PROCREATE Landscape DRAWING Tutorial in Easy STEPS - Waterfall Lake

In this tutorial I'm going to show you how I've drawn this image, break it down into steps, so it's way easier to follow than you might imagine, so that you can follow along and amaze yourself. Okay, so as explained in the intro I'm going to break this down into steps so that you learn about the painting techniques and process as well as the tools within the app that I'm using Procreate. But 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 then within the color profile section I'm using the sRGB, the code that ends in 2.1. Again it's within the options on Procreate. In terms of the brushes I'm going to be using the airbrushing soft brush and the medium hard brush. Within elements I'm going to be using the clouds brush. Within organic I'm going to be using the rainforest brush, which I will amend and I'll show you how to do that when we get to the appropriate point. And that's pretty much it in terms of brushes. In terms of the colors I've already pre-selected a color palette. If you go to the value section you'll notice we have a hexadecimal code box and each of these codes for each color is listed down in the video description. You just need to copy and paste them one at a time into this box, press enter, the color will appear in this circle and then you can tap it into your color palette. Or next to the codes in the video description is a link that takes you to my Patreon page where you can download the color file for free to save you some time. And Patreon is also the place where you can support this channel, gain access to exclusive content such as extended versions of plenty of these tutorials. 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 forward, so thank you so much. 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 is go to my colors, I'm going to go to the first color on the top row, I'm going to drag from the circle into the canvas area, let go and it flood fills. I'm going to stay on this same layer and I'm going to go to the second color on the top row, I'm going to go to my brushes, airbrushing, soft brush, I'm going to put the size at 50% and 100% opacity, and I'm just going to go for the center of the canvas here, do a band of that across, then I'm going to go to the adjustments, gaussian blur, and I'm going to blur that in to about the 60% will do. And we'll just create a gradient so we've got a darker blue at the top and then it gets lighter. I'm going to create a new layer, layer two, and I'm going to switch brushes, I'm going to go to the element, clouds brush, and I'm also going to switch colors to this white which is the third color on the top row. I'm going to put the brush size at around 12% and maybe about 90% opacity, and then somewhere in the center I'm going to start with a just circling in some shapes, bring them down, then I'm going to sweep this across and I'm just sort of scribbling this in now in a slightly haphazard way, maybe create some irregular forms. I don't quite want to take it off the top of the canvas but I'm certainly going to take it off the edges, and then at the bottom section I can just scribble to fill this in, and then I'm just going to do blobs, extend this across, bring it up again a little bit more, create some more shapes, and a bit rising up at the edge over here as well. It doesn't have to be exactly the same as this but you'd get the general sense that I'm just creating a bit of a top edge here, we're creating some texture, and we're just really interested in those forms at the top. We can reduce the size of the brush down to maybe 3% and then we can create some extra shapes in there as well, just smaller shapes that just kind of float around maybe a touch higher than that, 4%, and we could even go in there around the edges if you wanted just to firm up some of these shapes here and there, and that's something you could do. You can take the cues from some of the texture that's already been created so you don't have to create new shapes, you can just work with what's already there, just maybe go to the edge and maybe just make the edge a little bit more solid, that's the kind of look that you prefer, I don't mind a combination. I'm just lightly scribbling in in places, create some kind of bits that are fragmented floating off, press lightly you'll get a softer look, keep it kind of random, and then just some little bits that almost attach over here but not quite, and that'll do for the general shapes. I'm going to go to my layers and create a new layer, layer three, back to my colours, I'm going to go for the fourth colour on the top row, keep it at 4%, size maybe slightly lower on the opacity so about 60%, and then just dial it back from that edge. So we want to preserve the white on the edge, imagine the sun is coming from generally up here, so we're going to preserve that white edge, but then you're going to add this slightly darker tone in just to start adding some shadow. Now keep it kind of patchy as it approaches the edge, and I'll zoom in just to show you this, so I'm going to have a break, so I'm going to create a large section where we've got this tone as a block, and then as we approach the white section I'm just going to leave a gap and then start to have it kind of break into layers like this, so you've got now another edge almost created before we get to the actual edge. Now it doesn't need to be consistent, just needs to be not one solid block that suddenly starts, suddenly stops rather, and then