Advanced Techniques in Procreate | Jeremy Hazel | Skillshare

Advanced Techniques in Procreate

Jeremy Hazel, Education Through Creation

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9 Lessons (57m)
    • 1. How to use the course universal

      2:03
    • 2. Working with Primatives

      7:03
    • 3. Color Theory

      8:30
    • 4. Motion and Perspective Blur

      6:30
    • 5. Flatscape Project Pt. 1

      7:29
    • 6. Flatscape Project Pt. 2

      7:32
    • 7. Flatscape Project Pt. 3

      7:19
    • 8. Flatscape Project Pt. 4

      9:43
    • 9. Thank you video

      0:27

About This Class

In this course we will be taking a look at all of the advanced features and functions of the Procreate App...and be making a stunning flatscape using all of the techniques we learn in the course. 

In addition to the individual techniques we will be taking advantage of basic art principles such as 

  • Using the illusion of size, luminosity and focus to create depth of field 
  • Using different textures to draw the eye toward various elements of a composition 
  • Using primitives and non-destructive workflows to increase our productivity as artists.

Included in the course 

  • All of the workfiles at various stages of the project....so you can follow along 
  • A complete set of downloadable geometric primitive brushes for you to use
  • A modifiable file explaining the various color concepts presented in this advanced course 

 

