down from normal to add. We'll change it to the add blend mode. Then go to our colors. We're going to use the sixth color now, which is more of an orange. And again, we're using the soft brush with an airbrushing. This time, we're going to turn it down more to about 10% and 10% opacity still. I'm just going to tap in where I think the sun is going to go. Do that a few times. That's just got our placement. Then we'll turn it down to 2% size, still at 10% opacity. And then we can just gradually, lightly start to build in some bands and stripes that cut across. You can go all the way across where the sun is. That's fine. We're going to make it much brighter yet anyway. Just try to keep the lines a little bit irregular. You don't want them neat at all. And then when we get up a little bit higher, we can just start to have them maybe building in some irregular shapes, edges of clouds, where it's just highlighting the edges. A suggestion of fluffier kind of cloud shapes. Staying the same way, we'll go for the yellow, which is the seventh color along. And we'll turn it down even smaller, down to the 1% size. So it's still at the 10%. We can start to work this in. Just bring out some of these shapes, be even brighter. Again, it doesn't matter if it cuts in front of the sun. We are going to ramp that up as well. Bring in some lines and dashes. It can be made up of taps and texture like this. It does become irregular. It can be generally quite stretched out and become a band like a stripe. But then it can be made up of more undulating kind of rougher textures as well. Just little suggestions of this lighter color in higher parts as well, but not too much of it. I will go and create a new layer. Again, tap on the end, scroll down and put the add blend mode on. And we'll go for the white, which is the eighth color, last color on that row. Stay with the soft brush with an airbrushing, but put it up to maybe 4% size, 30% opacity. And we're just going to tap in where the sun is going to go. So tap that in a few times. They're going to go backwards to the eighth color, the yellow color. And we're going to put it up to 10% size and 10% opacity again. And just tap on the sun a few times. So it really kind of bleaches it out. Let's do that again. So we can count the number. I mean, you can do it so it judges, you know, by eye anyway. So let's put the sun back in. Let's count that. So we'll do one, two, three, four, and maybe a fifth time. That looks about right. I'm going to turn the size of the brush down to 2% again, still at the 10% opacity. And I'm going to build out some of this glow, some of this glare outwards. Don't mind if the kind of glow of the sun extends into these areas even more. Maybe I'll put it up in fact to 3%. Maybe there's like a channel between clouds. So that's just catching the light a little bit more. Extend that out and extend it this way a little bit too. And then you've got like a darker section above and a darker section below. That kind of works. Then we go back to the white. We're just alternating between the colors on this layer. Turn it down to 1%. We're still at 10% opacity. And we can just extend the white into some of this texture. Again, perhaps we can just bring the white down to the very edge. Where it meets the cloud. So we're losing the sun shape a little bit and that's fine. Often is what will happen. You won't have a distinct round shape sometimes. Sometimes it will just break up into different textures of the cloud that cuts in front of it. And that's a really nice effect. See the effect is starting to build in really nicely. We don't want to overcomplicate the sky. We've got quite a lot of elements and layers to add. So we're going for something that gets the nice kind of glow and warm effect. But isn't overly fussed over and overly complicated for a sky. We'll go back to the yellow. Extend some of this a little bit further out. Let's trace some of these lines and some of these rougher textures. A little bit beyond where the sun is. Both directions. Use some long dashes of this all the way across. Now we're starting to get a really nice effect. Okay, I'm going to create a new layer. It's better to keep everything on separate layers. We can always merge them if we run out of layers. Or we'll find we're getting a little bit lost. So add layer seven. Again, change the blend mode from normal to add. Again, we're going to use the soft brush with an airbrushing. And again, we're going to use this fifth color on the top row. This red orange. 15% size. 5% opacity. And I'm just going to aim for kind of underneath. I'm going to extend the impact of that glow a little bit further down. Then turn it down. About 5% size. Just a bit more controlled above the sun. Extend that a little bit further up as well. Like so. We'll probably come back to the sky and refine it a little bit further. But we're going to push forward with the other elements before we do that. So zoom back out. We're going to go to our layers and create a new layer. Layer eight. I'm going to go back to my colors. I'm going to use the third color on the top row. Again, with the soft brush with an airbrushing. I'm going to put it down to 2% size. And about 10% opacity. And then just have the canvas so you can see exactly where it is going in relation to everything else. And we're going to add just maybe some suggestion of clouds that are just down here. More low-lying ones before we actually hit ground areas. So just some subtle shapes of cloud