you can move to other sections, you can add this, move around the canvas, remember it's just this top edge really, press lightly, you're getting close to that edge, have it as slightly more fragmented, and then as it peels back further away then you can start to have more solid amounts of this other tone, shadow tone, and then it just preserves that edge better then, and you know even within the small clouds you can have some of this darker shadow too, maybe you could even put the size of the brush up five percent, speeds it up a little bit, I'm not going to have much of the white down in this lower section at all, and to be honest it's going to be obscured by other features anyway for the most part when we get down there. If you are scribbling it in just make sure to go over it in a couple of directions so you get rid of any brush kind of marks and sense of direction, you don't want any scribbling to still remain at the end, so just circle it in, in and around anywhere where it's become too obvious, like I say most of this is going to be obscured down this lower section anyway, but then just slightly more fragmented as it gets towards that leading edge, circle it in, add some blobs and taps, sometimes the shadow can go pretty much up to the edge, imagine if you've got a 3D shape of cloud, on this side it's going to have the leading edge of light, but then maybe on the back part of it maybe you get more of a shadow over at this side in places. Okay we're going to go to our layers and we're going to create a new layer, layer four, go back to our colors, I'm going to use the fifth color the top row, and we're going to put it down to 50% opacity and maybe back down to 4% size, and it is going to be a little the same thing but darker, in fact I'm going to turn it down even further, so let's put it down to 30% opacity and then I'm going to start introducing more of this tone in the mix, and again you're not taking it all the way up to the edge of that other gray, we're going to treat it in a very similar fashion, perhaps we ought to put this up a little bit higher, 7% just for these lower sections, you start to get the idea now that we're blocking in, blotting in rather a large area here, scribbling it in, doesn't need to be completely solid, again much of this is going to be obscured in certainly this section, and then as we get closer to the edge of the other gray, not the white, we're not ever taking it as far as the white on this layer, but as we get closer to the edge of the paler gray we're just going to let this dissipate, disappear out, move across the canvas and circle it in, when we get more towards the edge, real circular motions, scribbling it in, in round shapes here and there, and if you think like it's just got too much of a grain to it, well with that layer we can go to the adjustments, gaussian blur, and we can blur that in 5%, it just softens it in somewhat, then we can turn that down to maybe 4% again, and then maybe just in places we can push that darker tone upwards a little bit, create some sharper focus, some of these details, now we can push it up into the other gray area a little bit here and there, just to add some real kind of shape and volume to some of these, even the higher bits of cloud, so play around with it, you find the balance that works best for your shapes, because your shapes will be different than this, and I strongly don't recommend, or I strongly recommend against, you trying to replicate the exact shapes that I've created, it's not really going to be possible with something that's as textural and as complex as some of these shapes and forms end up being, but as long as you're using the same kind of techniques and approaching it in a similar way, then you'll end up with your own version of clouds that look good. Okay, and I'll stay on that same layer, I'll go again to the next color, which is the sixth color, and it is just even darker, so I'm only going to probably reserve that for some of the lower sections, but it is just a note or two darker, and we can really push some of the depths of this cloud of the shadow a little bit further, so let's put that up to 7% size again, and as we come down here we can push some of that shadow a little bit in places, but not too much of that, and even if we're going to obscure quite large parts of this cloud, it's quite nice practice, because there might be other paintings, other images you want to do, where perhaps you want to preserve more of the cloud, you don't want it covered up, so it's always really quite useful to practice and get more used, more confident using these kind of techniques, the more you do something, I think your eye adjusts and tunes into what works and what doesn't, and you will get better at it. Okay, so that will do for the clouds, I'm going to take all of those layers, the top three layers, so layers two, three and four, pinch them together, which is a bit tricky, there you go, then I'm going to go to the adjustments, the Gaussian blur, and I am going to blur them in slightly to about the 3%. Now that we've merged those layers, we can go to the transform, put it on freeform, and then from the bottom, if we need to, we can just pinch that up a little bit, it's always tempting at this early stage to extend too far down into the canvas, and we really just want that top section, that's the only bit we're really interested in, so if it extends too far down, we can just pinch it up and condense it into that area a little bit better. We are going to go to our