Beginner's Guide to Landscape Painting in ArtRage | Brett Tadlock | Skillshare

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Beginner's Guide to Landscape Painting in ArtRage

teacher avatar Brett Tadlock, TNArtist: Painter

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

5 Lessons (1h 43m)
    • 1. Landscape Class Intro

      1:47
    • 2. Skillshare Landscape 101 Class1

      32:43
    • 3. Skillshare Landscape 101 Class2

      36:01
    • 4. Skillshare Landscape 101 Class3

      19:01
    • 5. Skillshare Landscape 101 Class4

      13:56
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About This Class

In this Beginner’s Guide to Digital Landscape Painting in ArtRage, you’ll learn to paint traditional-style landscapes by using digital tools in the software ArtRage. 

I’ve spent years experimenting with how to bring my Bachelor of Fine Arts training over to the digital world and in a way I could share with others. In this class, you’ll learn:

  • How to paint textures for convincing dirt, rocks, and wood.
  • How to create color harmony in a painting
  • How to think about composition, even with practice pieces.
  • How to paint flowers, reflections, large rocks, and more.

From beginner to avid painter this class is great for everyone. We'll talk about the fundamentals of using ArtRage and how to get a traditional Acrylic or Oil Painting look as we walk through a series of helpful exercises together.

At the end of the class, you’ll have a solid understanding of everything needed to get started painting digitally and a finished painting you can share with others.

Software & Equipment:

Artrage 6. Students can use the fully functional, non-expiring, and free trial version found at this link: http://bit.ly/ArtRage6 (middle of the page, “Try the Demo”.) 

A stylus or drawing tablet.

Meet Your Teacher

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Brett Tadlock

TNArtist: Painter

Teacher

Some of my Paintings.

Landscapes Tearsheet:-------------------
Dead Man's Cove:

 

 

 