here. Again, so these are about, well they're roughly about halfway in fact. There comes a point in a landscape sometimes like this where the land and the cloud gets a little bit kind of fused together. And you can't quite separate what is what and which is which. And that's absolutely fine. So we're just doing a small kind of suggestion of low-lying clouds here. We're going to have another feature that juts in. But just a subtle hint of some textures. Then I'm going to go for the fourth color. I'm going to change to the medium brush with an airbrushing. And I've got the brush size at about 5% and the opacity at 100%. And just here in the distance, I'm going to create some distant kind of mountains. So just some subtle peaks here that are very slight. You don't need to really go overboard with those. But anything in the distance, the peaks and troughs are not going to be very distinct. Do that all the way across. Then just drag from the color circle into the remaining area and it fulfills. I've not let go. There's a little bit of a band, a separation there between the two. So I'm just going to slide it that way until it pretty much gets rid. You can always just go over it too. There you can see it is not visible anymore. I'm going to tap on that layer and put on the alpha lock. You can see a little checkerboard design has appeared on that thumbnail in the background. And that locks the layer. So now that I can go to a lighter color or even a darker color, so the third color, I can do a line that goes all the way across it, but it stops at the boundary there, which is perfect for what we're going to do. So I am going to stay on the airbrushing, but I'm going to put onto the soft brush. I'm going to put it to 20% size, 100% opacity. And just in this bottom area, I'll just do a swipe of that across. So about half of it, of this whole area. Then I'm going to go to the adjustments, Gaussian blur. I'm going to blur that across to about the 50% and deselect. Go to the layer, turn off the alpha lock. Then I'm going to go to the eraser, set the eraser to the medium brush within airbrushing. I'm going to put it to 3% size, 20% opacity. Maybe just chip off some of these top areas, just to create a sense that there's some layers here. Zoom in, then we can turn it down to the 1%. And then just bring in just some suggestion of the edges of mountains and beaches here on the landscape. And perhaps it's just catching the light a little bit. We've got the sun here, obviously. It's not going to be a highly reflective surface, but there's no reason why the edge of some of these land formations can't just give a little bit of a highlight on those edges. I'll just bring a shape here, just the edges of mountains, perhaps, and hills. Maybe we could have a river channel system that runs through here. So maybe we could go for maybe the second color on the top row for this. Put our brush, so we're on the soft brush, down to 1%, 20% strength, opacity. Zoom in. Imagine a river system, a river that just cuts through here a little bit, kind of snakes through this whole area. I'm doing it in very broken texture initially. I don't need to be overly distinctive about this. Don't need to be overly strong. And then just cuts down into this lower corner a little bit. So we've got a suggestion of something that snakes here. Perhaps we ought to create a new layer for this and change the blend mode from normal to add again. Maybe we'll go for the red-orange, the fifth color on the top row. And with the soft brush at 1% and the opacity at about 10%, we could further exaggerate and enhance this. So we've got a very subtle beginning of it put in. And now we can go in and just have some highlights. It's every reason to believe it would reflect some of the light of the environment. Now I'm bringing it channeling down, but I'm not just doing it in one line like this. It would look a little bit too unrealistic. So I'm doing it as kind of vertical shapes, allowing it to remain quite textured. Perhaps it's a river system that has all sorts of little anomalies here, little channels that feed in from the mountains. So you get little channels that cut down into the river, for example. And then you might have rocks and other elements within the water, within the river. Let's not make it a solid block of this tone at all. Maybe if it kind of fragmenting, broken up. I'm going to put this up to 30% opacity. And that should push it even further and maybe just even lower on the 1% size rather. And we do have a strong light coming from the sun. Let's just add little elements of the highlight in that water as well. Now we are doing this as a separate layer. So if we wanted to add, for example, with the eraser, medium brush, airbrushing, 1% size. So small again and maybe 20% opacity. We'd go back in there and we could reclaim rocks and other things within the river, perhaps a little bit of land. I mean, really, we're more zoomed out than rocks, but it could be like little islands, I suppose, where the water flows in and around it. And then back to the brush. Once you've decided some of these shapes, you can further push the water in and around those channels and blot in some more areas. You get a real nice sense of light. Just keep zooming out, checking the impact in relation to the whole canvas. Easy to get lost in the detail. We are zoomed in, so make sure you keep zooming back out and then I'm okay for it to become more and more subtle. So we're kind of doing it in relation to the sun to