Transcripts

1. How to use the course universal: all right, Jerry Hazel here for Seven Seasons Studios and thank you so much for taking a look at her series, of course, is here on skill share. Now we created a series, of course, is to take you from knowing nothing about procreate all the way to being absolutely procreate, proficient through a series of bite size projects. Steps. So the course you find yourself in that you've enrolled in Maybe somewhere in the middle of that Siri's. Don't worry. We've included all of the techniques at the front of the Siri's in order to get you to the project that we working with in each area. But we do assume that if you're in the intermediate techniques, let's say that you understand the basics of digital painting and procreate, so you find yourself a little bit overwhelmed. Don't worry. Check out some of the other courses, see if the technique you're looking for is in those other courses. They are all published on skill share. So the way that we start you out, we start you off in the quick start guide to procreate, which then flows into the basics of painting in procreate, where we begin doing things like glaring and making the cherry blossoms that you see on the screen. From there, we take him into all about brushes where we make shade, Er's and liners, and we show you all about brush adjustment, how to import how to export. Then we take you into intermediate techniques in which we build this really cool rocketship project. And then we kind of round out the Siri's by looking at what's called a flat scape, using advanced techniques like perspective, depth of field and applies from different adjustments through procreate. So whether you're brand new, whether you're really experienced and you're just looking for this really cool project to do certainly hit us up. And if you find yourself overwhelmed, go ahead, send us a Q and A will figure out where it isn't a Siri's and we'll get back to you now when you go ahead and you begin this lesson when you go ahead and begin this course, all of the resource is that you're going to need and all the reference vials are included in each course, so you don't have to go looking. Just go ahead and look below this video. You'll see a class projects area and all of the resource will be included there. All right, so on behalf of said and see the studios, thank you so much for checking intercourse. Let's go ahead and get into it. 2. Working with Primatives: all right, books and welcome back to procreate. So this is an advanced workflow lesson. So we're gonna talk about something called Primitives. Now, what are primitives? Let's grab unthinking brush so I can explain this Primitives air like your triangles, your circles and your squares, Right? Everything in life is kind of made up of these types of shapes. So if you work in primitives, it cuts down the drawing times substantially. So let's go ahead and let's work in Primitives Now, Earlier in the course, you should have downloaded this shape brushes. We showed you how to make him. I gave you my downloadable set. I'm going to use this downloadable set to make this work. So I start with the circle brush and now I recommend you start with the color that you want to work with. I do not recommend that you start with black, because later, if you want to do a hue, saturation and lightness adjustment, you can't change the hue on black. All right, so we're gonna go down. I'm going to bring this about halfway, and we're gonna pop it down there now. I'm gonna go and I'm gonna use my transform tool, and I'm going to bring it up a little bit. Perfect. And then I'm going to go ahead and I'm gonna flood fill it. Oops. Let's not do that. Let's go ahead and flood. Fill it. Now, let's grab another primitive brush. All right, So now I'm gonna go through, and I'm gonna grab my square. Primitive brush. I'm going to create a new layer. All right, so we're gonna add a lair, and I'm gonna pop a square into existence. Now, I'm gonna transform that. I'm gonna squish this down. I'm gonna move it so that we're pretty close to here. Pretty centered on that. And then what I'm gonna do, I'm gonna go ahead and flood. Feel that too. All right? Perfect. Now I'm gonna use an advanced gesture, and I'm gonna pinch these two together. Perfect. One layer. All right. Next one, we're coming in here. I'm gonna go ahead. I'm gonna switch over to something in a brown, maybe a neutral brown, and then on its new layer, I'm gonna go and I'm gonna pop in a square. And now what do I have to do? I have to transform it. So I'm gonna shrink it. I'm in a flood. Fill it. Oops. And then I'm gonna move it. All right, Now I'm gonna move it underneath my lollypop player. All right? Perfect. So you see how quickly primitives were allowing us to make this shape and it's very similar to vector art. I'm a traditional vector artist. So pixel based stuff procreate stuff. They don't really create those perfect circles like this. So being able to create these shapes with the shape brushes is really, really beneficial in mirrors. A lot of vector. Now, in order to kind of wrap this up, let's go ahead and click on here. Let's Alfa lock this bad boy and you remember what Alfa Lock does. It locks the transparency for anything that's not pixelated. I turned this bad boy down. I'm going to grab my airbrush I'm gonna grab my medium airbrush and I'm going to go ahead, turn that down a little bit and I'm gonna make it shaded kind of where it gets out of their perfect so that we know that it's on top of their I'm gonna go ahead and drop it even further, and I'm gonna create kind of a wave type effect, Because again, I'm a vector guy. So I want to make sure that I've got it similar to associate ID technique here. All right, Perfect. All right, let's go ahead. Finish it off. Just like that. All right. Perfect. Now we're gonna go through and let's add in some lighter areas, but in some highlights. Okay? Good deal. Now, let's go through and do a little bit something with this top piece here. All right, So now what I'm gonna do, I'm gonna make sure on the lollipop player. I'm gonna grab a deep purple. I'm gonna grab my soft airbrush. And now let's go ahead and just do a real quick shading on this. So this is not scientific by any stretch of the imagination. All I'm doing here, I'll see. I was able to move across. Why did that happen? I didn't. Alva locket. I broke my own rule. All right, Make sure you alfa