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Transcripts

1. Landscape Class Intro: Hello and welcome to digital painting for beginners in ART rage. My name is Brett headlock. I'm an artist living just outside of Nashville, Tennessee. You can find me online just about everywhere as T and artist or that he an artist. I have a Bachelor of Fine Arts degree in transition from traditional to almost completely digital for painting several years ago. If you're like me and love painting and have wanted to switch to digital, or have wanted to try digital painting at all. But you've not had success with it. Then this class is for you. In this beginner's guide to digital landscape painting and art Rage, you'll learn to paint traditional style landscapes by using digital tools. I've spent years experimenting with how to bring my Bachelor of Fine Arts training over to the digital world and in a way that I could share with others like you. So in this class you'll learn how to paint textures for convincing dirt, rocks and would how to create color harmony in a painting. How to think about composition, even with practice pieces. How to paint flowers, reflections, large rocks and a lot more. This class is broken into four projects that will take you through all the techniques needed for completing a simple country farm scene. And it will do so in a clear and effective over the shoulder manner. From beginner to avid painter. This class is great for everyone. We'll talk about all the fundamentals of using ART rage and how to get a traditional acrylic or oil painting look as we walk through a series of helpful exercises together. At the end of this class, you'll have a solid understanding of everything needed to get started painting digitally. In a finished painting, you can share with others. I'm so happy you're here to take this class and can't wait to paint with you. Let's get started. 2. Skillshare Landscape 101 Class1: Super glad you're here. Let's get started with part one, painting dirt and pebbles. Okay, so I have ART rage open here and I just have the standard canvas that it opens up too, because we're just going to go over some practice things. So don't need anything high res or anything like that. So we're just going to start with this. I also am using my cloud brush here. Now you can use the other ones that come with and the custom brush itself in the presets. So for example, if you just go to artistic, you'll see stuff like the faint charcoal. Some of these ones that I've never really used like this much detail that the square works well, the square canvas, and these are all interesting to use. So then we can even start with those two. Again with, I just like my cloud brush because it mixes really, really well. So I have some samples over here of colors that I've put together. What I did was I looked up the codes for the digital codes for having these colors. And these are all really the colors I tend to use when I'm painting traditionally. So I said, Well then how do I get those same colors here? Well, it turns out you can actually google it and find the codes for those colors, but I'll have this pile here so you don't have to do that. But anyway, if there's ever any that you want to use that you don't see here, then you can easily do that. So the first thing I wanna do is I want to create a mixture of burnt sienna and burnt umber. So what I'm gonna do is I will take this burnt umber right here, which you can see it's a much more reddish brown and just scrub some in real quick. All right. And then some burnt sienna and scrub it in a little bit. Now what I'm trying to do here is I want to eventually just get these color blends and then we'll start going back in and change these around. But this is going to be the foundation for what we're wanting to do and really get it to look like dirt, okay? Because that's what we're going to start with. And for each one of these sections, we're going to start with one thing, build it up to something else, and then build it up to something else. And so we'll start with this kind of dirt kinda thing here going with that. And then we'll advance from there. So this is really the underpainting the ground and getting it to look like we want. So that's kinda how I start every painting. I start with an ugly underpainting and build up the texture from there. So that way I can get better. It just builds better and it just looks better. Someone does in this out a little bit. So we have a little bit more Canvas space here. If I'm trying to leave the meeting these tools on screen as possible. Now if you have the capability to have more than one monitor, like I do actually have three. And if you have that capability than a highly recommend, you just take these and move them off for your palette, off your screen here so you can have maximum visual space there. So, so let me grab this burnt umber again. Unless just kinda smear some of that in which you can see here how this brush works really well for painting and kind of smearing together and then switching over to the burnt sienna. So if we were doing this just for interest's sake, we're going to have it a little bit lighter here, okay, Now these brushes really blend in together. So if you want it to get, you'll hear my pen tapping like that. You have to kind of tap it in to get it to really sit on it unless you go to a different layer. Okay? So we've got some of that put in there. Now you can add a little bit of yellow like this cad yellow if you want, if you want to add just a little bit more of a light hitting it, then you can definitely do that. Okay. So we've got some dirt here. I'm going to add just a little bit of this brown to kinda dull this down a little bit. It's a little too red. But where I live in Tennessee, we have red guy like those wonderful thing. Unless you're trying to plant stuff, then it's just absolute pain. But this works really well. So we've got just kind of a streaky red clay dirt. And if you're doing other dirt, you can definitely play around with what you see in the colors, but this is just, I'm sorry, here you can also take something like this shadow blue. And you can lay it over it. Now one thing you'll see right here, let me zoom in on this. Some of these brushes that you use will over mix and they will burn out like this did right here. So that Shadow blue became kind of a purplish color right there because it's burning out and smearing where it touches. And so that's why it's doing that. Okay. So you just got to be aware of that if it does that and it doesn't do it with every color, doesn't do with every brush. But I do find it does it with some of these square canvas brushes a decent amount because the way they're blending, the way they're designed to blend. So you can just put that on a separate layer and blend it. And so for example, if you wanted to do that here, you can put a little bit of it. And then you go to this little icon right there. You can go to Blend Mode and you can go to multiply. If you wanted to get that dark and down. And maybe it's too dark. So you just grab this icon, it's pulled down while you click and pull down. And that changes the amount of color that's kinda come in through. And so for this you can really, this works great for adding shadows and vignetting stuff in. And I just want to kinda pull this dirt and a little bit and kinda soften it. I'm just going to do that real quick. And again, this is not a finished painting we're trying to go for here. This is just a simple study for dirt. So I've kinda got that there with that. Then I'm just going to right-click on it and go to Merge Down layer. You can also do Control Alt down and do that. We've got dirt. Okay, So just some basic brown kind of stuff there that we started with. Next step is we want to start bringing this up and adding and textures and stuff like that. So one of the best ways to do that is to again, go back to your custom brush, go back to your presets. And if you go to textures, then you'll have all these different things here, like dots, Like in and basically all these different particles, snow and all that stuff. These things weren't great. I've yet not really overly used them for what they're listed as. I tend to use them more like something else that when you're doing dirt, for example, one of the things that really helps to sell it is to add in small pebbles and rocks. Okay? And so normally if you were doing this with a canvas, you would just take a toothbrush and dividends in wet paint, some thin down wet paint and just scrub your thumb across it and flip it onto the canvas. So we need to kind of do that, but digitally. So what I'm gonna do is I'm gonna make a new layer because I don't want to mess with this. I've got this how I wanted. So if I was doing a painting, I'd be like, okay, this is a good underpainting. So let me leave it like it is and then