some extent. And then maybe some of the mountains actually cast a shadow in some of the areas, so we don't get as much reflection. Let's think we could change our color. Maybe go back to layer eight, go in with a lighter color. So we'd go in with a third color on the bottom row, still with a soft brush, but this time put it up to 2% size, still at 30% opacity. Again, we could just build in a different kind of tone, different color for this river. Let's have it going over here. Maybe even put it up 3%. We can deal with the detail of it a little bit later. Let's just get the main kind of position of it in 2%, add some irregularity to it. Back up to layer nine, back in with the red-orange, the fifth color, still with a soft brush, back down to a smaller size, 1%. Probably subtle now at 10%. We're going to have a crossover point here, where it goes from the warmer colors to the kind of more cool colors. Maybe just feather that in a little bit. We'll come back to that. Let's push forward with more elements. So let's go to our layers from the top, create a new layer, layer 10. And we're going to create our main feature really, which is a piece of land that juts out, and it's very stylized. So we're going to have a waterfall and a tree growing on it, which is probably too much for one scene, but it is a stylized piece, so let's go for it. We're going to go for the medium brush with an airbrushing. Go back to our colors. I'm going to use the first color on the middle row, 5% size, 100% opacity, and I'm going to push this really out there. Now our scene, I'm going to do a horizontal shape that cuts all the way across, just slightly up from the center point, and then have this kind of rocky landmass cutting down. We're going to bring it really low down on the canvas, create this irregular kind of rocky structure, and then just color it in. Now we can turn the size of the brush down, 2%, keep it at 100% opacity, and just go in there and refine this edge, make it a little bit sharper if we want to, so you feel like you believe that it could be a series of rock shapes that stick out, sharper points and edges, whatever you feel works best. Stay on the same layer. We're going to go for the second color on the middle row. I'm going to stay with the medium brush with an airbrushing, but I'm going to put it down to the lowest part of 2%, and only about 30% strength. I'm going to zoom in, and we're just going to have like a secondary, subtle light that's going to create highlights amongst this rock. Now I'm going to keep it as, for the most part, kind of vertical moving shapes. We're just creating bands of this color, this hue, this tone moving upwards, but then we're going to create some kind of separation. So I've got almost guided by the shape that's here, highlights that are moving upwards, but then we've got another one here, and let's go from there and move some of these upwards, maybe keep a little bit of a separation, a gap of shadow between the two. This is going to help inform the overall look. And then down from this shape, I'm sorry, go down and then go upwards from that shape rather. Keep moving some of these shapes up into the higher areas. You can plot in some areas. It doesn't have to be all made up of lines. It could be large sections that you just blot in, and then continue that texture. Do some over here too. In fact, let's go over to this side. That's really good old over here. Perhaps we could put it up from the 30% up to 40%, speed it up slightly, turn it down, even lower to the 1%, and start from the shapes, the things that jut out. I'm going to have a lot of texture that run over elements of this. The water cascading is going to obscure much of it, but still, let's get the shapes in there initially. Let's put the brush size up again, 2% in these larger areas where you don't need to be as precise. I was down to the 1% in that smaller area because we've got a smaller area to work with. We just want to make sure we're not going over the edges quite as much. You can see some of the effect is building in just by using some of these jutting out shapes as a starting point. Maybe what we should have done with this layer is tap on it and put on the alpha lock that enables us to go right to the very edge without spilling over that outline. That's a really useful way of approaching it. Then we don't have to worry quite as much about being neat on the edge. Now I'm just blotting in kind of chunks at this point, moving around. Maybe a large section here, for example, over a few times, large blocks of color and start to get more fragmented as it goes up. Now another approach, we've got all in one layer. Another approach now we can use is go back to the first color, still with the medium brush, with an airbrushing, 2% size, maybe 100% opacity. Then we can cut through this now and create some splits, some divides in that shape. So we've got a vertical, now we'll do some more horizontal kind of cuts through, so we can create some fracks and splits that generally kind of bring some of this texture together a little bit, makes it more one unified kind of shape. Just a way of bringing it together a little bit more, maybe turn it down even into the 1% so you can get some more subtle gaps. We'll just cut through, create some more horizontal lines and textures through that rock. Okay, that's a good starting point. Move back out and now we're going to add the tree. So I'm going to do this on a separate layer, layer 11. We are still going to use