lock see what happens when you don't. All right, So you can go through and you can do a little bit of adjustment on this. If we were doing it for real, I'd probably make my own shading layer and work non destructively and all that kind of stuff. But in reality, for this we're just doing a real simple study to just say this is where I would shade this thing out. All right, let's go ahead and oops. Bring that bad boy up. Okay, let's grab a little bit of that good over here. And let's put a little bit of highlight down on this side, all right? We're just doing a real simple down and dirty type of shading on this bad boy. A bit of that. All right, I'm not taking a tremendous amount of time to make sure my shadings right or anything like that. But you got the general consensus here. So primitives really allow you to go through and increase the speed, the workflow. Now, in order to round these corners off, I'm gonna grab my hard brush. I'm gonna shrink this down just a little bit, and I'm going to around those corners. So again, primitives allow you really to increase the size you workflow by working in known shapes. And those shaped brushes are absolutely crucial to the process. All right, so you can actually get a lot more technical than that. But That's a little bit on how you can use primitives in order to increase the speedy workflow. Alright, folks, let's go ahead and get on in the next lesson and take the next steps. 3. Color Theory: All right, gang, welcome back to procreate. So this is one of my favorite lessons. We've been working with colors off and on throughout this course. In this lesson, I'm gonna show you how to create different color combinations. So I'm going to use three distinct terms. I'm going to use the mono chromatic term. I'm going to use the complementary term, and I'm going to use the triad or try attic term. So these refer to different color combinations. Now, how does this relate it to procreate when you go in and we go over here to the color wheel ? We already covered that around this outside here. Is that Hugh? You see that I've stopped on the blue hue, So a monochromatic theme means that you're going to keep the hue consistent. Now you can adjust the saturation. You can adjust the darkness in the lightness, but the blue hue will remain consistent. So, as an example, let's just grab a ah Oh, I don't know. Let's grab inking pen and we're just gonna go ahead and we're going to create a square. And then we're gonna go ahead and we're gonna fill it. I'm a flood fill this bad boy. All right? Now when I go to shade it, So let's grab our let's go with a soft airbrush again. I use it for a lot of stuff. And let's go ahead and shade out some of this. I'm going to keep the hue exactly the same, and I'm gonna go and I'm gonna alfa lock this layer again just so I don't sketch in the outside, I'm a crank, this bad boy up, and now you see that we are filling this thing in. Now, this is still monochromatic because we're just going to a little bit darker shade of blue. Now, if we get to the highlights, we come over here and we're working still in different shades, different tones of the same Hugh, We can come over here now, and we can begin to soften this up a little bit. So as long as you stay within the same Hugh, you're in the monochromatic zone. Now, let's go ahead and zip over to my desktop real quick. All right, so we've seen this program before. Adobe Color CC. The cool thing about this is that you can go through and select different schemes, so you can come here to monochromatic, and you can come over to any color of blue you want in simply, Model chromatic is just adjusting within this area between pure white. And then if you wanted to make it say green, it will give you mono chromatic concepts for the idea of green, and then notice the hex codes, the RGB codes that you can then apply to procreate. So that's what monochromatic iss. All right, Now let's take a look a complimentary. While we're here, come over here and you say, You know what? Give me a complimentary perspective. Complimentary means to opposite sides off this You. So you see the green and the red, the yellow and the blue, The orange in the aqua. All right, so that's what complementary is. Now let's go ahead and zip back to my iPad. All right, So now I've come back here. I've got the black on. I've got my technical pen on. I'm gonna go ahead and switch off the Alfa lock and I'm gonna go ahead and bring myself up a new green square. All right? Now where I make a green Solomon a deal, Ted Flood, Fill it out. Now we're gonna go ahead and make this complimentary. So how do we do? Complementary. Well, let's take a look at the Hugh What is directly diametrically across from the green, the pink. So if you're going through with this type of a color scheme and you've got two things and you want to go with a complimentary color scheme, this is how you do it. So I can come over here now, my technical pen still selected, and I can create a pink circle. And now I have what's called a complementary color scheme. All right, so I can definitely come up here to the pinks. I can go ahead and Alfa lock my layer again. And now I can come over here with this pink selected, and I can definitely airbrush on this pink notice here. I can certainly work within the pink. And now here. I can certainly go over to the green with this shade. Agree? Now I got to make sure. Let's go ahead and color pick that So I get the right area. All right, we're gonna go ahead, make sure we get the right color green, keep the hue consistent, and I can certainly come over here and shade out my color green. All right, so this right here is what is called complimentary. Now, let's go ahead and flip back to my desktop for one last type. All right, so we're at the desktop were add Dobie Color and we go with the triad. Now, the triad is exactly what it sounds like. You've got red, green, orange, blue, and wherever you decide to move this bad boy, these are equal distance apart to the 360 degrees. So if you are here in the blues, you've got a green and you've got an orange. So the exact same thing is possible when you start talking about working in procreate. So let's go ahead. Now flip back to procreate one last time. All right. Coming back in here, I undo the Alfa lock. Guess what I'm gonna do this time. You've seen the show. Come up, grab your thinking tool. Grab your technical pen, go ahead and grab some black, and