go to the next one. Now you have a couple different ones that I'm gonna show you these. So this particle snow that you have here, and this is at a 100 percent if you, There's a couple of different ways to resize your brush. The quick way is to hold Shift and click and move your cursor to the right. It makes it larger. If you hold Shift and click your cursor moved to the left, it makes it smaller. Okay, so that's how that works. You can also use the brackets and get a size. Now what that's really doing like 1% each time. So if you've got a larger brush like this is up to 261%, you're going to be here awhile. So just the shift and the control shift and the click and move right or left. So that will do it. So let's look at how this particles now I want to show you a couple of different ones of these. And I'm going to grab this rich brown. Actually I'm going to go this route, grew warm. So you can see right now how that really flicks in some really interesting shapes. Okay? So particle snow to our bigger shapes. Okay, so if I wanted to have some rocks and stuff that are bigger than, I would use this one. All right, so I'm gonna throw a few of these in as well. You have a few others here. For example, the dots. Dots tend to be more perfectly round. It also tends to go a lot faster if you push it, because if you push in, move this around, it's going to fill it up like that. So I'm just by holding it down. So all I'm doing is just literally tapping my mouse instead of my pen and I'm just clicking once with the mouse and dropping those in. So dots are dots, so they're much more round and they don't have that as much organic shape. But that's okay for now. Alright, and I'm going to show you why here in a second. So we've got these in here. And it's okay. It's definitely the beginning of some speckles and stuff like that, but let's add a few more. And by the way, particles, you can use those, but those are more rectangular, so I don't use them. So that's the other more rectangular. And I'll tend to use them for this. The snow works fantastic, I think. So. I'm going to shrink this down so I can get a finer particles, bring it up and I'll get some different size. And I can even change my colors a little bit. So I have some of that. I could go to the rich brown and then do particles NO2 as well. And really get that done up. So at the moment It's like, what did you do that? Why did you do that? Again, there's method to the madness. So let me get rid of this screen. I'm going to bring this back down to about a 100. So that's not so large there. Alright, so I'm going to send this out to here. And now what I'm gonna do is I'm going to adjust this layer because I want to discuss one of the nice things about doing this digitally is that there's a couple different things we can do to adjust this and make it fit better onto the canvas. So if you push Shift Control, Alt T, all at the same time, you bring up the transformation tool and you have a couple options here. You have this one right here, which is more Vote bot. Everything stays the same when you enlarge or shrink it, so everything just stays the same, um, uniform transform. And then you have this one here, which allows you to distort it. And that's the one we're going to use for this because we're going to actually change the perspective of the x. So we want these to look kind of like they're receding. And by changing that perspective here, we kinda set them down into that plane. And then you just click the check mark for okay. And so now they're sitting a little bit more in there, right? I'm going to close the samples space. So you can see here that these are now, they're sitting there. I mean, it still looks like it's just laying on top, but it's still sitting there where we need it. So there's a couple of different things we can do here. You can duplicate the layer by right-clicking, going to duplicate layer, then set the bottom one, go back to blend mode and set that to multiply. Okay? And we're going to bring that down just a little bit. Like and now we have those multiplied into there. It kinda sets it onto the area there. And for the second layer here, we're going to play around a little bit. So you want to go to E or go down to the eraser tool right there, which is just e. You have some different options that you can look at in the presets. And by the way, to get to presets, you can do like I did with this arrow here, 0 here, and then it shows you him, or you can just go down to the presets box down at the bottom. We're going to go with kneaded eraser. And the reason is that it's a, allows you to much like a kneaded eraser, too soft to soften some of the edges in that kinda stuff. Okay? So what we're going to do is we're going to change the knees out a little bit. And a table it let me make this might be a little confusing, so let me just, I'm going to just merge these real quick. All right, so what you wanna do now with the kneaded eraser, and this is again, the nice thing with it being on a separate layer is we're actually going to soften the bottoms of some of these to kind of change where they're at. So like these dots for example, we don't want them to be so around. So thinking about the highlights and valleys, everything you see here, how would that sit? So with this sit behind, maybe there's a rise in the dirt right there. Maybe this guy right here. We erase parts and make it much more of an angular rock. So you may get to some of these and decide you don't want to keep it at all. Like, for example, this guy up here, I don't really care for it being up there. So I get rid of it. Some of these guys down here, maybe I want to soften them back a little bit more. Get rid of them, push them around and so forth. So you can kind of play around with these. I say use the kneaded eraser because it does give you a lot more control for what you're doing. But you can use the incident rays and really kind of play around with these. So if you're comfortable using this one and you don't fill and some people feel intimidated by it as it is so quick and so kind of takes her thing out real fast. Totally up to you. All right? So the whole lot of time on this and just kinda see where we're at for making these kind of sit down in the dirt a little bit there. One thing you wanna do is make sure when you're doing these, you don't start building the exact same rocks. Humans tend to find patterns. We look for pattern, we want to create pattern. So make sure you're not making the same rod over and over and over. That's why I kind of like using this particle brush. It's it's almost like having a paintbrush, having no spatter brush. So just be aware of that. Just be aware. And kinda keep your eye on. I think that works pretty good for now. So we'll leave that there and zoom back out. So you can see how that really adjust them. That has them sit into the painting, right? Well, the reason is, OK. So that is how you lay that in to kind of get some of these stones and pebbles again, you can go back to the kneaded eraser, soften some of these. And when you solve for them, that kind of pushes them back into the background. Now you can also go to lock layer and lock transparency. And the nice thing about this is like, let's say for example, we want to pick r direction of light. So to me the light looks like it's kinda coming from the upper right. Okay. Because of this yellow spot we've got right here. So it's coming from the upper lights, so upper right. So we're going to have a little bit of a cast shadow around here, okay? So you can go to your airbrush. And again, I think the sun's slow flow because I picked it last time, but you can do any of these that you want. The biggest subtle slow flow, so forth. So we're gonna go with just leave it on the slow flow. This is the normal setting for it. So I'm not going to just any of that. And then we're going to pick from our samples. We can also just pick from the color wheel here, but I thought it might be easier for you guys to see the samples and go with the rock gray and take that and bring down our brush size, zoom in a little bit. And then we can add in. And if it's too light because some of these are darker. So you can actually click Alt, click on it, and it gives you here, and then drop over to a little bit darker color. Like so. And now all we're doing is we're just simply painting where we want now the other thing I was doing before where I did the other layer and I set it to multiply that as another way to do that. So let me show you that real quick and I'll unlock this. So let me show you what I was doing before. So if we go to duplicate layer, go back to this one and we set this one to multiply. Okay? And then if we do, you can do in ART rage and a lot of other programs, there's a layer effect where you can do cast shadow or drop shadow. I'm not using that one because I don't have as