MOUNTAIN NEON SPHERE LANDSCAPE drawing tutorial - Procreate made easy

Okay, on this tutorial I'm going to break this painting down into easy to follow steps, way easier than you might imagine, that you can follow along and amaze yourself. Okay, so as I said in the intro I'm going to break this down into steps that are easy to follow, so that you learn about the painting process as well as the app that I'm using which is Procreate. However, I don't see any reason why you can't use a different app on a different tablet and still follow along and have some success. But within the app itself, Procreate, I'm using their default A4 canvas which is 297 by 210 millimeters at 300 dpi. I'm also using one of their default color profiles which is the sRGB and it's the code that ends in 2.1. It's here on the list. In terms of the brushes, I'm only going to be using the default three brushes that come with the app itself. So within airbrushing, I'll probably use the soft brush, medium brush and the hard brush. You might try the old brush within painting, within organic I'll be using the rainforest brush, within luminance I'm going to be using the light pen and perhaps within spray paint I might just use the flix brush or something very similar. We'll see when we get further along with the tutorial. In terms of the colors, I've pre-selected a color palette. Each of these colors has linked to a hexadecimal code which you can find in the value section here. Each of these codes for my color palette can be found in the video description so just need to take a note of them, type them into this area one at a time and press enter. The color will appear up here and then you can piece it together yourself. Or next to those codes is a link that takes you to my Patreon page and you can download the color file for free to save you some time. And that's also the place you can support the channel and gain access to extended versions of these tutorials and other content. And with all of that said and done, we're going to get started. So the first thing I'm going to do on layer one, go to my colors, I'm going to choose the first color on the top row and I'm going to drag to flood fill the entire canvas. We'll stay on the same layer, go to our second color, I'm going to change brushes to the organic rainforest brush. I'm going to tap on the brush, I'm going to change the spacing to 45 percent. Then I'm going to put the really pretty big at around 15 percent, 20 percent opacity and just near the top area. I'm just going to drag, bring this across like so. Then I'm going to go to the adjustments, Gaussian blur, I'm going to blur that in to about the 15 percent. So we still have a little bit of texture but it's pretty softened in. And then I'm going to go to my layers, create a new layer, layer two, I'm going to go to my colors, I'm going to choose the third color, I'm going to go back to the airbrushing soft brush, I'm going to put the brush size at around 20 percent, about 70 percent opacity and just for the center of the canvas, I'm going to do a band of this. Then adjustments, Gaussian blur and blur that in to about the 50 percent. Again, stay on the same layer, I'm going to go in with the soft brush, reduce it down to about three percent. The opacity of the brush is about five percent and just before it reaches down into this pink area, we're going to add some highlights at the bottom of some wild sections, add some texture into the lower area here. Now most of this is going to be obscured by mountains but definitely going to be some areas that just peek through in places and we're just including those. I'm not really taking any great care with this, I'm just applying some dashes and some streaks and stripes that just run across. I'm allowing them just to be a little bit chaotic. Okay, I'm going to go to my layers, create a new layer, I'm going to change the little n blend mode which stands for normal, tap on it, see normal and scroll down to add and the little a appears instead of the n. We'll use the soft brush within airbrushing. I'm going to go to this yellow color at the bottom of the canvas, I'm going to have the brush size at around 20 percent, five percent opacity and I'm going to start with this corner and I'm just going to push it in from the right and I'm not going to be too precious about it, I'm just going to push it in from this side to about the halfway. We definitely want to accumulate more of this light over the side so press it a few times into this corner. I'm going to do the sun about here so I can press it more in this region, probably going to reserve the white for a little bit later on. I'm going to go to the adjustments, gaussian blur and blur that in to about the 50 percent. Well let's add the sun, so let's correct the layer, change the blend from normal to add once more, let's change our color to the white at the bottom. We'll stay with the soft brush within airbrushing, we're still at the 20 size and five percent opacity, we'll tap where we want the sun to be just a few times just to get the luminosity into the scene. Maybe we could try increasing it actually so we can spread it a bit further, 50 percent, there