I'm gonna go ahead and create three boxes, all right? And then I'm gonna come over here and I'm gonna go ahead and flood Philip now. I'm looking at the Triad IQ. So I'm looking at something. Maybe let's start with the red. So one of them's gonna be flood filled red And then without doing any scientific math, really, The other one is going to be kind of green, so we're gonna go to Green. And lastly, if the red was here, the green was here. The blue is here now. It's a lot more complicated than this in the real world. This try attic. Now, in order to look good, you will work with varying shades and tones intents for all of these different colors. All right, let's go ahead and wipe this clear. Now, how do you actually work with this? Let me explain to you what you're gonna be doing in the next lesson here. So stay with me and come to our gallery. And when you've got a skull like this, I've done a skull in the next assignment for you. So spoiler alert. There's your next assignment. When you look at the lair structure, I've got the outline layer. I've got the shading layer because I did the grayscale render and I got the base color. Now I want to show you how this works. You could do some really awesome stuff with this simply by knowing about monochromatic complementary and try at so that you see the base color is red. We can come up and change the hue onto this layer so we can go through. And we can change this to blue. Now what? What I want? If I wanted a complementary color scheme, I'd come to the lighting layer and what is directly across from blue. Well, I'm going to say that it's probably a yellow, so we would work the hue down until we got to that yellow area. And then we could adjust things like the saturation of the yellow. We get a just things like the lightness of the yellow. Now stay with me here. This is kind of cool. You go into here, watch what happens with this highlight layer, you can apply some go shin blur onto this skull to really soften that reflected light. So monochromatic, complimentary and a triad scheme are the three types that we're gonna work with now. Obviously you see more on that adobe color cc, but as a beginning artist, is the beginning user procreate. These three when coupled with reflective light, will be epic for you. All right, folks, hope you learned a little bit about color theory. Let's go on and get into the assignment. 4. Motion and Perspective Blur: All right, folks, and welcome to procreate. So this is gonna be a relatively short one. I just want to show you a little bit about perspective and motion blur as it relates to some of the adjustment. So in your downloads for this lesson, we have a photo and let's go ahead and insert the photo. And the photo that I'm gonna be looking at is this particular landscape. So let's go ahead and below this bad boy up, let's go ahead and make this front and center so that we can see all of what we're looking at. All right, So when you got this, the two adjustments that I'm going to show you are really great for type photo background adjustments. So with that letter selected, we're gonna go ahead and we're gonna grab perspective. Blur. Now, this is a relatively stagnant image, right? You see the little dot that's created. Now watch what happens. Let's say that you're in a car, right? We're going like this. And here's where you're at. Now watch what happens. I'm gonna go ahead and move it to this side. You see that? The further out you get, the worst. The perspective, Blur gets away from the circle. That yellow line is super close, and it's still in focus at the beginning, all the way to the end. Now what this does for you is you can move this bowler anywhere. So you see how now, in the middle of the clouds, the blur is coming from the outside almost rushing towards you. This is a really cool thing, by the way to do for, like, light speed and warp speed and all that kind of stuff. Or if you've got perspective over here, it begins to work with the dot. So this is really the power of the dot, for a perspective blur. Now let's go ahead and we're done with that image. Go ahead and go to clear and let's go ahead now and grab another image. I've included a 2nd 1 By the way, these images are from pixels dot com. Pack cells is one of my favorite places to go. Four free images, royalty free images and they've got some amazing photographers there, so I definitely recommend checking them out. All right, now, this is kind of cool, so let's say that you've been drinking a lot you go over here and we're gonna grab motion blur. Now, watch this yellow line. I noticed the yellow line begins to shift, and you see the way that my pen is moving left to right. The motion blur changes with the way that the pen moves. Now I'm going to go ahead. I'm gonna set this back to zero, so I'm gonna use two fingers to undo it. All right, Now watch what happens. I'm going to my pen up and down. Watch the yellow line. Now, these things begin to separate. These actually do some really cool things to photography when you go through and you start looking at foreground background and they also have a big place and creating different textures for this. I mean, this was one of those things I would definitely bring in is a texture If I was to take it from a photograph, I like the colors. I like the geometry and the motion blur is going to give you a really nice texture for a photograph. All right, so that's a little bit on perspective. Blur and motion blur. Now, let me show you how this might work, right? This part I'm not going to show you. We've got assignment coming up in which you're actually going to do so. All you gotta do is just hang out. Let's go ahead and grab a photo and let's grab a photo of one of these crazy runners, Right? So procreate is not about photography. It is not the best for it. But there are some fun things you can dio as an example. With this runner selected, I can go ahead and free hand. Select out this runner. All right? I'm not being terribly concerned about where I'm actually selecting, cause this is just for illustration purposes. You could go ahead and blow it up and get pretty precise with this. All right, Now, you already know how to do free and selection. I'm coming down to this double line, so I create a new layer, and now what I'm doing, I'm gonna go ahead and take this image out. Now, I've just put my runner in this image. Now I'm to go ahead. I'm gonna take my eraser tool, and