layers and create a new layer, layer three, I'm going to go to my airbrushing, medium hard brush, and the seventh color on the top row, I'm going to put the brush size at 2% and 100% opacity, and then over at this side, up well above halfway, so halfway is roughly here, we're quite a way above that, and we're going to create a distant kind of mountains, so we need some peaks, and then it needs to come down, maybe another peak, down and another peak before it kind of disappears off behind other things. We may as well take that all the way to the other edge, because then we can grab it from the corner into our canvas, let go, and it flood fills the area underneath. Now, I might just go and do a little bit of fine tuning, bring some of these peaks up a little bit further if you feel that it needs it, I'm going to go to that layer, tap on it, and put on the alpha lock, which means when I go to the next color, the eighth color, and I extend, it stops at the boundary, it won't go into anywhere beyond the edge of that layer, which is perfect, because what we're going to do now is we're going to go to the soft brush within airbrushing, I'm going to put it at 20% size, 100% opacity, and just about halfway, so in that lower section of that mountain area now, I'm just going to add that other tone, then we're going to go to the adjustments, the Gaussian blur, I'm going to blur that in, and all we're looking to achieve is a slight difference between the top bit of that mountain and the lower section, which at about 30% Gaussian blur is enough. I'm going to turn the alpha lock off, and then I'm going to go to the adjustments, the Gaussian blur, and once more, I'm going to blur it in slightly, just so it's not quite as crisp, so about 2% Gaussian blur, and it looks better. I'm then going to create a new layer, layer four, and I'm going to tap on that new layer and put on clipping mask, which does a very similar thing to the alpha lock, but when we have a new color, so we're going to go for the ninth color on that top row, and we add a new color, and I'll show you with a smaller brush, it's fine within the area of the detail underneath, but it won't extend into any other area, it only adds it now within the boundaries of the layer underneath that it's connected to, which is perfect, because with this ninth color, we're going to go in with the soft brush, we're going to put it down to maybe the lowest part of 2% size, and about 70% opacity, and we're going to zoom in just a little bit to these mountains, and we're going to start adding some downward texture, but let's put that down even further, let's put it into the 1% size, and we're going to start adding some snow onto these distant mountains, that just generally drags down with the angle that you imagine the mountains would go down at, and keep it a little bit fragmented. Now, I'm concentrating mainly on the shadow side of this mountain, which if we think about where the sun is coming from, we said it was up here, so the light is going to be brighter on these edges compared to this side, which is going to be a hint more in shadow, so you can go right up to the edge, you don't need to worry about neatness with this, because it'll stop at that boundary, and that isn't a problem, which is great, we can just add some other shapes, I don't mind if it goes onto this side of the mountain in places too, let it become more sparse as it comes further down like so, then we're going to go to the end colour, 10th colour on the top row, then we can move in and we can add some of these brighter snow details, certainly onto this side near the top, it's going to catch the sunlight a little bit more, you really need to sharpen the brush, lower on the 1%, then we can just add some of these highlights in the snow up near the top. Now, I'm not going to spend a large amount of time and emphasis on these areas, this is going to be very much more of the more distant mountains, so you know, they're important, but they're not going to be as significant as some of the more close-up details, so spend a moment or two just adding some textures, don't agonise over this for too long I would suggest, put this up to 2% size, just tap in some lighter bits of snow here and there, I'm going to go back to the 9th colour, 1% still, and then yeah, we've got some shadowy areas too, we can have larger patches of snow that have collected, bunched together perhaps, between the mountain ranges and then down here somewhat, you decide, let your imagination run free, so go back to the 10th colour and some slight more highlights in here, maybe in here as well, but not too much. Okay, so I'll leave those mountains at that stage, I can always come back to them if I feel that they need it later on, but for now I'm going to leave them alone, I'm going to go to our layers, we're going to create layer 5, now we've used all the colours on the top row, so we're going to go for the first colour on the middle row, go to our airbrushing, medium hard brush, 3% size, 100% opacity, and now I'm going to bring it in from about this third of the way on our canvas, and we're going to bring this sweeping up here, and just move this across, and generally just bring it up into that area, now I do want it to be a little bit taller than those mountains, and that's something we can adjust as we go along, so for example you can go to layers 4 and layers 3, and you can pinch those together now, so that they're on one layer, select layer 3, use the transform and just move that down a nudge, a