you go. So four or five taps seems to do and again just blur it a bit more because we do have some kind of banding on the blend. We'll go to the adjustments, gaussian blur and just blur that in about a further, well 15 percent looks good. What we'll do for the background sky, not a lot of detail but that's great. We go to our layers and create a new layer, layer five. We'll switch to the airbrushing, we'll try the hard brush initially, go into our colors and we'll use this fourth color on the top row, three percent size and a hundred percent opacity, in fact no just a little bit less than a hundred, we'll put it at 90 opacity and I'm going to choose the top of some of these mountain peaks, some of them are going to be obscure, obscuring rather the sun, some of them might be a little bit different. So once I've got the peaks in I can work downwards from them, it's going to be pretty angular mountains. What I would suggest is that you don't create too much of an overhang at any point, so something like this, it needs to kind of subtly kind of blend down from the peak. Again I don't feel overly concerned about being worried about those little details just yet, just getting it in, creating the effect kind of roughly initially. I think they're just moving the brush up and down, helps create those series of textures because I think if you start doing this kind of thing for mountains it just becomes a little bit too neat. So pushing the brush up and down I think helps keep that roughness and then obviously we can go in and blend it in a little bit more, soften some of those lines as necessary. So once you get to about this point you can zoom in a little and just maybe just fine tune some of these shapes, use them as a starting point and obviously you're not restricted to the original placement, so if you're not happy with it you can go to something like the adjustments, freeform, manipulate it, adjust it, see where you're happiest with it. I think I might just move it along a little bit, have it slope down here a little bit more for example and then we can just increase the size of the brush, fill it in. One of the reasons I have it only at 90% is that it creates some textures in there which means when we start to add snow textures and it's not as flat looking and it's just a little bit easier to start imagining where some of those textures might be right from the outset. I'll just increase that to 20% just fill in the bottom area, it's going to be obscured by other things anyway but it does no harm just to get rid. That whole layer I'm going to go to the adjustments, gaussian blur, I'm going to blur that in to the 2%. I'm going to go to the layer and turn on the alpha lock which means that anything I add at this point can only be contained within the mountain area, so it stops at the boundary where that shape stops. I'm going to go to the fifth color on the top row, change back to the airbrushing soft brush, put it at around 10% size and 20% opacity and I'm just going to work in from this bottom section. I want it to be lighter down here and then working up over a few times just so it's a little bit darker at the peak in this area. I'm going to reduce the size of that brush down to 2% and move it at about 30% opacity, zoom in a touch and we can take some of the textures that are already there, it's already got some variation because we had the brush at 90% but you can go in and just further bring out some subtle textures. Now this is the texture for the rock, now we're going to add some snow on top of this which is going to be a much more vivid, stronger highlight but start adding some variation of tone even on the rock. Now think about the fact that we have the sun here which means it's going to have some highlights that hit on this side and this can be emphasized with some warmer colors too but we certainly should anticipate lighter colors in relation to the sun. I'm not going to do too much of that. I'm going to move along to the sixth color now and this is going to be the color, these two colors are going to be the color of the snow. So I'm going to create a new layer and on this new layer I'm going to tap on it and put on clipping mask which means that it now links to the layer underneath, layer five and so likewise if we use a color it will stop the boundary where the mountain stops too. Again the sixth color on the top row in with the, well let's try changing brush, we'll go to the painting old brush, we'll have it down at two percent and seventy percent opacity and let's just zoom in a touch and probably from the bottom of the mountain range initially dragging it upwards it'll help us with some of these textures and then tap it as we get nearer the top that kind of fragments a little bit more. Now it's a kind of broken texture anyway which is why I've opted for this brush, it's not going to be a solid flat color even when you zoom in. I really like using the airbrush for some things but sometimes it's just a little bit too untextured when you do zoom in. Now we will use that airbrush to go over this and just soften in some of the areas where needed but this is just a good way of creating more texture but