I'm gonna make sure that my hard brushes selected for my eraser on my crank down the size. And now that went down a little too far again. I'm not gonna be terribly put out by the selection process here. But you see how on erasing the runner, I'm kind of placing him inside of my image. You can do a fair amount of manipulation for a photo if this may be a piece of advertising working on and you just need to get a runner in a scene somewhere, all right? Now, let's take a look at perspective. We're gonna come down here, we're going to come over to the layer that we just took a look at. We're going to do a perspective, blur. And I'm gonna go ahead and with runner in this perspective, and then I'm gonna go ahead and shoot this thing up. Now, you see that what's closest to the runner still remains in perspective Now, you could also do a lot with Motion Blur, but this one really works for perspective. And then let's go ahead and insert, uh, groups. It's not in short of file on. Let's insert a photo, bring back that photo of that road we were looking at earlier. All right, so I'm gonna go ahead and I'm gonna delete this and I'm gonna bring this gay into this road . This guy's gonna go on a jog now, all day, every day. Here he goes. So we now have a runner on the road and I'm coming in. Then with this area, I'm gonna grab the perspective, blur. I place my daughter right by my runner, and I'm gonna shoot this thing moving forward like this. Now, I can actually move it similar to this. If I want this thing really in focus, maybe there's something down the road that I really want to look at. That's a really cool effect, and it gets that illusion. Emotion. All right, So there's a couple applications for the motion blur and the perspective blur. And I might have just showed you a little bit about what procreate can do in relationship photos. All right, we'll see in the next one. 5. Flatscape Project Pt. 1: All right, gang, welcome to procreate. So this is gonna be the beginning of our lesson on building an actual flat scape. So where some of these lessons technical in nature, This is actually going to be a project in which we're going to apply everything we've learned thus far. So let's go ahead. And it started. The first thing that you do in a professional workflow is you got to set up your layer structure, so let's go ahead and set up a layer. Now the layer one, let's go ahead and create a new palette. Now you know how to do this. We go to palates, we go ahead and we're gonna make that of the fault we rename the palate. Let's call it flat scape. Now, I'm not telling you. I'm gonna be completely perfect during this entire process. God knows I do a tremendous amount of rework sometimes. So now what I'm gonna do is I'm gonna choose a background for my night scene. Now. I'm gonna go ahead and choose something that's quasi in the center of stuff, and I'm gonna put to that color in my palette. All right, so let's go ahead and drag that down onto here. Now, let's go ahead and create a new layer. But before we do that, let's rename this sky background. Okay, Perfect. Good layering structure makes for good projects. Let's call this foreground. And there we go. Now, I'm gonna go ahead and cheat on this a little bit. I'm gonna go ahead and I'm going to use a primitive brush. Now you have a shape rushes. I'm gonna go ahead and use the square brush, and I'm gonna make sure I've got a greenish type of background here for this, and I'm gonna put that down in my palette and I'm gonna stamp this bad boy. All right? Now shrink that down a little bit further. Perfect. Now I'm gonna go ahead and transform it so that it consumes my canvas. Now you see how it's allowing me to go over the shapes of the campus. I'm to turn the Magnetics on. All right, So I think we're pretty good right about there. And then I'm gonna flood fill this bad boy. Perfect. All right, now, that being said, let's go ahead and create some mountains. So we need a layer. Let's call this rename mountain. All right, Perfect. You see how we're bringing in the concept of primitives and we're doing everything that we're talking about there in all of the different lessons. Now, Mountain, I'm gonna go ahead. I'm gonna start somewhere over in here, let's say and I'm gonna create that in my palette. And then what I'm going to Dio is I'm going to come over and I'm gonna grab my triangle. Primitive. And I'm gonna crank this bad boy up to a good size, and I'm gonna put that down now It's a little bit too big. All right, Now we're gonna go ahead and bring this up a little bit further. Now, where do we want this to be? We want this to be behind that. All right? Perfect. So we're in pretty good shape there with the mountain, all right? Now we want a flood. Fill it. And now I want to go ahead and let's go ahead and well, let's Alva Lockett, go ahead. We're gonna alfa Lock now. What does that mean? That means again, it's transparent. And now I'm gonna come up and I'm gonna put some snow caps on here. Now I'm saving the bright white for later. So I'm gonna go ahead. I'm in a snow cap it like this, and I'm going to go into my airbrush and I grab my heart brush and must drink that bad boy down. And I'm going to go ahead and just put some snow caps on it, all right? Just like that, folks, it doesn't get much harder than that. Okay, so now let's go ahead and let's build a tree. Right. So in order to build a tree, let's grab three layers. And now on each one of these layers, let's go ahead and make a triangle. So we're gonna go ahead. I'm gonna grab my shape brushes. I'm gonna grab a triangle. But now I'm gonna go to my green. But I wanted to be very, very dark, all right. Probably right about there. So we're gonna go ahead and just drop that into the palate. Any old where we want And now I'm gonna grab my brush. I'm gonna crank it up, put a triangle in there, and I'm gonna drop that bad boy down. All right, Now, it's by intention that I put it on three different layers to and the last one in the last layer is going to be three. All right? Now what we're gonna dio is we're gonna come over and arrange these. So that's first. Then there's this middle there. So let's go ahead and drop that middle air down there, all right? And I think we'll put that right about there, and then we want to come into this middle. I'm sorry. The top, And we're gonna crank that bad boy down into there, are going to make that a little bit wider and even