the first color on the middle row. I'm going to start initially with the medium brush, with an airbrushing, 3% size and 100% opacity and then we just need to think where we're going to place it. So I'm going to place it so it doesn't obscure the sun but it's not too near that edge either. So let's zoom in a little bit. I'm going to have a nice sort of twisting tree and get the trunk of it in there initially and then we'll worry about the branches afterwards. Just get the main body of it in there until you're happy with the shape. Almost like a little kind of bonsai tree effect. Although it isn't small, we've got this almost exaggerated gnarly kind of look to the tree trunk. Then I'm going to go to the inking studio pen. That's the default settings. I was just checking and we're going to have it at 20% size, 100% opacity and now we're going to start adding some branches. Now it's pressure sensitive so you press lightly, you get a thin line. Press hard, you get a thick line which is perfect for extending these branches and having them get thinner as we go further along. So press on more to begin with and then have a little bit of a twist and turns and then press more lightly as you go further on. So you're super light near the end and then you've got a really nice kind of creasing sized branch. Zoom back out, continue this branch up into the upper area. We don't want to go into the top of the canvas and we don't need to do necessarily kind of thousands and thousands of branches. We just need the main kind of bulk of them in there to begin with. Maybe extend this a little bit towards the sun. Okay, to have some of them overlapping too and we can always go back in here and add more branches once we've started to add the foliage. We feel like there's a little bit of a sparse area and it needs more branches then we'll just go back in and add those. Maybe just a kind of lower down one. It's twisting back on itself even and then we can have a lower line, a little sections of the tree maybe. Okay, so we're going to create a new layer, layer 12 and we're going to move along to the organic rainforest brush. Now I'm going to reset it to begin with. Tap on that again and I'm just going to change the spacing from 27 to 50 percent opacity, click done. I'm going to put the size down to two percent and a hundred percent opacity and I'm just going to block in areas where I want the foliage to be. Let's put it even lower on the two percent and you can circle this in, you can scribble it in, whatever. Helps you get those blocks of foliage in there. Now we can go right to the edge as well. Scroll out, zoom out rather. Let's have a look at that top edge. We want to just think about the shape of the tree. Set where you want the overall structure to be, where you want the top edge to be. How far up on the canvas you want it to go and you can work more in the center area. Just get some large kind of blobs in there. You want some separation which is why I'm applying it in these kind of shapes and then we can add some smaller little shapes as well. Come down here we can add a smaller shape, series of smaller shapes and this little branch won't support large amounts of foliage. Then as we come towards the center upper area, obviously it's going to carry a bit more weight. You can have it going off the canvas there, I don't mind and we've just got the silhouette that we're creating initially. We are going to add some colors on top too. Again, let's go around the edge, maybe just firm up the top edge. What will tend to happen is you get the front side and the top side and the backside of that area so you get a real kind of blocking out of light just towards that top area because you've got a whole range of different areas of that tree that come together in that point. Maybe we can add some low-lying bushes and things over here too. Okay, once I'm happy with that element, I'm just going to merge it down with layer 11. So tap on it, merge down. So all of the tree silhouette is now on one layer and I'm also quite happy to merge it with the cliff shape as well. So I'll merge it back down again. So now all of the tree and the jutting out rock is on one layer, zoom back in. The alpha lock is on. I'm going to go in with the organic rainforest brush. I'm going to go to my colors and I'm going to go for the fourth color on the middle row. 1% size, 100% opacity and I'm just going to start adding in some extra textures, some highlights as the tree comes around to this side. It's going to get the secondary lights that just create some kind of warmer hues. So you're going to start seeing some greens just picking up on this front area. So think about the overall shape of some of these kind of blob shapes and just the top edge of them creating some highlights and we can also then go to the fifth color. Maybe as it comes around to this side, it's a slightly cooler green and it's quite subtle in the mix. It's still largely going to be silhouetted. It's not going to be a very distinct set of colors but it is an important element. So you must put some of these greens in there and we obviously want some of this black silhouette to remain. So you leave some healthy gaps between the highlights. So you definitely want some of this green in, probably a lot near the top where it's going to be immediately facing the sky. Definitely get some of the highlights in there and then as we get closer to the sun, we're going to use some warmer colors there too. Let's go along our colors. We've