from the bottom section we can just sort of scribble it in, it's going to be obscured again by other things anyway and then as we come further up we'll use sort of streaks, stripes, drag it upwards and use it to help describe the slope of the mountain and then when we get down here we can just sort of scribble it in, block it in a bit more. I'm going to increase the size of the brush to five percent just speed it along a little bit so we'll bring this across for the lower section, again it's going to be obscured but just speed it up a little bit and have some areas here where it's just settled perhaps, maybe just creeps up between the gaps between these two, maybe into another settled area here, maybe just creeps up here, I don't know, you get to determine where there's no settles, where it lands. Again increase it up to ten percent, just fill in this lower area. You can see I've done it very roughly and very quickly, it doesn't really matter just yet. Then I'm going to go to the adjustments, Gaussian blur and just blur that in about the three percent and that helps just soften out some of that texture a little bit and then we will go in with a different brush, we'll go back to the airbrushing soft brush with the same colour on the same layer, the lowest part of two percent, size, thirty percent opacity and we can zoom in now and we can just start adding more manually some of this texture in here as well. So take as a cue, as a starting point the textures we've already got and you can determine which bits that you might actually leave and if you want to continue adding to them you can and the benefit of having this on clipping mask now is that when I get to the top I can just really quickly go to the edge and I don't worry about it going into the sky and making it untidy because it just is impossible to do that now. I'm going to add a few more textures up in the areas up here in the mountain peaks. If there's too much texture in places, too many gaps, I can just go in with this brush now and just soften them in. I might turn the opacity up to fifty percent on that basis and just fill in some of these a little bit more. Okay and just creep some of these textures up more manually with a few points, doesn't take a lot. I wouldn't spend too long on this detail because it's going to be knocked back and more subdued when we add other elements anyway. Okay I'm going to create a new layer, layer seven. I'm going to go to the seventh color, still with the soft brush with an airbrushing, still small so lowest part of two percent, lower on the opacity however so about twenty percent opacity and within this lighter snow we're going to add some highlights too. Again we know where the sun is coming from so we need to bear that in mind. Where is the sun likely to get access to? Well not many places actually. The sun is behind there so it really isn't going to impact too significantly on these snow areas but I'm just adding some highlight anyway in a more diffuse kind of spread out fashion. I'm just layering up these kind of textures really but it's a low opacity and I don't want it to be too significant. Perhaps I will go to layer six, turn off the clipping mask, go back to layer seven and put on the clipping mask so it links to layer six this time which means that if I add any highlights it can only be contained within the snow that I've already created. So turn that back down, twenty percent opacity again I can just be afforded what it affords me to be a little bit looser with the way I'm applying it. A bit more of it over here in this area. If we could turn it up actually five percent size and just add a bit more freely over to this area. Okay I'm going to take the top layers and merge them down so the highlights are all on one layer and on that I'm going to go to the adjustments, gaussian blur and just blur them in a bit more to about the two percent. I will come back to this. I need to deal with the fact that the sun is going to bleach out on much of that mountain area here but we'll do that a little later. So we're going to create a new layer, again a layer seven because we merged them down. I'm going to go to my colors, skip these for now. I'm going to move to the second layer, first color on the middle row. I'm going to go in with the airbrushing across the medium brush, three percent size, ninety five percent opacity and I'm just going to have it cutting in across here, go diagonally and then I'm going to have another one maybe cutting up this way diagonally and I'm just going to drag to flood fill the remaining gaps. Now you're going to get a little bit of a separation there so just hold your apple pencil down and slide it to the right, it should close most of those gaps. If it doesn't completely then you can just go over and just fill in those little anomalies anyway. Okay turn on the alpha lock for that layer, go back to my colors, second color in the middle row, same brush turn it down to perhaps two percent size and about sixty percent opacity and I'm just going to start bringing in some long stretched forms going in this direction from this side. I'm allowing them to be separated too, leaving gaps, keeping