hint or two, I think that looks better, back to the top layer again, back with our medium hard brush, we're just going to have to just decide on this leading edge at the top, we're going to have some rocky shapes that just jut out, stick up, more prominent in some areas, and some more, and then we come up to this area and we can just, yeah, get some nice shapes up here, and we can always put the brush size up, 5%, just blot it in a bit more for now, we can sculpt and shape these a little bit better, once we've got the main outline in there, and I'll tell you what we can do, we can just drag into that area from the corner, flood fill, if there are any little anomalies, gaps between there, well you can always just go over and scribble that in anyway, it isn't difficult, back to the top layer again, back with the medium hard brush, back down to about 2% size, 100% opacity, and well, there's nothing final about this, but we can start to just think about that top edge, I want to create some rockier shapes and bumps, things that jut out and stick up, and we can always continue to sculpt these later on, but it's useful just to have a sense of it, even here, right at the start, then we're going to have an ultimate kind of peak here at the top, something like this, in fact I'm not happy with that edge, so I'm going to go to the transform, freeform, pinch it in here, I want a bit more space over at this side, I'm going to bring it this way a little bit, and that's the beauty of the tools that we're using, we can constantly change them, something like this, I think I'm a bit happier with a little bit of a dip on this side then, brush size up, fill it in, okay I'm going to create a new layer, above layer five, it is actually called layer five as well, because it is the fifth layer, we condensed some of the layers and it kept the label of layer five, but now we've got two that are labeled layer five, it's just the way it goes sometimes, we could always go to the bottom version of layer five, tap on it, rename it to rocks, if we wanted, and then we're back on the layer above that, the new layer five, I'm going to go back to the elements, clouds brush, go back to our colors, and we're going to use the second color on the middle row, I'm going to put the brush size to three percent, and about 60 opacity, and we're going to zoom in, and with a downwards movement, we're going to create some texture, some rocks, now we want to keep them as random as possible, but keep all your brush marks, quite long brush marks, in a downwards movement, and we want to leave some gaps between them, so some smaller shapes, some bigger shapes, whatever you're adding, just add it in a downwards direction, so move it around, make sure to leave gaps in there, like I say, just continue to move it downwards, and we're going to do this pretty much across that entire shape, or at least up to about here, certainly any bits that look like they're going to be rockier, and we can leave some bigger gaps in places, doesn't all have to be completely joined together, perhaps we could even turn the opacity down a little bit, put it more like around 50, make us work a bit harder, and obviously it's pressure sensitive, so you can press lightly, and it hardly shows, but you can press harder, and it's really apparent, so you find the right balance for you, a bit of variation, so you want some areas that are going to be more lightly scribbled in, and then you can just have some that are more prominent as well in the mix, this can be quite a quick process, you don't need to spend a huge amount of time deciding on these shapes and the arrangements, sometimes things just emerge, and actually letting them have a kind of natural flow is better, once we start adding the next colour in the mix as well, then it'll start to take on a character of its own, and you might want to go back into this colour, and start just fine-tuning this detail anyway, okay so we've got a healthy amount of texture running all the way across that shape pretty much, we're going to go and create a new layer, layer six, go back to our colours, and we're going to use the third colour on the middle row, two percent size, maybe 40 opacity, and again we need to think about the direction of the sun, the sun's coming from this side, so any edges that face over towards this side are going to catch the light a little bit more, so I'm going to move into here now, and start adding similar kind of shapes, but they're obviously going to stand out significantly more, you can press lightly in the same way, then also you can press on a little bit more, and then it instantly becomes a highlighted section of a rock, with a shadow side, and a highlighted side, and it should start to kind of line up, really only makes sense once you start adding the highlights, so I think the highlights are such a crucial part of this kind of look, that it really won't make a lot of sense until we start adding some of those details, then it's the combination of the shadow textures, and then the highlighted textures working together, that really brings this kind of look together, and we're going to have a large section here, where you're not going to have that many highlighted areas, it's going to be turned away from the light, so a large section here, we're not going to bother with, but it is going to creep around a little bit on this edge, and I've wanted two highlights just creeping around, you can start to see the kind of cumulative effect of those things, I'm actually