much control over what the shadow does. Okay. Because it looks too uniform when you do everything. So by doing it this way, it's not going to look as uniform. So we've got this, I'm going to do Control Shift Alt, T. So now we have that selected. And then using my arrow keys, I'm just moving this over and that's going to look kind of funky here because we've got yeah, You see, it's much like a drop shadow. It's got all these things going across it, so but we have more control of it in just a second. So I just want this to be slightly off from where the original was. So I've barely moved that. You can see that it's just slightly moved over and you can also click and drag it to where you want. Okay, so I've got it there. So why do this in verses drop shadow. Here's why. Let me show you exactly why. So if I go to the palette knife, you have different ones that you can use. And if you do ones like for example, just hard out, smear. And let me bring the size down. Then you can smear it out. Okay. You can go to let me just go to the presets down here. This might be easier for you guys to see. Instant blur, just link colors. Any of those mind go to one actually tends to be the heavy blurred frosting, which I think is just a weird name. All right, so all I'm doing is going from right to left and clicking and dragging that across. Kind of smudging out. And say I couldn't do this if I had a drop shadow on here of like a layer of fact, it wouldn't work. And some of these smaller ones, it's going to totally obliterate this kind of shadow that we've got here. And that's okay. Because I want it to be more random. So I'm just really hitting this and going across it real quick. And some, a few more times, some of you less. But it just kinda softens in. It gives a quick shadow to this. You don't want to hit everything. I'm really just kinda hit the tops of these. So that gives that really easy subtle shadow for it. And these are starting to look like they're actually sitting in the in the dirt. Okay. Now you can do more with that. You can do go back to the airbrush and you can really zoom in on some. So if you want some to have a lot more of a cache shadow, you could do that. Absolutely. Okay. You could also use other brushes for this. You don't have to use the airbrush. You could use. The pencil works great for it extra were polys that in a second do our highlights. The ink pen, I like there's one here on the ink pen that I think works fairly well. It's just the smooth transparent ink. You just need to be careful with it because it can be a little too much of a solid line. So you just need to be aware of it. But as you can see, it works pretty good. No, because it's that transparent and it lets you build up some stuff there. And if you don't like one part of it, then just switch back to your palette knife. And you can soften part of it. Like so. And then really gives you a chance to play around with it as you go there. So that's what you can do with those to start laying in those shadows and the smudges, right? And then you can also change the opacity of it slightly if you're wanting to put it because as these layers are, these particles aren't completely solid. They're little transparent. So you can, you can actually play around a little bit with the shadow underneath and have it show through its little softer. It's a little more subtle, but you can definitely mess around with it and get some different looks like that. Or you can just jump up to the next layer and add in some of the shadows. And what I like to do is click the Alt and then find one that's kind of a local color to it. And then start using that, adding in some quick shadows, especially to these bigger ones like on the actual rocks themselves out of the cache shadow. I mean, you can certainly add in some cache shadow here, but this is more from the rock itself. Kinda of redoing this shape a little bit. Merge this down a little bit. And these rocks, these round ones actually remind me of like river rocks that you can go down. And I was a kid, we would walk through all these different creeks and rivers during the summertime to try and cool off and just hang out. And we'd always pick up these rocks and go skipping, skipping the rocks and stuff. Just adding in some different smudges, things here and there. And this is really, you just kinda play around with the p.ball, get it. How you like it, can vary it up. Add in some smudges of color. And the pencil tool works pretty good at this because it's very pressure sensitive. So it works for adding in, just adding two. And again, I'm not just talking about the underpainting. It's all about building up these different textures and different layers of texture so that you really get that overall feeling of what you're doing. So I'm going to switch to grab this color real quick here. So we're back to that one. I'm gonna move this over a little bit to the yellow selected. I was mixing this on my palette. I would just take a little bit the cad yellow mix to it. And then I'm going to grab just slightly lighter. See how that looks. Not too bad, but that's a little too chunky. So let's go to hard. And just adding in here in their rocks. And the quicker and looser you do this, the better it looks. So in other words, don't spend a lot of time on one rod, just bounce around different ones because otherwise you're going to owe her work. And I am literally just scribbling. I'm not looking for anything in particular. Just thrown it in there to let some of the color happen. And it gives me a much better highlight. It does boxer one of those things you can easily overthink. I do it all the time. And he could spend more time on this. But I just want to show you the concept of doing it. And I am going to put just a little bit of a sharper edge on this Maven Co2. Little bit lighter color because that was just a little too fuzzy on the front. Now you can see how those are starting to really lay in there and get that feel of rocks. And so it's just a really heavily not pulling on really a fun place to walk. But again, it's laying it in there. One of the things I would probably do is bring back here. If I was making it really finished painting here, I would probably bring back my eraser tool and really kind of get rid of some of this underneath. And just really kind of push it back a little bit. Soften some of these in the background. So they're not sticking out so much. Like so. Okay. And so by softening that just again, it just let stuff sit back more into the dirt and everything else. So so that's a really good way to get some dirt again, you can adjust this as much as you want. If you don't want to have these bigger rocks and error, you don't need to have them in the area. And so you can put you can really play around with the lighting on it and so forth. So so that's painting dirt and rocks and it makes it really easy. The only other thing I would say that maybe you could do if you wanted to, is to make another layer. Go back to your textures. If you wanted to add in like what the particles, again, you could definitely do that. And so just kind of take some of this spatter and lay it in here and there, but darker. And this works great for if you're just doing a river rocks or like beaches and stuff like that. And just by changing some of the color, like go with the blues and that kind of stuff. You can really build in and build up a lot of texture that adds to stuff so that if you're adding more into the say like you wanted to put ruts from like a wagon and gone through or a car or something like that, then you can do that. And these will just sit in the background and add to that. And then if you just turn the opacity down just slightly, almost like we need to use acrylics. They tend to dry a little bit differently than they said. Then you can soften some of these back with a kneaded eraser like we did before. Just randomly kind of get rid of. That adds a little bit more visual input that makes you go cool, dirt, rocks, and just really helps build that story. So you can play around with that more and more, but just be careful, don't overdo it. Don't overly piddle and putter around with it. So, but that's dirt and rocks. And from here we'll start building other textures and getting towards a working on an actual painting. 