it quite loose. They definitely need to leave some of the original dark blue or purple showing through and I'm going to do the same on this side. I can go right up to the edge because we have the alpha lock on, it allows me to be a little bit more tidy. Perhaps I'll turn the size of the brush up to four percent as we get closer here, right down again to two percent and we can have these colliding, it doesn't really matter, it's going to be obscured by mist anyway, something like this. Then I'm going to go to the adjustments, gaussian blur and just blur that in, it's about four percent. I'm going to use the third color on the top row, that pink, I'm going to turn the opacity down to about ten percent opacity, fill up the, well let's put it even lower actually, put it down into the, just into the one percent and we can just lightly drag some highlights across some of these areas now, not too much, about ten percent opacity is a little strong so let's put it down to five and we can bring some of these highlights into this area too. Now as we get a bit closer to us, we imagine the light's coming from here so it's going to hit this side of any texture, so we've got a gap in an area here and then an edge that sticks out, so we need a highlight along that edge perhaps, and a gap and then another shape with a highlight with the edge that's facing that way. I'll zoom in a bit here, you've got an edge here that would face that way so it's got more of a highlight than a gap and another edge that perhaps has a highlight, but I'm being pretty loose with this, it doesn't need to be something you worry about too much and I'll do something similar over here but obviously the light's coming from here so we've got an edge there, perhaps just a few highlights, nothing overly dramatic and then again to the adjustments, gaussian blur, blur it in, three percent looks good. Okay so we still have the alpha lock on, so with the soft brush with an airbrushing I'm going to go for the fifth color on the top row, about 15 size and 20 opacity and just in this lower area I'm going to start adding some of this like a low-lying mist, I can bring it all the way down too, it doesn't matter, and then as we come up into this area a little bit we're going to just concentrate on blending in this section, it's going to be knocked a little bit further back, this bit's a bit nearer but this middle bit represents an area that's just being pushed back a little bit more, I'm just circling that in into this center area and just blending that in a little bit there and there as well, just softening it in generally. I think that works, we're then going to switch to the sixth color on the top row, reduce it down to about a five percent and about ten percent opacity and I'm just going to build in the top of this mist there, almost like it's just creating a highlight of its own as well and a little bit of texture almost but not too much. Okay I'm going to create a layer on top, change the blend mode from normal to add, go in with the airbrushing soft brush, zoom in, I'm going to go for the third color on the right, fifty percent size and five percent opacity and just where the sun is, I'm going to tap that in a couple of times, perhaps I'll even turn it up to eighty percent, tap a couple more, just brings a lot more light into that area generally. I'm going to tap onto the orange, second color from the right, you need to reduce that down to fifty percent again, a couple of taps in that area, reduce it down to maybe thirty percent, a couple more taps in that area, perhaps I could just bring that further down into this area, I'm just scribbling it in, still only at the five percent so it's really subtle, I can just creep that in a little bit further far and wide there and that's starting to work. Then I'm just going to go back to layer five that had the mountains on, it's still got the alpha lock on and perhaps with the third color from the right again, with the soft brush down to ten percent size, five percent opacity and I can just start bleaching out some of this sun or the mountain into the sun rather, perhaps we can even turn that up to twenty percent, tap where the sun is again, again just soften out some of that mountain area so that it makes a bit more sense in relation to the sun. Perhaps we could even go in with white, reduce it down to five percent size, five percent opacity and just soften in that very edge where the sun hits too. Go back up to layer eight, I'm going to go in with this fourth color, twenty percent size, still only at five percent opacity and I'm just going to bring this into this lower area, just soften it all in a little bit, bring it together a touch more as well. Okay, so I'm going to create a new layer, layer nine, I'm going to go to my colors, I'm going to use this third color on the middle row, I'm going to go in with the airbrushing medium brush, three percent size, seventy percent opacity and I'm just going to start building in a mound here where we've got a real foreground piece of earth. Now it's still just the end of the summer here but this is kind of going to be like dust and snow on the ground and the whole scene really