going to merge those two layers together, pinch them together, which is awkward, and again this now on layer five, I'm going to tap on that layer and put on clipping mask, which now means that when I add it, it can't go above the outline of the layer underneath, which is useful when you want to just go up there and just really add more highlights towards the top, scribble them in a little bit faintly, knock them back, or knock that top edge back a little bit, make it kind of disappear a little, okay so we've got another shape here that probably juts out, so on the left side we're going to have some highlights, as I was explaining, bring them down, again kind of stretched out shapes that drag downwards, but then it splinters off into other forms, they kind of connect together, work closely together, so it might be you've got, for example, a section here that connects to that, that connects to that, it connects to that, they're all going in a similar direction, so it gives a uniformity, but they are actually fragmented, like so, and that completes that kind of look for that outcrop, and then we can have maybe a lower section, we can have something similar, leaving an area in shadow perhaps, so it becomes more 3D, and then another one over here, you can certainly go over some of these shapes a little bit more to make the highlight stronger, if you feel it needs it, if it's something that sticks out quite a lot, catches the light a little bit more, then go over it, that's fine. I'm just going to move it over to the side, and there'll be some other bits over on this edge, maybe just at the top, we're catching the sunlight, it's just managing to escape over this area, escape the shadow of this shape, and this side generally, just at the top, but not too much, a couple of areas here at the top perhaps that are just catching the light too, and then lightly start to introduce these downwards a bit more as well, move over here, I'm just going to scribble generally across that top edge, knock that section back a little bit more compared to others, we can add some greenery to it, so this is combinations, we've got the shadow of the rocks, we've got the highlights of the rocks, but then we've also got grass features that are going to work in conjunction, and water, and all of those three elements together are going to create the effects that we're going for. So on that basis, we're going to create a new layer, layer six, I may go back to layer five and work on the rocks more, but on this new layer six, I'm going to go in with the fourth colour, I'm going to stick with the clouds brush, I'm going to have it at 2% size, 40% opacity, and we can just start adding some of this greenery to some of these areas. So certainly on the top and in the shadow, this is a suitable green, this is not the strongest green, we've got more vibrant greens to show the highlighted areas of grass, but certainly along this top edge, we want to have some grass that's settled, and maybe we could just have it cutting across areas too, so it transcends different bits, goes from one area to another, and then just a smattering of this at the top as well, just scribbling it in a little bit, stay on the same layer, we'll go to the next colour, which is the fifth, and this is more vibrant green, so we're going to preference this at the very top, where the sun is going to catch it, and then again, this in conjunction with the shadows and the highlights is really going to start building together an effect, which I think is going to work really well. You can start to see how that combination is working in certain areas now, and we've got an even lighter colour, which is the sixth colour, and then just to be a little bit more selective with this, but this can really zing the areas where the sunlight has really captured it, really reflecting off certain details like that. Like I say, you can use combinations, so I'm going to go back to the fifth green, so anywhere that's in strong highlight, so the highlighted bits of the warm bits of rock are going to be in the strong sun, so we can add one of the lighter greens to this, not perhaps too much of the lightest green, but the fifth colour certainly, you can have bits of greenery in this section that are really vibrant, really have caught the light really nicely. Less of this in the shadow area. If you want in the shadow area, we go back to the fourth colour, we add some of that green into those areas, so keep alternating back to the fifth colour. As we creep around this edge, we're going to get more of that vibrant green coming in increasingly. Keep zooming down, keep checking what's working, what isn't working, and just figure it out accordingly. Like I say, everyone's texture, everyone's clouds, everyone's rocks, even if you're copying this tutorial, it's going to end up looking a bit different, and that's to be expected, and that's absolutely great. Just work with what you've got. If you're not happy with some of the textures in some areas, then add some more greenery over that particular detail. You don't have to live with an area that you don't like. Be creative, use the greenery, add more of it. If you're not confident with the rocks, add more grass. If you're happy with the way your grass is looking, then leave it a little less populated with greenery. As we get over to this section, I'm going to start introducing more and more of that greenery, so I'm going to go to the fourth colour, I'm going to go to my organic rainforest brush, I'm going to reset