got the sixth color. It's an even kind of lighter, brighter highlight. Again, put this nearer the top, I would suggest. Then we've got the seventh color along. Put it up slightly this time, two percent and as we get nearer the sun and just scribble over that area, it's going to pretty much start to bleach out some of that darkness. So we can just start to get rid of some of the dark black silhouette. You can see that starting to blend it in a little bit better. Maybe just along the top edge a little bit too. I'm going to go with this highlighted color just so we keep some of that texture. One percent size, 100 percent opacity. I don't want to lose that textural quality. And then we can bring some of that highlight just backwards here on that top edge a little bit. It's helping to sort of blend it in a little bit more. Allow it to just hit some of these areas that are really facing the sun a little bit more. Don't overdo that. I think that's overdone. Let me just dial that back. Two fingers, dial it back and just put it near the edge instead. I'm going to go to this layer, turn off the alpha lock. I think I'm probably going to go back to the inking studio pen. Back in with the first color on the middle row and perhaps just continue to kind of play around adding some smaller bushes and details in here too. Just miniature small things in the foreground. And again, with the organic rainforest brush, what size are we on? One percent size, 100 percent opacity. Just building some of these areas. Then put back on the alpha lock and similar to what we're doing with the tree, go for some warmer colors. So the seventh color. And again, we just want to make sure that it's not overly silhouetted. And then even the eighth color, pick out some of the highlights and that's fine. Okay, I'm going to start thinking about adding some of the water to this scene. So I'm going to create a new layer, layer 11. I'm going to go to my brushes. I'm going to use the artistic leatherwood brush. Now I'm going to reset it, tap on it again. I'm going to change the spacing from 17 to about 50%. And I'm going to go for the first color on the bottom row. I'm going to put the brush size down to one percent, 100 percent opacity. And I'm just going to start building down. I'm going to zoom in so you can see this. It's quite textured and that's exactly what we want. So in the shadow areas here, I'm just bringing in some really subtle kind of blue in a vertical shape. So the water is spilling out. We're going to have a water effect here and it's just spilling over the edge and coming down. You're only going to see this blue quite subtly in some of the shadow bits here. It's almost a bit too dark really. I'm going to put it up to two percent size. Just add a bit more of it in here. I'm okay for some textures to start coming down here as well. It's not really the water as such, but I'm okay for that. Okay, I'll skip to the second color, lowest part of two percent. And let's just start adding some of the highlight in this top area. Perhaps we even go for one percent. Bring some of it down, bring it down. We're really focusing, tapping it on the top part and then just allow it to come down more. We can go to the adjustments, the gaussian blur. We'll just blur that in. Not too much, maybe about three percent. And you can see the effect that's starting to build in is quite nice. Go for the third color along and just start to think where the water might be spilling over now. Tap it a few times at the top and then just drag it down. Tap it a few times at the top and drag it down. And then we're going to get a central area here where we're going to get quite a lot of this water now. So I can just create a band of it there. Drag it down, maybe put it up again. Two percent size, it's going to get some bigger shapes. Push it left and right a little bit. It's not going to be in this bigger area quite as straightforward. It's going to kind of have more of a churn as it bounces off rocks. You can still see these shapes and that's fine. We're not worrying about that too much at this point. Perhaps I'll go to the adjustments, the gaussian blur and blur that in. It's blurring these still as well and that's fine. About three percent. We also have the option of going to the smudge and we can put the smudge on the artistic leatherwood brush. Tap on it again. We've still got the same settings even though we've changed to the smudge and that's great. Put that down to two percent and about maybe 50 percent strength opacity. So two percent size, 50 percent strength. We can just push this around and that further helps sort of break it up a little bit. Back to our brush. Go for maybe the fourth color. We can alternate between the leatherwood brush and something like the airbrushing. So we can go to the soft brush perhaps. One percent size, 30 percent opacity. Let's start putting in some of the strong brighter color near the top. Tapping it in a little bit. We want to create some little areas perhaps that where the water is settled and then we can have another section where it's streaming in. From an even higher up section so you can create some little channels where the water is pouring in. So you're creating steps for the water and in that higher up section you can do some horizontal shapes across. Keep it as kind of loose lines. Seems like quite an appropriate way to treat it and keep it as horizontal as possible. Obviously water will find its level. Go along to the fifth color. We're