is not really season appropriate but hey, I really like doing snow scenes, I can't quite wait for winter so there you go. So I've just increased that up to five percent size, still at seventy percent opacity, I'm just bringing in this foreground detail like so. I'm going to go to the fourth color on the middle row and I'm going to go to the organic rainforest brush. Now we already have changed that brush so the spacing is at 45 percent and we're going to leave it like that too. I'm going to put the size of the brush down, two percent size, fifty percent opacity, with this lighter color we're going to just start bringing in some textures here now as well, maybe even increase it up to five percent. So here in the foreground we're just getting some real textures in here. Initially back to the airbrushing soft brush now, back to my colors, I'm going to use the fourth color in the top row, three percent size, twenty percent opacity and I'm just going to use it to soften in some of these edges a little bit. Looks like it's just again just disappearing into the mist. I'm going to use other colors just to bring it back out here and there as well but yeah, just so it kind of merges a little bit better. On that basis I can still perhaps go in with the second color on the middle row with the airbrush, three percent size, perhaps even lower, ten percent opacity and I can just further integrate those two areas together now with this with a few bits of texture. It will just help kind of mush them together, merge them together, make them feel like they're out of one environment a little bit more. Now it's not to say I don't want some crisp edges in places because that could look really good too. Here perhaps we'll have a bit of a crisper outline, looks good. So perhaps I'll put the opacity up to 40 percent, just down to the two percent strength or size rather. We can just firm up some of these edges. I want them to be a little bit more of a sharper edge in places too. Back again for this first color like this. Okay so we've got a little bit of a nice kind of ground environment here. I'm going to add highlights to it but we need to add our main features before we know where to put them. So I'm going to create a new layer, I'm going to go to my airbrushing hard brush, I'm going to put the brush size down to one percent and a hundred percent opacity. It doesn't really matter on the color, I'm going to go for something that really stands out. So I'll go for something like this really nice reddy pink at the end of the top row and I'm just going to draw a circle where I think it would suit. So I'm going to put it here, try to roughly get a circle, hold until it snaps to a neater shape, probably going to be an ellipse. So tap the little arrow here and change it to a circle. Now if you drag from the line anywhere on that circle you can change the scale of it and also in the middle or on the outside you can move it around. So I'm going to put it maybe about here then I can just, well let's just slide and duplicate it, then transform and I can move another one anywhere I want. If I put it on uniform I can then change, pinch in and change the scale of it too. And just play around with the two of them until you get a nice sort of balance where they kind of interplay with each other. It suits your environment best. So I'm going to have this one off to the side, smaller and I'll lift it higher up, helps just push it further away, which could obviously explain the difference in scale or it might just be smaller anyway, either one. I think about there for the small one, the big one, maybe about there. I'm just going to pinch them together now that I'm happy with the placement. Okay so now we've got that layer we can go to the selection, automatic, tap into the center of these shapes. Now sometimes when you use the automatic it has a little bit of a blurry outline, so go to the automatic, tap inside the shape and just slide it across until it almost flood fills and then tap in the other one. Just make sure that it goes right up to the very edge, that works better. Then I'm going to go to the layers, notice the blue disappears as soon as you do that, create a new layer, layer 11. I'm going to go back to my brushes, airbrushing, soft brush. I'm going to go in with a nice pink and put the brush size at 10%, the opacity at 20 and just in this lower section I'm going to start bringing in a nice glow initially. Creep it on the side there a little bit on either side of the sphere and even up into the center area there a little bit. I'm going to go for the spray paint flicks, put it at around 10% size and about 30% opacity and we'll just flick some of this texture in here, just create a little bit of a grain, I think will work. I'm going to switch this third color from the right, again back in with the airbrushing soft brush down to maybe about 5%, 20% opacity, just at the very bottom building in some of this glow. I'm going to creep this in just around the edge and then just start tapping it in, so there's a lower section, allowing it to build up a little bit. Creep it up there, go to this one, mainly in the lower section, again just creep it up