it to begin with, so that's how it looks by default. I'm going to tap on it again, I'm going to change the spacing from 27% to 40%. I'm going to put the size at 2% and the strength at 90% opacity, and I'm just going to go over to this section now and start building in some greenery, and leave some gaps where there's bands of texture. That'll do initially, and I'm probably going to go back to the element clouds brush. I think I prefer that in terms of adding some of the highlights, so I'm going to go back to the fifth colour, 2% size, 40% opacity, and then, now we've got that texture put in there quite quickly for us, we can go back in with the highlights. Now, most of this section is going to be catching the light, so we can add a lot of highlights, certainly along that top edge, so if you need to just rotate the canvas to help, go in, add the highlight all along that top detail, and then just add another kind of series of domes and round shapes, just a layer back from the top edge, and then it very quickly builds an effect, and you can have it then joining up with this section. Then we're back to the rocks again, and we just need to think about adding highlights to the top edges of some of these shapes. The next thing we're going to do is start adding some water details, so that is going to be the next thing we're going to think about, where can we imagine water spilling down from? Now, it's a slightly stylized kind of environment, so you don't need to worry about what logistically, what would work in reality, I'm not too concerned about that, it's about just using our imagination and just creating something that looks nice. Again, just alternate fourth colour with some of the shadow areas and this greenery. Now, at this stage, I'm starting to look at the tone of the mountains compared to the clouds. Now, the clouds are appearing a little bit dark compared to the distant mountains, so what I'm going to do to easily remedy that is go back to layer two, go on the adjustments, view saturation and brightness, take the brightness and put it up to about 55, and it just brightens up those clouds in the distance compared to them, and I just think it just sets the balance a little bit better, now it looks more natural. So, now we're going to go to our top layer and create a new layer, layer seven, I'm going to go in with the clouds brush again, I'm going to skip a colour, we're going to go along to the eighth colour, and I'm going to move over to this area in the shadow region, and we're going to go with the brush size to two percent and forty percent strength opacity, and well, let's make it the lowest part, two percent, and then we're going to have just some water that spills down from here, and it can just be, have a slight kind of wiggle to it, cascading down the rocks, and then perhaps for the bottom you could just widen that up a little bit, just scribble it in left to right a little section, and then extend that up, let's put the brush size up to the higher part of two percent, and just work that in a little bit more, just some long stretches of water now that run up with that, and it's a subtle detail, we're going to be more focused on some of the other ones that are closer to us in this section, but there, it's there in the mix, and then we can have another one here perhaps that's just channeling through here, we've got it higher on the two percent, and then we can just tap it in, but generally kind of move it down, and it can reach some rocks and change direction slightly, maybe increase it up to three percent, tap it in in this lower section a few times, and then generally push that upwards, maybe put it up to four percent, and just brush that all the way up, push that back down again, lower on the two percent, and we can just have some little channels of water that are feeding through, so we want to create a variety of little water features that are just channeling their way through. So I'm going to move over to this section now, I'm going to have the same colour, two percent size, forty percent opacity, we can just have some water that's spilling out here, which is on the shadow side of this area, and then I'm going to do some over here that's more on the light side, so this one, thin streaks that are bringing it down, just get the placement of it to begin with, then we could always increase the size up to three percent, and then just what I'm going to do is allow it to kind of create more texture as it comes further down, push it left and right a little bit more, so it's bouncing off rocks, the rocks are kind of becoming more a feature, and then just allow it to sort of wiggle together, and then another sweep of this, I'm going to start left to right, bring that further up, so it all joins together, you can start to see even zooming in, it has the right kind of look, it's quite effective, brush size up, five percent, and then maybe at the bottom you can just tap in some of this, you're going to get those kind of clouds and mist emerging, hearing when it all splashes into the water at the bottom, scribble that in like so, then we're going to do something similar here, but it's going to be catching the light differently, so start with the two percent size again, and it's just going to be emerging on this side, they're kind of going to bunch together a little bit, so we'll just bring it downwards, cascading down, put it up again, four percent, just tap it left to right, have it kind of more textured, then I'm going to move to the ninth color, back