3. Skillshare Landscape 101 Class2: Alright, let's get started with part 2, painting grass, flowers and petals. Okay, so we've got the rocks, we've got the dirt and everything built-in into there and painted in. And I want to show you a couple things that I did between the previous one and this one. Because I like is that I have three monitors set up. I realized that I didn't like how one of them looked, how the painting looked on a different monitor. And so I realized that I really wanted to adjust the color here. So you can see that I've done that. So what I did was I merged everything into one layer, okay? And then I created two layers on top of it. And what I did was I put this one to overlay. And then I put this one to tent. And when I went to the tent layer, I chose. So you can see here on this palette, the way this is setup is that it shows the complementary colors. Complementary colors hours could be opposite on the color wheel if you don't know that. So I've got these colors here I selected and then chose kind of a bluish gray for that. And then I just painted it over and then change the opacity to 35 percent. Then on the next layer with the overlay, I painted this yellowish color and change the opacity to 25 percent. And so these combined with each other and kinda softened and gave me the color on my one monitor. It looks perfectly fine and it looks like this and my others, it looks burnt out and it looks really dark red, so I didn't want that. So that's one of the ways you can adjust these here and have it set up to do that. And then once you've got it where you like it all you gotta do is go up here and click Merge visible layers. Now you can merge these, but sometimes it will affect the way it behaves with the one below it. So see how that changed just right there and merge that down as well. And so that didn't change as much for that one. But if I hit Control Z and undo that and go to merge visible layers, it does stay what I saw originally. Okay, so just something to consider and think about for what you're doing with it as far as that goes. But I thought we'd keep building on this little sketch, this under painting that we have here and kinda build some more techniques for how to do things and how to build stuff up. So one of the things was, was it was clumps of grass and how we would do that. So let me show you some of the ways to build that as well. So I'm going to make a new layer. I'm going to come here to my custom brush. Now in custom brush and in sticker spray, you have different ones that we've seen in the preset. And so textures, you have rough foliage, you have soft foliage. You have a lot of these different ones that you could play around with. And I do recommend playing around with them, but I have found that for a lot of OEM, it's just it's okay as far as the way it looks. But these bristle brushes here tend to work really well as well as these hair strands. They can work great for building up the textures that you're wanting. Okay, so let's start with one of those. Let's go with kinda personal worn. So it's kinda like an old brush. And let's go to a forest green. And we're going to bring the brush size down. And all we're doing here is laying and I'm making this kind of emotion, Okay? This kind of emotion. That's all I'm doing. And I just want to put in some areas where grass can be. And again, this is just an underpainting, so don't freak out that this doesn't look like grass, which is step one put in the grass. So we're just trying to get the idea of it now if this was a real actual painting, like we were going to work on this, one of the things we would think about was how these clumps go together so that they give you an interesting thing to look at and how the composition. So like if I was doing this and I wanted to put some ruts here, then that would work really well for having this grass like this because it helps lead you into the painting. And we might do that as we're mess around with this underpainting stuff. But right now, because it's just practice, I'm probably not even going to save this piece once we're done with it. Just kinda playing around with it and putting it in there. But if you're going to use it for an actual painting, like we will hear a little bit. Pay attention to your composition. Okay? So let me zoom in on this a little bit and we can see what it looks like here. If you push space, you can click and drag the canvas around and look at it. Okay? And we're going to jump up to this hookers green right here. And we will actually be, I'm just gonna keep using these here. Go to this bristles, then. Put it a little of it in here as well. Same motion. And you can see how that's giving us some those strands. And that's just really different pressure on it. And again, you can vary these as much as you want, as little as you want and so forth. So this gives us a nice foundation for the grass. Now I'm going to switch over. You can use the pencil or the pen tool. I kind of like the pen tool for this because it's it tapers better. And I'm just going to build up this clump of grass even more. And by having that other clump and then coming back and using these, you can see how it kinda ties everything together. It gives you the impression of a lot more. Now I'm still using this by the way, I've sleeves and the smooth transparent ink. You can change that setting here a little bit. If you, if it's too transparent for you, like stuffs showing through in the background a little too much. But I do kinda like using the that one because it keeps it from being so Chris. And we just kinda want these these are scrub grass, so they're just going to be a whole different areas and directions and that kind of stuff. So you can even grab like say this a little bit of yellowish color here, right here, and throw in a couple, like maybe some dead looking ones. Maybe not in all of them or just one or two. Excuse me. You could also grab a little bit of this, maybe like rich brown and kind of play around with some of that as well. So I'm really just kinda have fun with it. So now one of the things I want to show you, and I'm going to have to really zoom in on this, is sorry, this is pixelated, but we're at a low resumes and the M, see how the stops right here. Okay, that's where the ink pen grabbed. A couple different things you can do with that is just select the green and go over top of it a little bit. You can also do the palette knife and do that. So, but anyway, you just want to be aware of that. You don't want that sudden start and stop that's in there and you can see it a little bit from here so you don't have to be as zoomed-in. Okay. And then you can grab a little bit this vivid green. Now I'm going to change this back to the default. I want to show you why. So we'll go back to the smooth transparent zoom in a little bit. I'm going to make little to Paris there. Change the opacity down. Okay? So now I'm grabbing, because this is transparent, I'm getting a duller green here, but I still got that lime green to build that up. So because a digitally, it's not as easy to mix the color as you're going through stuff. Okay, so now I can take this back to smooth and start using it to build up some lighter. I like colors. Okay. So now those are there. It looks pretty good for some nice scrub grass. Alright, but the bottoms look really horrible. So let's fix that. We can go to our kneaded eraser and do like we did before. We can also go to our palette knife and kind of smudge some of that in the bottom a little bit. So it's just kind of softens ever so slightly. And the bottom, like so. And then take your eraser and erase back. So it's really sitting more on the ground and the ground like so. Now one of the things with this we need to remember is that with our shadows, is that our shadows are still come in, light sources, still over here. So if the light sources coming from this direction, then when the grass needs a shadow. So let's grab Alt, select and maybe one of the shadow colors that maybe this. All right, and then we can go back to our Pen tool. Messy. You gotta pay attention, is that to light? Is that too dark? How's it going to look? So we can grab a little bit of this, maybe rock gray, still too light. Play around with it. See grabbed these others. Let me show you a trick that you can do here as well. So we'll make another layer. We're going to pull it down below that one. And we're going to do similar to what we did with the rocks. But we're going to put this on Blend Mode, multiply. We're going to just pull out some quick sideways shadows. And because it's multiply, it affects the layers below it as well, but it sits underneath the grass. And because his crest and solid, you can even use it to build up some you'll have some dark under there. Sorry, my stopped midway, my mouth. All right. And then from there we can kinda soften it, smudge it out. So it's not so perfect that that really helps for them to be seated down in here. And then you can go back to like the grass clumps if there's any of this that you don't like, go back to the kneaded eraser or go back to the regular eraser. I'm gonna go back to the instance erase. Get rid of some of this. Just anything I don't care for. Maybe get a little too chunky or something. Just not laying the right direction, whatever. Okay. So that is that part I might back down to my shadows. Goes to them like the blender. Soften it a bit more. Here we go. I like