the side of that sphere a little bit, back down to 10% opacity, continue that a little bit more, especially in this lower bit. Create another layer, layer 12, go to our colors, we'll use the fourth color, sixth color on the middle row or fifth color from the right, go to the hard brush, 3% size, 80% opacity and I'm just going to bring in a highlight coming over here and we can afford to have it kind of angled here. You can imagine almost like reflections of mountains, mountain edges, just reflecting back over in this edge. Then we can change the white, perhaps we'll also go to that layer and put on alpha lock and you notice we haven't deselected the selection area, so this is all contained, press that so it hasn't released the selected area. Perhaps I want to change to the soft brush with an airbrushing, 3% size, 20% opacity and I can just blend that in a little bit more, we've got the alpha lock on this detail, we can blend that in and then maybe go for fourth color and just soften that in as it creeps around the edge there as well. Back to that color here, fifth from the right, the hard brush, turn off the alpha lock again, add some more sections with the fifth in from the right in the middle row. Perhaps we could also try this third pink in the top row, again with the hard brush, 2% size, 80% opacity and we can just have some shapes that creep in and around here too, perhaps this third from the right and brighter, not quite on the edge. Okay, I'm going to create another layer, again we've still not released this selection, I'm going to change the blend mode from normal to add, I'm going to go to the luminance light pen, I'm going to put this size at around 15% and the strength at 50%, I'm using this orange on the middle row and it now allows us to create some interesting shapes inside these spheres. So I'm going to zoom in a touch, I'm going to concentrate down in the bottom area, I'm going to twist almost at the edge shape, now if you hold it it'll snap to a really nice shape and you can do this a few times, so I'll start with a really nice shape here, twist it in, hold it and it snaps to a nice shape like that. So try that a few times until you're happy with the shape, so I'll do that again, zoom in, I want to press it here, I want to have it hugging and then maybe coming in like this, thinner and then hold it until it snaps to a really lovely shape like that and maybe over here, so I'm going to have some scribble in shape here and then just twist it in here and then maybe it could be another one that fragments from it, twist it in like that and now still with the selection tool on, I'm going to go back to layer seven. Now layer seven had the alpha lock on, so I'm going to turn off the alpha lock and then I'm going to go to the adjustments, gaussian blur and I'm going to blur that in, so you can see it mushes together and kind of disappears within that section and that is going to work better. I mushed it into about 20 percent, press the adjustments, still not turned off the selection, perhaps going to go back to layer 11 to have that glow, I'm going to create a layer above that, change the n to an add, go to my soft brush with an airbrushing, back to my colors, I'm going to choose this really strong pinky red color at the very end and then I'm just going to bring in some of this glow into this as well, so five percent size, low on the opacity, it's around five, you can just bring in some of this really warm pink as well and just circling it in a little bit more, bringing it in to play even more, only in the five percent, so it's not particularly strong, I'm going to play a little bit more at the bottom areas, back in with maybe this pink, forth from the right in the middle row and again we've got the blend mode set to add, so this is going to be a lot brighter because of it, bring it in a little bit more, dapple it in, okay, so I think that will do for the overall effect of those, I might tweak them some more, but I'm now going to turn off the selection so you can start to see the impact it has in the environment. We've got that strange red ring around them obviously still, so we need to go to that layer which is layer 10 and turn that off, that instantly helps, but now I need to start bringing those in and actually making them fuse with the environment a little bit better, so I'm going to go to the top layer and create a new layer, layer 15, I'm going to go in with the organic rainforest brush, back to my colors, I'm going to use the fourth from the right pink, zoom in, turn the brush down to 2% size, 50% opacity and I'm just going to start bringing in this color in here to soften these in, perhaps I'll even turn it down to the 1%, zoom in a touch, I'm just using this texture just to soften this into the environment a little bit more, I think 50% for anything that isn't in front of the spheres too much, put it down to 10% or I'll put it down to 20% for anything that is just outside of where the sphere is, the ground, picking up some highlights because of the spheres, they are emitting light and then that is bouncing off edges, again we're just building off some of the textures that are already here, it's