down again, two percent, and then we're going to see some of these brighter colors in the mix, maybe a separation, so really down actually to one percent perhaps, you can have some little separation, another stripe, water, here perhaps, really what we need to do is we actually need to move to the end color, I think this is the thing that's really going to make this stand out and really effective, so we're going to put this at two percent size, forty percent strength, maybe then there's just going to be highlights that come into this side of the water, and then we're really going to notice this water in the sun then aren't we, compared to other areas, now this area is probably going to cast a shadow when we get lower down, we're certainly going to see the light further up, we're just creating some blobs and textures, could always increase up to three percent, that's going to help us with that texture, bring it further down, right down to two percent, go over a few times like so, zoom in, just near the top, we need some more of that white really having its impact, go back a color, back to the ninth color, four percent size, and again just like we did with the other one at the bottom area, we're going to have these clouds of mist, I'm just really going to come into this effect as well, I'm going to put it up to six percent, just extend this across over this side and extend it here a little bit too, okay I'm then going to go to the smudge soft brush with an airbrushing, five percent size, thirty percent strength opacity, and we're just going to smudge some of this in, soften it in like so, just at the bottom area there, okay I'm going to create a new layer, layer eight, I'm going to go to my soft brush with an airbrushing, I'm going to use the seventh color on the middle row, I'm going to put the brush size at maybe five percent and the strength at five percent, and I'm just going to go over some of these areas just to subdue them slightly, knock them back, especially in this lower section, I want to just knock that section back a little bit, and then I'm going to do the same over here as well, perhaps I could even put it up a little bit from five to ten percent, I'm just going to push it a little bit further back over here, it's a good way of subduing some of the bits, just made them a little bit further away, I can bring it into this lower section too, it's going to combine with the sense of the mist, just circling it in like so, I'm also going to go for this little section at the top there, and I think it's just a little bit too prominent, so I'm going to put the size down to two percent so I can control it, and just subdue that slightly, it looks a little bit too dark, a little bit strange in the context of everything else, so just knock it back a little bit, I think that works better, now usually when I get to this stage of a composition, I've found that I've not left myself enough space at the bottom, and it's not really that much of a problem, we can just go to the wrench, copy canvas and paste, and we're at the top layer, so now that it's put that new version at the very top, which you can't see when I tick it and untick it, but what you will notice when I go to the transform, is that I can move that top layer around, or I can go to the freeform, and I can take the bottom section, squash it up, move it around, put it wherever you think best, I just think by moving it upwards just a little bit, I've left myself a little bit more space at the bottom, and it doesn't make a huge amount of difference to the overall feel and effect of those areas either, so I think it's worthwhile doing that, then I can create a layer above it, layer 10, go to my bottom row, select the first colour, then go in with the airbrushing, medium hard brush, 3% size, 100% opacity, and I'm just going to bring in, in fact a smaller size probably is going to work better at this point, so maybe 2%, just where the waterfall meets in here, I'm going to bring a bank, trees over on this side, for some details here, I'm just going to create shapes that just cut up, doesn't need to be overly detailed at this point, put it up to a bigger size, just blot it in, like so, then I'm going to do something similar over at this edge, so I'm going to have it cutting up here, reduce it in size so I can really control it when it comes down into this area, something like this, change the direction of it if you need to, hold it so it snaps to a straight line, and then fill it in, like so, we can then go in with the next colour, second colour, with the elements clouds brush, 3% size, 40% opacity, and well, we can start adding textures, softening that in, we're going for a similar effect that we had up here, but slightly more round shapes perhaps, just to you know, create a sense of shrubs and trees and bushes and just organic matter as it gets closer to us, keep it quite loose, and then we can do the same over on this side, it's not something that needs to take a huge amount of time either, just scribble it in, maybe we could put the brush size up to 5% now, and then in these lower sections we can just print bigger more dramatic shapes, once you've got enough of that texture, just add a 2% size for those details, you can then quickly switch to the third colour, and continue to work in, perhaps with that smaller size, still at 2% size, 40% strength, opacity, and again we've got to think about those highlights, so we're creating a leading edge at the top, just like we did in other areas, slightly more