that perfect. So, in reality, folks, I had those kind of messed up there. There's the bottom layer, and we're gonna shrink this guy down a little bit. I want to position him right where he needs to be. All right, Now we go through and we flood Fill them all. So over here, Leadville, Come over here. Flood fill. All right, now what? We want to dio we want to combine all these. We're gonna pinch him, all right? And then we want to move him up above the foreground, just like that. And now every tree needs a trunk, so let's grab a square brush. Let's drop that down a little bit here. We're gonna go through, and we're gonna choose kind of a brownish to start, all right? And we're gonna make sure square brushes selected, and we're gonna create a new layer. And we're gonna pop that bad boy in there. And now what are we gonna dio? We're gonna go ahead and we're going to adjust the primitive. You've seen this show before, and then we go into here and let's click and drag and combine them up. And now we re name It's called this tree. All right, so a lot of the steps here, folks, is about getting your base level images onto the canvas. So let's go ahead and stop this lesson here, and then we'll go into the second lesson and I'll show you how to do the duplication will add the moon and we'll get the river into the scene. All right, we'll see in the next one 6. Flatscape Project Pt. 2: All right, gang. Welcome back. So now what we're gonna do is we're gonna add a new layer, and we're still building in the base areas here. So we're gonna go ahead and call this layer five, and we're gonna rename this. We'll call this the river. All right? Perfect. Now, in order to draw the river, we're gonna go ahead, and we can't really use primitives for this. This is just easier to do with a paintbrush. So we're gonna grab the round brush we're gonna then grab color of blue, Let's say and let's go ahead and make it a little bit. Ah, lighter and right about there. And let's go ahead and put that in there. All right, Now, on this one here, we make sure we're on a river lair. And now, beginning at this area, we come through and we worked through the perspective again. Remember, with perspective as the object decreases in view gets narrower. So this right here is going to expand out 10 and then we're gonna flood fill it. Oops. So I could go through undiagnosed. What area? This line isn't solid is just going to be easier to flood village this way. Okay. Now, the nice thing is that if you go off line like this, pretty simple to come back, right? Just grab your eraser tool. Zoom in, turn your canvas and bring your line right back to here. All right? All right. Good deal. So we've got the basis of this. Now, the last thing we're gonna do is we're gonna add in the moon. So again, how do you add in the moon, folks create a new layer? Call it moon. All right, let's grab our shaped tool Shape brushes. Come down to the circle brush, crank that bad boy up a little bit, making sure we're on that layer. And we're gonna go off kind of. Ah, quasi white. Probably close to white. All right. And let's go ahead and place the moon up in there. That's a good size. And then let's flood feel that bad, boy. All right, Perfect. Now. So we've got all of our base level images in there. Now, what we've got to dio is we've got to duplicate out the layers duplicate, duplicate, okay, And then let's go ahead and move them into position. So we're gonna go ahead and move this one over here. Then we're gonna go ahead and we're gonna grab this guy. Oops, it's not. Put a circle there. Move that guy over. All right, now, I'm gonna go ahead. Remember us? Things would decrease into the background. You get a little bit smaller, so we've got to balance the size of these things out in order to pull off this flat scape effect. So we're gonna go ahead and increase this guy. All right? Cool. Now, let me show you something here. Once you're happy with the size of these mountains. So we're happy with size of these mountains as they sit. Let's go this route. I want to obscure the moon just slightly. Here's one thing that you can dio you can grab. You're farthest most mountain. So in order to confirm that, make sure you've got your far this most mountain selected. Grab the adjustment. And now dark in that bad boy down. Now you see how one is in front of the other. That's not good. So what you're gonna want to do is you're gonna move that dark mountain to the back. Perfect things that are in the background are smaller. and also Mawr dimly lit. Now I'm gonna go ahead. I'm gonna move my moon layer down below my first mountain so that that's there. And now I'm gonna use an adjustment. So stay with me. I'm gonna win player Goche in Blur. So I changed the go shin blur out, and you see that this adds a different level of let's say interest to it because everything else is very clean and crisp. That's going to introduce a different level to that particular moon. All right, so now what we're gonna dio is we're gonna go over to the tree and we're gonna duplicate the tree about six times four and five. All right, we got about six trees, give or take. Alright, So first thing we dio, let's go ahead and move the trees over where the trees need to be. And again trees that are closer to the foreground are bigger. You want to break up the monotony of the scene, though. So you see how he moved one tree off. Okay, so we'll bring that down just like that. That's kind of gonna be in the middle ground there. Then we go here on we move this guy down, Down, down, down, Down To the back. Thank. We're gonna move, guy. Just a little bit more. Here, break out some of this monotony. All right, Cool. I'm gonna move this guy, move him closer up here, bring back much closer. And that leaves us with the last lonely original tree, which then is going to go over here image then leaves us with this guy is going to be way out there in the back way, way, way out there in the back. Okay, so now I'm gonna grab the same hs l adjustment, and I'm gonna go ahead and turn down the trees that are in the background. All right? You see how we're adding a lick of perspective to this thing, and we haven't really even done anything with it. So one of the things that I'm really interested in here, I think that this mountain probably needs an adjustment as well. That's re color adjustment. All right? Perfect. Because you see, the mountain closest to the moon is probably gonna