really starting to ramp up the highlights now. We want this to be obviously very bright in some areas. Maybe turn that down. Lower on the one percent. Push some of these lines up. Just turn it to the side so I can do some nice horizontal shapes in there as well. Okay I'm going to go back to the artistic leatherwood brush. I might just create another layer. Layer 12. Lower on the two percent size. 100 percent opacity and let's start building in some of this texture. We really need to start ramping up the highlights I think at this point. Bring some of that texture downwards. Maybe put it up two percent. Let's bring all of it down. Okay to scribble it in. Let's think where it's going to. It's going to go continuing to go down. I'll put it up even to three percent. It goes lower down. It starts to separate out even more. Let's go backwards a color. Maybe the third color. I don't want it all to be too highlighted. I'm okay for bits of it to catch the light but bits of it to be kind of like a shadow. Maybe the fourth color. And even just the mixing of the colors. Starting to create a nice kind of effect. Let's go to the... Let's go for the last color here actually. Let's go for the sixth color. Maybe turn it down. Lower on the two percent. And from this zoomed out position we can get a better sense of the impact. We're not doing it as necessarily all completely dragged down shapes. It could be more just tapping in. Just assessing it. Seeing where the impact is needed. Okay, let's go to the adjustments. The Gaussian blur. And we're going to blur that in to about five percent. And just the blur itself creates a better effect but we can push that even further. Let's zoom in. Again, let's keep some separation of layers. So create another layer. Layer 13. And this time we're going to go back in with the airbrushing soft brush. We'll stay on this lightest color. Sixth color. One percent size. Oops. Thirty percent opacity. I'm just going to start being a little bit more precise now on where I'm applying some of these textures. So we've got the textures that have been pretty much made for us by the Leatherwood brush. I'm going to turn this down even lower. I'm just going to use the textures that are now tapping in and around them. Adding a little bit more clarity but in a way that's just a little bit more subtle than the Leatherwood brush on its own. Perhaps we can go back a color. Go back to the fifth color. Not quite as bright. We can add some of this more individual texture here as well. A little bit time consuming this but it's quite a nice effect when you zoom out and you just keep checking. It's quite a satisfying look. And then again, this is on a separate layer too. So we can use the blur if we need to. I'm going to put this up slightly higher on the one percent as we come further down. Tapping some more of this texture amongst what we've already got. Use it as a guide. Now I do want it to be quite random but that isn't to say that you lose all of the kind of separation of shapes. So you might find there's a large kind of block you have kind of gaps and then it almost gets like a line that cuts through. So you want some kind of interest in there. You make it completely uniformly scattered all the way across then it actually becomes quite boring. So having some kind of area here there's a chunk there that's in shadow and it's quite nice to kind of keep some of that articulation of different kind of blocks and shapes in place. As you come further up perhaps we could even as you can see I'm scribbling over large areas block them in and I'm getting happier with that effect. We can go to something like the smudge put the smudge on the airbrushing soft brush two percent size fifty percent opacity and we could actually smudge some of that in maybe go backwards a layer and do that layer 12 and we're just getting that kind of effect just kind of blurring out towards the center or the bottom area rather that's quite a nice effect as well. Go back to the top layer layer 13 with the brightest color on the end still with the soft brush one percent size maybe put it up fifty percent opacity whoops so it's 51 and sometimes when I say these percentages especially when it's 50 sometimes I say or so if it nudges up to the 51 it actually won't make any difference really whatsoever so usually in the ballpark and sometimes those sliders can be quite fiddly if you can't quite get it to the 50 doesn't matter put in a little bit more here at the top level it up now we've got another area for here where you're going to have more light now you can condense all of those layers together now I'm going to create a new layer above it though and I'm going to go in with maybe the third color on the bottom row probably going to go in with the soft brush one percent size and 20 opacity I'm just going to start building in some of the cascading water so it comes down from this point and just cascades and little steps you get little breakaway sections if I just get them in here more boldly with this brush I can always go over it with the more textured brushes afterwards as well and the same over here it can just be spilling out and have some smaller strands kind of water that cut down then I'm going to go for the fourth one along and again just need more of the highlight near the top of the water features typically where it's going to catch more of the light I'll just turn that down to one percent not right at the bottom it's a little bit too sharp when it's completely