that better. Okay. So that's some grass in there. So we've got that. Now, if you wanted to, Let's go ahead and let's just merge these down. You can keep one of the layers that makes you feel better. Let's just go ahead and merge those down to them. And let's say we wanted to put some flowers, just some interesting looking flowers. So you've got a couple options when it comes to this. Okay, you can go back to your custom brush and you can go back to the textures. And honestly I have found that if you go back to the particles, you can get some nice flowers just by like say for example, we go to this bluish color and get almost white. And just click. You can get some nice little, hence the flowers thrown in. And then you can play around with the colors. As far as that goes. And really start adding in some interest to there being just these little Wildflower weeds growing up. And it's really nothing more difficult than that. So again, because we have this on a separate layer, if we go back to our eraser, kneaded eraser, we can soften some of these and push them back just by randomly going over it. And it gives a little bit more softness and believability because it looks like summer different perspectives and that kinda stuff. You can do that. You can also if you come over to sticker spray, sticker sprays of funny little tool, it's got some really silly stuff in here. But if you come down in nature, There's this flower right here. So I have actually used this in the past, make a new layer. So what I've done in the past with it, because it's just is, you can just throw these now it's going to do this. It's a stamp. So it's going to stamp the same thing. But if you change the size of it, you can get a little bit more variation that way. So again, come back to your Eraser tool and erase some out, push some back. And that allows you to really adjusted so it doesn't look like it's been stamped. So it's just an interesting way to do it. You can also, if you click Control and click on the layer, you select the layer. Then you can zoom in and say, for example, take your airbrush and give a little bit of change or color to it. And I like to, in this setting, the blend mode to multiply as well. You just kind of vary the color slightly. And then you can even change this back and go to like overlay, come to that whitish color and kinda really play around. Then you could even take like say, the marker tool or the pencil. And if you wanted to make these look more like daisies, yellow spot. And it like so. And because these are far enough back because the advantage of zooming in a lot is that you can zoom in, add a little something, Control D to de-select and get some really interesting colors and stuff at it in there. So now we've got these little flowers and you may be like a that's a little too detailed for this far out. Then just again, take your eraser tool and just soften up. But don't over, don't sit there and over. Think it got, so let's merge all these down to there. So now we've got grass, we've got dirt, and we've got rocks, and we've got flowers. Well, what if we did decided we wanted to do maybe some mud puddles. Okay. So let's look at doing that. And I'm going to take my pencil tool and draw these. N is sketch these in. Once you get later on, I would just, what I do is I just paint these, I'm drawing these and so you guys can see them. Also helps if you change your color. I'm going to go back to my samples and I'm going to grab a shadow. And I'm going to drop this. I'm going to bring it up in value. So value changes here going across, so it gets darker, lighter, go a little bit lighter to this really light blue. And just kind of sketch in where I want my puddles. Now by doing this on another layer, I can just play around with this and then I can go back and adjust it to make sure it looks right. So one of the things you want to be aware of as to not have this slope down. So you want it to be pretty much horizontal. You can do that. If you're having trouble doing it, you can just draw, draws a straight line shift, makes it perfectly horizontal. You can do this to kinda give you an idea of where it's going to be going to live so that you're staying horizontal. Like so. Just a real simple way to do it. If you're not if you get intimidated by it, by the drawing of it, like I said, I just paint these N and don't worry about it. Alright, so now we've got that and we've got kinda where the petals are going to be. Okay? Again, if you're doing a real painting, pay attention to perspective pavement. Such perspective of composition. Always pay attention to perspective. But composition and layout, where it just doodling and sketching here. So we're not worrying about that as much. So I'm gonna go back to artistic. I'm gonna go back down to the Canvas brushes. And I'm going to zoom in a little bit so I can show you. And now what I wanna do is start putting these in here and just pulling down. Now this is again one of those places where you can just use the by holding Control Shift. I'm always going to get this nice. Well, not always because I've got one off there, but I'm going to most of the time it straight up and down. So take my eraser and do that. I'm going to switch to again, you can do Control Shift. And the advantages of having this on a separate layer. So we've got where these petals are going to start to go. We want to switch our preset. We can go watery. And what we're gonna do with it is just really easy to kind of soften some of this, some of that color there and really kind of help it set into the ground there again, kinda get rid of some of that canvas texture, okay? It also use this one too. If you want just a little bit softer. And it's not that we have to get rid of. All of the texture is just we want it to fill, right, for sitting in On this stuff. Now you may be saying, why am I going vertical and horizontal painting? Well, because the sky reflection is going to read better that way. I'm going to soften some of these lines that I've put keeping those horizontals in mind. So some standing at a few other, I think it looks good to have a few other spots of rain, puddle water. All right, so we've got that in there. Let's go back to our eraser. This is where we are going to switch back to the editor eraser and soften it. Here you can also, if you go to the selection tool and freehand, you can grab areas and kind of sketch in where you want and then delete them. Wait, I'm on the wrong one. Sorry. I said it was often another painting. I did. Try that again. Do you see by doing that foundation of doing those horizontal lines can help really solidify what you need for it. So get those in there. All right, So that really is giving us that look that is sitting down in there. And then we can go back and soften some of these edges and move around. Now the other thing you can do too is bring your opacity down and then look for where your rocks are and what rocks you want to keep. So say for example these. Now I'm just going to go back to my selection tool because this is faster. I'm going to select those rocks. You can also, if you see that something is off like this right here is bothering me that it's not, It's got that slight little bump. Second, draw this rectangle which would be perfectly straight. And get rid of it. And then go back to the right. So let's change this back to 100 percent opacity. Back out. So it starts to set it in there when I'm done with it yet, we've got to fix it and adjust it a little bit here and there. So we'll do that. It looked like it was reading weird. All right, so Control click. We've got that selected. Now we're gonna go back to our brushes here, and let's go down to that watery one here. We're going to select this color. And we're going to come up to almost white streak in some of and I go to the blue side around the edges, especially wherever there's a rock. And so that starts really laying it in there to look like a puddle is coming in there. And then you can take from here. And the pencil tool works great for this. Goats that almost white again and go across horizontally. Just make a few streaks. Now one thing you can also do is right here, what we've got it, go back to that transparent. I selected this green here. Now what I can do with it is kind of put some of the reflection coming down in here. Don't need a whole lot of it just a little bit like so. And then add this in here to add some shadows. So then we've got some of the shadows and stuff going on for the water stuff here. So then you can take your pencil brush, select the colors that are around it. Soften some of these edges. So hard edge off. So it doesn't look like you're just selecting stuff. Okay. So now we've got puddles and we've got grass, we've got flowers and rocks and all sorts of stuff. So that's a good place for practicing with that. So practice, doing some practice here, rocks everything else. And then we'll move to the next lesson. 