have the most light. So the name of the game on this one is to then take your initial shapes, breakem out figure out what is in front of what? Arrange your layer structures so that it's easy to see and then apply a very simple technique that the things in the back are darker. So go ahead, take this step, and then what we're gonna do, we're gonna move into the next step of detail ing some of this out and getting some really cool textures on it. All right. Folks will see the next one. 7. Flatscape Project Pt. 3: All right, gang. So in this lesson, what we're gonna be doing is we're gonna be taking the base level shape, so we did, and we're gonna begin making some adjustments to these. So now what we want to do because we work non destructively in layers. Let's go ahead and go to the river, and I'm gonna add in a little bit of different texture here. This is kind of when you'd use this. I'm gonna go ahead and head in a noise adjustment. Now, you see, as I increase this noise adjustment what it does to that river, that is pretty cool. I'm gonna go ahead. I'm gonna keep that. I really like that sparkling, noisy type of look on that layer. Now, if you don't, you don't have to use it. Now The trick is I'm gonna go ahead and I'm gonna alfa lock my layer. So I'm coming up here and I'm Alva locking my layer I'm coming over to my airbrush and I use my soft airbrush for ah whole bunch I'm now gonna grab my darker blue And I'm gonna begin just painting ever so subtly on this river to get kind of the idea that we're moving down the river here. You see what this is doing? Okay, Now, I'm gonna go ahead and shrink this down. I'm gonna throw in just a couple motion lines here. Just a few motion lines to let everybody know that it's water. Uh huh. Now, I'm gonna go over to this area here, and I'm gonna add in some white lines as well. Now you're saying, Well, that's not a purist. Flats cape do whatever works for you. I like it. I'm gonna do it. You don't have to do it. All right, Now, we're gonna go into this area here. We're gonna drop this down a little bit. We're making sure are soft. Airbrush is still there. And now I'm gonna go ahead and find this dark mountain in the background here, and I'm gonna go ahead and just add a little bit to this mountain as well. Now, I see I don't really have a great color of brown there, so I'm gonna go ahead and I'm gonna undo that. It's not quite dark and suffers. I want it to be so I'm gonna go down here air we g o. And now I'm gonna go ahead and just work through that guy right there, cause that's where he overlaps. All right, Perfect. Now onto this gentleman here. Let's go ahead and grab this mountain. And because Alfa Lock is on, I can really paint on these things without having to worry about it. I might have the wrong mountain selected. That would help. Okay, Now you see that Still the wrong shade of brown. I'm not too thrilled with that. I need to get a little bit more contrast in there. There we dio again, folks. No substitute for being able to do a soft shade with this thing, right? This is just a matter of practice. There's no magic bullet that's going to get you good at soft shading, All right? And under this guy. So once you're good with this, I would encourage you guys. Go ahead, adjust out some of these mountains, figure out what you want to do, shake him out a little bit. This isn't quite shell shading. This is more of just a simple um, I don't put this. It's just that in contour to it, that's really what it is. Now when we look at the trees. Here's what we're going to do with the trees. We're gonna go ahead and we're gonna grab that tree color. Want to drop this down? And now I'm gonna go ahead him in an Alfa lock. Each one of these trees. That way, whichever one I decide to paint on, they're all Alfa locked. Alfa lock in flat scapes, folks, is your friend. All right, so they're all out flocked. Now I just go down the list and I start filling in trees right now. You see how my brush might be a little bit too small? I'm gonna crank down the opacity on a crank up the size a little bit because I want a good All right. Looks good there. All right. And you guys have seen this show before. This is another new. Okay, now you see how I'm filling in this side of the flats cape. And the reason is, by design, the lights which we're going to do next are coming off the other side, so I don't want to get in the moonlight and have a problem where I have moonlight. That's not reflected in. Now we're gonna go ahead and I'm gonna change it up a little bit. I'm gonna put down a nice kind of a greenish tint on that light. They're perfect. And now I'm gonna start back on this side, and this is really what's going to differentiate those trees from the background. Not happy with that. There we go. All right, just tap those ones that are in the far, far back. I wanted to be shown, but I don't want it. Oh, I didn't want to erase him. There we go. The the effect we get there. All right, so there's no real perfect way to do this. It's totally up to whatever you really like. And whatever looks good to you. Now, you see here we've got a problem where the river is on top of the tree. So we have to redo the river. There we go. All right, we're gonna is gonna that guy there. All right, And one more. All right. You see how we're using all of the techniques that we've learned in order to pull this off ? Now, in next lesson, what we're gonna do, we're gonna finish up the mountains. We're gonna add some highlights to the mountains, and we're going to focus on to the moon and the background. All right. Folks will see in the next lesson 8. Flatscape Project Pt. 4: All right, gang, welcome back to lesson four on how to do this flat scape. So we're taking a look at this. We're gonna go ahead. Now we're gonna add in some whites. We're gonna add in some bright whites there. And now we're gonna go into the mountains, and we're gonna choose each mountain, going to make sure our soft airbrush is chosen. And we're just going to go ahead now and cap off some of these. So I'm gonna go ahead and shrink that down a little bit on again. I'm just gonna go through and make sure we've got the general idea down. Now that one is going to be very close. This one's gonna be very close. That one is going to be very, very muted. So all right, cool. So we got that figured out. Now, let's take care of the highlights on some of these mountains here. Gonna go back to this