at the bottom but lower down certainly maybe an area here where it collects and then pulls down a little bit more zoom out check the overall impact now I might go back to layer 10 tap on it and turn off the alpha lock and that's where we've got the main rock features and I might just have some vines some organic things that have been hanging down so go back in with something like the well we could probably use the artistic leatherwood brush for this in fact and let's go back to the first color on the middle row one percent size hundred percent opacity and let's just bring down some of these organic elements some plant life that's just creating these vines and things that are hanging down slightly higher on the one percent maybe have stuff that is hanging down that isn't just the water then switch to maybe the airbrushing soft brush one percent size twenty percent opacity we can further extend that idea zoom in maybe turn it up fifty percent strength again always check the impact for whatever you're adding is having is it benefiting is it a good element to add you can only sometimes check that by just zooming out and having a look at the overall impact to a hundred percent let's be bolder okay we definitely need some more highlights bringing out the kind of textures i quite like the effects on the tree but we've got nothing on the tree trunk nothing really in this whole area we can go back to the water certainly but for now perhaps need to go to layer 10 where we have the main shapes and then we're going to create a layer above that but underneath the water we're going to tap on layer 13 and put on clipping mask which now links it with a little arrow to this layer which means it's impossible to go beyond the boundary much in the same way that we use the alpha lock now we're going to go in with something like the airbrushing soft brush go to maybe the third color in the middle row and we can start adding texture on the tree so maybe low on the two percent size and about twenty percent opacity and i can start thinking about tree roots textures in the tree generally because they're a little bit featureless right now just create some twisting lines that all gather together roots that will dip into the water don't need to worry too much of it when it gets up into the kind of tree canopy they're going to create enough of a shadow so you don't really get much there and then we can just go along that edge again it's got the clipping mask on so you can't go over the boundary and that's great maybe we'll go to the end color the eighth color turn it down from twenty percent to ten percent and then even smaller on the brush size one percent and then we can just start bringing some highlights onto that tree as well and back out check the impact does it seem to fit and then we can go for an even lighter color let's go for that second color on the top row don't change the settings much maybe put it up more actually maybe put up to thirty percent strength and this is now reflecting much of the color that's in the overall scene i'm happy with that tree effect but there's much more we can do here in terms of bushes so i'm going to go for the fourth color on the middle row i'm going to go to the organic rainforest brush one percent size hundred percent opacity let's add some bushes in here highlights maybe we should go for the fifth color it's quite a cooler version add some low-lying bushes and trees amongst this rock textures zoom in maybe turn it down even more one percent some amongst all of this turn it up again two percent size let's get some bigger shapes in there why not let's go for the fourth color again again it's a bit brighter and you can see it's starting to impact it bring it out a little bit more i'm going to go back onto layer 13 i'm going to further push the highlights so i'm going to go for again the third color on the middle row go back in with the airbrushing soft brush two percent size sixty percent opacity and again you can push some of these highlights in these rocks we've already got most of them in there so we don't have to really start from scratch from here at all we've got the divisions we've got the kind of main structures in there maybe a little bit down from the two percent into the one percent we're just being a little bit more granular with some of these shapes and you can see the impact that that has it's subtle but it's an important part of the overall effect that the subtlety was just a little bit too subtle so we are using this highlight to bring some of those rock textures forward in the overall mix of the composition let's zoom in identify where they are just tap into them a bit more bring out some of those shapes ramp them up a little bit back up higher on the one percent for large blocks and then if you want some smaller details back down again smaller on the one percent especially towards the edges where you might get some smaller shapes but definitely worthwhile alternating the size of the brush between different parts of the texture if you want some large blocks fill it in turn it down again and then you can add some smaller points of texture in and around the larger blocks too now texture can be one of the most time consuming parts of a tutorial honestly it's the bits of a painting of an image that I actually enjoy the most I realize not everybody is going to feel the same about that but yeah I really love texture so I do want you to spend as much time as you can bear just really enjoying the texture