4. Skillshare Landscape 101 Class3: Let's get started with Part 3, painting big rocks. Okay, So we've got, like I said, previously, we've done a decent amount of little things here. But what if we wanted to add something else? Like say for example, a bigger rock or maybe some wood or some fence posts or something like that. How would we go about that? Well, again, new layer, because you always want to have the ability to delete and cut and erase stuff back. I think the easiest way to start this is to go through selection tool. And then using any of these, I mean you really either the sum right here or this one, and just really make a shape. So we're going to kind of ignore everything's back here and just think about what is an interesting rock shape. Okay? So maybe it's that. Okay. We're gonna go back to our brush and presets. And let's drop back down to our Canvas brushes. And let's go with the square canvas here. Now, what I wanna do is make this easy again, we're gonna go back to here. So we're going to grab a little bit of this purple and put some of that on there. And so this rock gray warm and put some of that on there. And some of the we can do burnt umber, we can do burnt sienna. And but we'll go with this, maybe a little bit this blue as well, and some of this rich brown. Okay, so we've kinda got all those on there. Now let's just smear him around. We're looking to blend it for a color like that. And just fill this in. Like so. So we've got some interesting colors there. And we're going to expand this just a little bit because I want to get a little bit more of this in here. And I also want to have this be 0. So I'm gonna make a new layer and scrub some of that in there. And then I'm going to set To couple of different blend modes we can look at. So multiply is always gonna give us that really dark. And then overlay is going to blend it like so. But there's a few other ones in here. Soft light can work really well for getting it blended out and giving us some interesting looks, colors. And I think that's what we'll go with for now. Let's merge that layer down. And then what we're gonna do, we're going to de-select. We're going to lock transparency. So that way if I color anywhere around here, it's not affecting it. Okay. All right, so let's look at maybe one of these watery brushes. And again, I've made a bunch of brushes that I use for doing this normally, like all these here and I had these on my drum road page. If you want to eat those, I have two different ones. Ones are going to be included for the class. The other one is a larger brush set that has all the first one plus a bunch more and then lifetime updates. So but if you don't have these, I don't want these, then I want to try and stick with what we have in ART rage itself. Okay, so we can look at different things, like stuff like this gradient block to get an idea of what we're building out and how we're doing it. So we've got this first one here. So let me pull up my and let's go with this rock gray and it might burn out a little bit, but I want to see what we're going to get. So I'm thinking if we just kind of roughly throw in some shapes, we can kinda get an idea for where the light is going to hit this. And this is where you decide, is this an angular rock? Is this a rock that's been sitting around for awhile and has really eroded. Does it have a flat spot? What does it have? That week? Push and popes. You've got different things there in the blenders. Again, we've got Canvas squares, which worked great for laying in some of this top kind of color. If we want to add. A little bit of blue or the shadow side. Because you're gonna get a little bit of reflected light. It's up to you how much you want to build it out. So then you can just kinda play around with the shape of it and go with a little bit darker. And I'm blending this in here because I want this color right there. Change your stroke angle. Because again, you're building up layers and texture. And then you can take a little bit of this color from here, put it in as well, so you get a little bit of color harmony. Just want to grab these different ones to kinda show you some of the different effects you get with each. Okay? And so you can play around with that and get your form kind of late in. You've got some your mid tone highlights late in. And then from there we can really say, okay, what is my light source? Where is it coming from, and so forth. So we'd know that it's still coming from the upper right. And we can really play around with that. So I'm going to move this over. Control Alt, Control Shift, Alt T. Let's put it there, I guess. All right. Now and you want to zoom in and you gotta fix these cut edges. So again, we're going to take the eraser and just kinda actually need to do some first. There's, all right, so there's an interesting little thing let me share with instant racer. In ART rage, if you have the transparency locked, if you erase it, does that, it erases all the way back to the main canvas. Okay? So just an FYI, you want to take that off? Okay? And then from there, we can soften the edges, even ease the soft eraser. So and just kind of set this down into the dirt a little bit. We can also go to the instance erase change. Like that's a weird transition there. So we can kind of fix that. Then grab our pencil tool, come back in and kind of redraw what we want to see. But if you go along the edge and just keep hitting Alt and selecting the colors that are there. You can really kinda break up that edge a little bit for how it's perceived so that it looks less cut out. And I missed one over here. So now we have a couple Boulder looking things here that we can work with. Now I want to show you this in ART rage outrage has a unique thing that you can use called stencils. And in my gum roads stencils, I actually have some that you can use. There's everything from ocean waves to bushes to all sorts of things. And the reason I use these because it really helps to make your life easier. So I have one for pebbles, I have one for rocks like that. So I'm going to grab one from there. And one that you probably wouldn't be expecting, which is this one, the tree bark that I have. So you can see it looks like tree bark with a knot in it. Well, with ART rage, if I use Control, I can change the size of this and the scale. I use Shift Control. I can stretch it. If I use Alt, I can change the direction of it. So why am I doing that? Well, let me show you why. If you're doing, if you're used to any kind of wet on wet technique from oil painting like Bob Ross or something like that. Then you're going to be used to how a palette knife breaks to make rocks, right? So this kind of helps us do that. So what I'm gonna do is make a new layer. I'm going to put it to blend mode overlay. And I'm going to grab bit of a yellowish color because this is going to be our sunlight. And I'm gonna go back to this square. And I'm just going to streak some of that in. And if I push spacebar, I can move it over and take a look and see what I think. So see how that's kinda breaking that up. So let me zoom out where we're at a 100 percent. So how it's gives an interesting texture. So if I hit Control Z, it'll put it right back where it was. Now some of that was a little much. So we can always erase it. Push it back a little bit so that you build up the texture. You can adjust it and go back to Z. So it's just a really good way to quickly break up the surface of the rock and give you some, like a sandstone or a different type of rock. And you can play with these other ones that are in the packet. And ART rage has a few of their own that, but they're just really generic kind of things. So I don't use them too much. So, but see how it's breaking that up and given us a really interesting look, then you can do the same thing with another layer. Set the blend mode to multiply and keep this bluish color, change the scale, rotate it around. You can also shift and stretch it. Really accentuate that we want. So and that gives you that kind of that base texture for what you want. Then just right-click and remove the stencil. So I do it because like I said, it kinda speeds things up for me to do it that way. But you can use stuff like the pencil or the chalk tool to kind of lay these in a little bit more. If that's what you wanna do. And then that will give you a similar type of effect. So go back down to the overlay one, back to maybe this yellowish color really lay on some highlights. And those can be as bright as you want them. I mean, if there's say, there's some really bright sunlight hitting this, like so. You can just switch to the kind of soften those edges. Maybe go to the pencil. You give some different things here and there. You can go back to not the square canvas, but say for