rounded shapes, let's move over to this side, do the same thing, brush size up a little bit, 3%, and these colours are a little bit cool, so again we need to shift it up to a brighter tone, so let's go for the fourth colour, 2% size, and let's really start to build in, just like we had before, some highlights that really catch the sun, or sun, that catch them, the details, and really bring out that vibrant, very bright, quite zingy green, generally the shapes are going to be like this, and you can just layer them up, in that kind of a formation, but it's small, so you don't really see that, it just becomes a general sense of texture, the more you add of this, the sunnier that your scene will become, maybe just more on this side, this side, maybe it's just the top edge, we're getting some of those highlights, and then some of it could remain in shadow, and that could work really nicely, whenever you get to the top part, then generally it's going to have more of the highlights too, so don't forget the top edge, maybe just some things that are lower down, catching the light as well, we'll come back to that if we need to, now we're going to do something very similar again, we're going to take the whole canvas, go to the canvas, I'm sorry, add, go to add, copy canvas, and paste, we're going to go to freeform, just move it up a section, we're going to squash it up like that, then we're going to flip it vertically, and we're going to bring it down, now what I'm trying to do is line up that edge here, where it meets the water, with the edge down there, and you can still see it, if you can slide it across, you can see that bit lines up with that, but it's an upside down version, so that will do, but then we've got a big section there that we need to get rid of, that's easy enough to do, we can go to the selection, rectangle, start it up here, but then drag it to the point where they should meet, which is there, then you go to the layers, tap on the layer, clear, and there you go, and that's created a really nice kind of real mirror like reflection, but it's a little bit too bright, or a little bit too crisp rather, so we're going to go to the adjustments, motion blur, and just slide it to the side, maybe about 20%, then we're going to go to the smudge, put the smudge on the hard brush, 2% size, 50% strength, and then we're going to push it in from the sides, or just drag it across in stripes, let's put it to 100% strength actually, really go for it, and that way we can just create a sense of ripples that cut through, we can do the same over here, like so, then we can go in with the airbrushing soft brush, go to the fifth colour, which is quite a nice dark colour, 2% size, 20% opacity, we'll just start building in some ripples from the edge, like so, and then we're getting a really nice kind of ripple effect, and then we can go to the white colour at the very end of that row, still a soft brush, 2% size, 20% opacity, and well, we can start just building in some dashes and things that are either settled on the water, or just ripples, disruption in the water too, we can just build that across, maybe 20% is a little strong, so if you struggle to press lightly, put it down to 10%, or even lower, you can just continue to build a sense of stripes and ripples across the water there, and then really what we need to do is put it down to 1%, still only at the 10%, where the two areas join together, we're just have a little bit of a separation in here as well, go down to the lower opacity, so you can go over a few times if you struggle, you can just have some random breaks in the water too, it's the collection of light in certain areas, just to break it up here and there, and then, well, we've got that area here, perhaps we need to just turn the size of the brush up to 3%, and with this bright colour, we just need to make more, perhaps, of the light hitting this misty area, the water spray is perhaps going to be a little bit more dramatic, 4% size, maybe even lower actually, now 5% opacity, and we can just extend the effect of that luminosity, both in this reflection and the top area, because it wouldn't make a lot of sense if it wasn't mirrored, but we can make a bit more of that area, make more of a feature of it, we might just go back to the elements, the clouds brush, with this white, 2% size, 40% opacity, we could add a little bit more brightness into this water perhaps, really ramp it up even more, just a few touches of that into there, don't need to overdo it, and then perhaps even higher, 3% size, we can just create a bit more of this white on the surface of the water as well, circle it in, just a few touches of the clouds brush just in the water, add some nice texture, so it doesn't look too flat, juice it down, lowest part 2%, let's just add some of that texture into this area too, so it doesn't again, you know, we've got lots of texture in the other areas, we don't want to have none of it in the water, something like that, could happily go back in, use some of the other watercolours, and you could have more water cascading down, have fun with it, really ramp it up, make it even more exaggerated, why not, I think it warrants playing around with it a little bit more, it's great fun, and a few more there in the mix, why not. Okay, I'm going to leave this tutorial here at this point, I hope you've enjoyed following along, do give this video a thumbs up, hit the subscribe, check out the extended versions over at Patreon, and I shall catch you back here soon, bye for now.