area we're gonna then bring this up. All right. Make sure you get are soft, airbrush crank up the size, and we're gonna make sure that we've got the right mountain selected, and then we're gonna do this mountain. All right. Cool. now, see, the background is still a little bit bright for me. Let's go back down to our background layer. Grab our palate. Grab this. Grab a darker color crank are soft airbrush up because it's behind everything else. We can go ahead now, kind of Grady, in that we're gonna go one step further and go deeper toward the black and see how changes the entire mood of the entire painting. All right, Now we're gonna use a different technique here on the moon. So let me show you technique. We're gonna go ahead here, we gonna find our moon layer. And now I'm gonna go ahead on a mask. That layer. Now watch what happens. Remember, Black conceals White reveals. So let's grab black. And let's drag it onto the max and Maschler. There went our moon completely. But where did it go? It's still under there. What we have to do now is paint in white in order to reveal it so that we can get a really nice transparency effect using that soft airbrush. If we take the opacity down, crank it up. And now let's reveal the moon a little bit at a time here And now over on this side, I'm going to fully reveal the moon, and then I'm gonna fill in kind of that area back here, See how we get a nice transition there. Whole different effect on the moon coming out of there. All right, so now, once we've got that, we can go through and let's create a star layer. So we're gonna come up to here, grab our tree layer, whatever's on top, and we're going to create a layer of stars. Now we're gonna name it. We're gonna call it Star Lair. Okay, now, what could we ever use for stars? Well, let's take a look at our lieutenants. We got Glimmer. I kind of like the Glimmer Ones all right now, but it's really a couple different ways to do this. So the glimmer brush you go through with the glimmer brush, crank up the opacity. Oops. How about we change the color? A How about that? That work, Okay. And it doesn't matter if you go over the mountains and again with glitter. A little goes a long way right now. Here. We're gonna go ahead. We're gonna drop that down to right above that layer, but below everything else. Okay, Now what we want to do is we want to maybe put a couple shining stars in there. So let's go ahead now and let's grab the flare. But let's go ahead and add a new layer. All right, so we're gonna add a new layer. I'm gonna call this the flare layer. All right? Perfect. Now this brush takes a little bit of getting used to. You don't want it to be big, bright and bold, and it really puts it in some weird spots. So you see that there? It's nowhere near where my brush cursor was touching. All right, so I think that's a pretty good effect. But now the reason that we did this as a flare layer, check this out. We're gonna go to the normal blend vote. We're gonna lighten this bad boy up, and you see how the difference between lightened screen and add changes substantially. I'm gonna go ahead, and I'm gonna keep that in the ad blend mode. Now look at what that just did to our picture. Completely different look. And it made it so that all of the highlights there onto the mountains made a whole lot of sense. So coming full circle on this, let's go ahead and add in a couple more, um, on the mountain, Let's go ahead and change over to our airbrush. And now this makes a lot of sense to go ahead and strength this thing down and get a much brighter type of reflection on here. All right, so that'll work. Same thing here. Now, I'm gonna go ahead and I'm gonna try the same thing with the moon. I haven't tried this, so I might be headed for disaster. Who knows? So we're gonna go ahead, We're gonna change the blend layer out, and we're gonna go here and we're going to add. And I actually really like that. I'm gonna go ahead them to keep that. And actually, what I'm gonna do is I'm gonna tent some of this. So let's go ahead. And with our soft airbrushed selected let's grab the purplish tint here and let's bring the opacity down super low, cause this is going to be a very subtle technique. And let's grab this guy right here. Um, let's create a new layer friend and then let's do the same thing here to here. Well, I got a new reflected light layer there, and let's go ahead and tent that bad boy just a little bit. All right, So you kind of got the idea. You've used a lot of different techniques in this area. You know, what I would do actually is a parting shot here. Let's go ahead and bad in one more technique, we're gonna adenoids adjustment to that moon. All right, So I think we're in pretty good shape there with that one more thing. Sorry, guys. There's always one more thing. Let's go ahead and add in to that layer. Let's go ahead and create a little bit of background contrasts. So I've got my airbrush I've got my dark green selected And now I've got my size all the way up I'm gonna crank up my opacity and I'm going Teoh add in a little bit of fade into the background so that it looks like we're actually fading into nothing. Oh, all right, Now why did I undo that? What was missing? Alfa lock I painted on my mountains. Not good. Remember, Alfa Lock is your friend. Now, if you wanted to, you could add in some highlights and some shadows for the trees. You see where the trees are here, you can go through, and you can add in some shadows for the trees if you wanted to and remember the lights coming from the side. So it's gonna cast out to the side toward the right hand side of this picture. All right, folks. So that's a little bit about the flats cape. Congratulations and first flats cape. All right, let's get into the next projects and take this procreate to a new level seeing the next one . 9. Thank you video: All right, so that kind of rounds it out there. So you've gone through. You've got some individual lessons that you've taken You created a beautiful piece. A portfolio are we love to see it. Check us out of the Facebook group. Go ahead and post your work to the Facebook group. And if you're interested, go ahead and check us out at seven Seasons studios dot com. We have a ton of free resource is up there for people that work in procreate, including free brush sets. And we have a whole ton of YouTube videos. Alright, guys, we'll see in the next ones. Thanks for taking the course.