getting lost in the overall look of it because even within textures I find pleasing arrangements of shapes I think sometimes that's where the real interest can lie because just like if you were looking at photographs sometimes you can look at a certain area of a rock structure and start to imagine certain things like you would look at clouds too start to imagine certain things in the formations and that can be really where sometimes the interest is really the most okay we're going to create a new layer at the top so now layer 14 we're going to change the blend mode from normal to add and we're going to go in with the red orange which is the fifth color on the top row soft brush with an airbrushing top end of 1% size 15% opacity and I'm just going to go in now and start adding some kind of highlights some warm color break up some of these dark shapes here at the top this back area and then even in the water we're going to get real sense of highlight these bushes we can have some of these highlights hitting the top edge too maybe put it up to 30% down and lower in the 1% sharpen up some of these edges side of the tree for example now I'm just using this now to highlight some of the top edges of this organic features bushes here and again here just catching the light really nicely creating that glow just kind of scribbling it in a little bit but you can see that warmth that light that's just catching through that area now is really quite a powerful effect let's just go for this area maybe it's catching the light just on the top of the water there a little bit or it spills down in the shadow part and then we've got some areas here so obviously the light is catching here but maybe there's a shadow part but they're just down here we're going to have it catching the light a little bit there as well so with the soft brush put it to 2% size maybe 10% opacity or so just tap in in this lower area perhaps the light is just catching the water as it goes lower down brush size up 5% you can have that really just firmly put in there then and that's nice I might go back to layer 10 with the inking studio pen and the well maybe the second color on the middle row and I feel like I can just add subtle kind of additional branches in the overall look there being careful not to go over the foliage because it is a dark color that will just as it was all on one layer it will destroy some of the lighter tones that we've created but just between the gaps perhaps just add some more branches not too many back to my top layer back in with that ready orange back in with the airbrushing soft brush I'm going to put it at 5% size 10% opacity I think I just want to channel that sunlight down a little bit into our scene build in some light glow in here so it just creates a bit more magic in that area I think sometimes you can do a lot with a glow it can really lift a piece of work maybe not too much over there extend that across in this area though really lifts it and then we can turn the size of the brush down so 1% up to 30% opacity I think I quite like some elements of cloud here that are kind of more distant kind of fluffy edges and shapes just so we don't have a completely featureless sky I think it needs some element just cut cutting through there I think that works for our overall scene adds just another dimension to the sky and some separate kind of breakaway tufts are always a nice feature I feel like we need a little bit more of that kind of thing down in the lower area as well so I put that at 15% strength and again we can just build in highlights and some of these mountain edges just to add a little bit more of a sense of feature in that lower area we don't want it to be totally lifeless I think I might go back to layer 12 back in with the artistic leatherwood brush and I think I just want a bit more of the water so I'm going to go to the fifth color 1% size 100% opacity I'm just going to bring some of this water down even further I'm going to use the blur on it as well so I can use this fairly quickly just to bring some more of that texture in there and then go to the adjustments gaussian blur blur that in 3% back in with the airbrushing soft brush 2% size 30% strength and again just highlight the top edges maybe go for something like the more subtle blues second color in these shadow areas third color second color is a little bit too blue really back in with the soft brush on the top layer with that ready orange 10% opacity 1% size and yeah I could just endlessly use this now to keep adding texture I think honestly it's one of the nicest elements it's this really strong glow adding texture and highlights in the scene just ramps up the kind of complexity of what we've already got put up even more 30% keep pushing it until you're happy with the overall look might just go back into that top area put it up to 10% size 10% opacity add a bit more glow just try to avoid the silhouette of the tree a little bit we don't want to take too much of that away the edge is okay but not too much of it go back a layer maybe go in with the third blue with the airbrushing at soft brush at 2% size 10% opacity just add a bit more blue that's a little bit stronger 30% opacity or so add a bit of blue for the water in this area I think that makes a bit more sense of the water okay I'm going to leave this tutorial here at this point I hope you've enjoyed following along do remember to hit subscribe and the bell notification and I shall see you back here soon bye for now