example, you wanted to go these watery ones that get kind of a blend. So really kinda soften it out so that it's really hitting across. So this really just comes down to how much you want to blend this out, how much you want it to be changed and as far as softened and that kinda stuff, the main thing I'll tell you with this is that try to just get in and get out with it. Let's go ahead and merge these down. Like so. So we've got these kind of softened and everything else there. I'm going to make a new layer underneath it. And I'm going to set this one to blend mode, Multiply, bluish, purple. Let's set our rocks into so that you can really see it. Backup here. Again, kind of soften those edges a little bit. And then you can even go above that. Take your pencil, grab some of this lightly sketch in where maybe the dirt is kicked up over it. So like that. So then we've got some nice interesting looking rocks. You know, you can spend more time with the color, more time with how you want it to look as far as that goes. But again, you just kinda get the idea for the technique and you can refine this more and more to add CRISPR colors using that. For example, this one right here, you could add in some really crisp edges to the sides. And that would help with kinda unifying where it is. Okay. The softening it back. All right, so that's one more thing that we can add to another element for it. And then play around with getting the different look and feel of some of the stuff that we can add to future paintings. Okay, So we can do another one here. And just second, Let's add some wood and fence posts and stuff too. 5. Skillshare Landscape 101 Class4: Welcome to part 4. So let's get started with painting fence posts and reflections. And we've got the rocks and the boulder and everything else here. So let's add a few more elements to this to kinda go over how to paint some different stuff. All right, so what we can do is we are going to merge the visible layers real quick. All right, so we're starting here. And let's say for example, again, we have our stuff here. So let's do a fence post and maybe some stuff like that. Maybe this is the part of an old rant or something who knows? Who cares? Alright, so what I'm going to grab now is I'm going to use my chalk tool. And I just want to sketch some of these n. So I'm gonna go with a burnt umber. And let's just, I want to show you how to do something else. So I'm just, this is just up and down, scratching this in. And we'll do another one right here. Just because we'll do another one here. So maybe these are just some old fencepost left out in the middle of nowhere. All right, so control click. I'm going to grab my ruler tool. I'm going to go to a little bit of a bluish, dark bluish color. I'm gonna make this pretty big size. Just kinda go over this real quick. So the roller told kinda smears, that's pretty good. And I will because these are going to be some old fence posts. So kinda want the smudge on the side. Alright, so we have those really rough and ready to go for doing the next part of it, which is actually adding some texture, everything else. So let me start here and we want to erase using the soft eraser and just kinda set these into the ground. I find it works good if you just give it a slight angle to really make it look like it's sitting in the dirt. Just like that. All right. The tops are not worried about the tops just going to be some gnarly old wood that's there. Okay. And now we're going to zoom in because I noticed there were a couple of spots that got missed here. So I just went to my pencil tool. I'll select something there. And actually I want to do a different one tip. Now while I'm filling this in and I'm keeping these strokes going vertical and following the shape of what we've got here. A few more on this one too. And you can just kind of select Azure if you have any miss shapes like I did. And just kind of use this to start the groundwork for what we're gonna do texture wise. All right, so we've got that late in there. Now I'm going to lock the transparency real quick. And keeping my pencil with this hard tip I think works just fine for this. I'm going to lightly with the pressure sensitivity sketch in some green. And I'm going to select the dark side of it and from the light side of it for where I want to start laying in some of the look of an old fence post. Now we're really zoomed in here, this honor, and 36 percent. So this is not something that you would see too much of. And this is really one of those things where if you're doing an impressionistic painting, you're just trying to give the impression that something exists in space and that it is there. So that's what we're doing with this, is just kind of hinting at what is here. And it's really just, I find that if you just kinda scribble some. Stuff in here, in there, you get a better look and feel for it. If you're just kind of overlapping from where you've been scribbling stuff in and we're even doing also if you decide you wanna put them more of a highlight, go over here somewhere in the picture and pick when your lighter colors. And then use that as your highlight. And even if you need to push it back a little bit like maybe it's too bright, like that was. Then he can use that to create the actual, but you're getting color harmony if you do it this way. Okay. So, so now we want to have a little bit of reflected light are reflected light just kinda makes it look more interesting. So we'll grab a little bit of a bluish gray. We go along just a little bit, letting it hit here and they're kind of take what it wants on the side. Because I can just give some subtle interest. So at a 100 percent, It's just a hint of it being there. To me, it's much more interesting. Okay? So we need shadows, right? So let's do those and we need a reflection. So let's do those. All right, so create a layer underneath it. And we'll just stick with this watery one for now. Let's grab a little bit of this darker color over here. Just kinda scrub that in little bit really lightly. Want to make sure that our shadows are pretty much going parallel to each other. And then we're going to solve them towards the ends. So, okay, lemme can take our pencil tool and select from here, and then go in and put the color skipping a few spots here and there. Coloring it out here, like so. And then we can zoom in and take our eraser tool, bring it way down, and come straight across. Making sure to completely cut out this rock. You can give us a few ripples and stuff here and there. Get rid of anything that's outside the puddle. You can even kind of go over low, but just kinda solving it. Like so. Come up to this one. Similar thing. So then we can even grab that watery one again. Get a little bit of this stuff here in the front seat. Some of these posts. And then I like to zoom in a little bit on this. Just to add ever so slight hint of a dirt or something. So it kinda breaks it. Especially for some of them like this. Or you can just soften it slightly. It's just a subtle thing that your brain picks up on. The viewer's brain does. And then we have that there. So you can take the pencil again. If we wanted to say, for example, maybe have a piece of barbed wire that maybe runs and sags down through here. And you want these to see how it's getting kinda closer to each other here. Doesn't have to be exact because, you know, maybe this thing has been here for 1000 years, but we just wanted to kind of look like I've got pulled up through here. Then if you want it to look like bar, bar is go along everywhere that you want and just kinda put a little x. And they're going to get a little closer to each other and a little smaller as they recede off into the distance? I think so. And then we got just a nice little even just put it kinda broke or something like that. And could even drop the opacity just a little bit for that one, but you can do it. So all I'm doing here is just looking to see if I want to add me just Miner highlights and stuff just to break up that solid black. Again, it's one of the subtle things that just adds interests for the viewer. So as I'm finishing this up and putting some few last minute touches and that's kinda stuff on here. I want to thank you for following through in this class with me and congratulate you for doing so. I hope you learned a lot. Make sure to share your projects with me on Instagram, Twitter, and Facebook. All of those are at the TN artist. And I would love to see what you've done and offer any feedback that I can. But I think it's fantastic that you've stuck through it this far and it's really exciting. So I hope you learned a lot. I would love to get your feedback. Anything that you can do, let me know how I can make this better would be great. So again, if you have questions or anything, just put it in the discussion below and I'll follow up with you.