on 1% I can put it up to 2%, it can be reflecting on some edges and some surfaces more than others, I can just have a whole area here that's just got a bit of a glow in it for example, section over here, go to a slightly darker pink next to it, third in from the right, lowest part 2%, 20% opacity and I'm just going to put higher on opacity when I want to obscure some of this, so 50% just to obscure the bottom part of this sphere, I want it to be partially buried, that goes for both of them, perhaps I need to move along the colors, I'm going to go for the second color in the middle row, 40% opacity, 1% size and I'm just cutting in front of this now and really need to just give the sense that it's kind of perched, sitting on the ground, I think for this one so I can just zoom in a touch, bring this, cut it in front, I think I should go to the airbrushing soft brush, go to maybe this fourth in from the right on the middle row, 5% size, 5% opacity and just bring some of this glow generally into the scene in this area, obviously it's going to impact in a broader sense, create this nice glow and soften that in generally, a little bit of that over here too, back in with the organic rainforest and I need maybe this third in from the right, top row, 1% size, 20% opacity, bring in this highlight just a little bit more here and there, just at the edges of that circle perhaps, just to help kind of ground it and then maybe here too, now I feel like we've gotten away from some of the dark colors, I don't want them to disappear completely so I'm going to go in with the first color on the middle row, zoom in and I don't want that to be completely absent, so it might be that this mound is cutting in front and doesn't necessarily reflect back completely, create a bit of a separation between the highlights, why not, in here you can put it up to 2% on this darker color and just again bring in some more separation into these areas too, I feel a little bit like the entire scene is a bit dark so I'm going to go back to layer one which had the initial sky color, I'm going to go to the adjustments, hue saturation and brightness and turn the brightness up, so here's at 50% where it was, I'm going to put it up to about 56, I feel like that just lifts it more, I think it makes it work better, I'm going to go back to layer 13 that had some of those shapes, you can just play around with this to a greater or lesser extent, now I've done a couple of kind of swirls in there, I think I'd quite like to do a couple more, so luminance, light pen, back in with this orange color, seems strange but in the context of everything else it kind of goes pink, so we've still got the 15% size, 50% opacity and you can just play around with this to your heart's content, maybe twist in some more shapes, snap and hold and it gives it a more precise kind of form, kind of works, do this as many times as you want, find some shapes that perhaps cut across each other and you can take the more minimal approach with not too many of them or you can really start to pile them up and just enjoy the layers of it too, I don't want them looking completely the same, so I'm just going to go to a couple of efforts so they don't completely match each other, so something like that, I'm going to go to layer 11, I'm going to slide and duplicate it, it's just going to ramp up that glow nicely and then I'm going to go to the adjustments, gaussian blur and well go to the bottom version of it, adjustments, gaussian blur, blur that in just a little bit and I'll zoom in to show you, so around this very edge, blur it in, just creates a little bit of a kind of halo around it which I think works nicely, so to about 7% looks good, finishing touches, I'm going to go back to one of my earlier layers behind the spheres, we'll do it on layer 7 with the soft brush, go back to a light colour, go for this colour, fifth in from the right, put it at 5% size, 10% opacity, I think I just want a bit more mist lining up in this area, just behind the spheres on the ground, I think that helps, makes a difference, gives a bit more contrast, I think that works, in this foreground area, so go back to the very top, layer 15, I'm going to go to the soft brush again with this third colour down to 2% size, 10% opacity and perhaps we just want to bring in some more of these highlights here as well, just to help connect everything together a little bit more, but I'm going to go and create a new layer, change the blend mode to add in order to do this, and I'll probably go in with the orange to do this, again the soft brush, 2% size, 10% opacity and I just think it's a nicer way of bringing those colour ranges together, not too much of it though, perhaps even 10% is too strong, so 5, just a few little taps of this, goes a long way. Okay I'm going to leave this tutorial here at this point, I hope you've enjoyed following along, if you have enjoyed this then you might want to have a go at another tutorial of mine, which is a floating tree island, a little bit surreal and fantasy and I really enjoyed doing it, and I think you would too, thanks so much for watching and I shall catch you back here soon, bye for now.