Concept art: Create Imaginary Landscapes/Environments in Photoshop | Sean Voelger | Skillshare

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Concept art: Create Imaginary Landscapes/Environments in Photoshop

teacher avatar Sean Voelger, Digital Artist

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

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

18 Lessons (3h 27m)
    • 1. Introduction

      2:41
    • 2. Hardware and Software

      4:01
    • 3. Setting Up

      5:09
    • 4. Finding Your Image

      6:27
    • 5. Mixing Part 1

      14:02
    • 6. Mixing Part 2

      11:14
    • 7. Adjust

      13:33
    • 8. Define and Create Depth Part 1

      24:28
    • 9. Define and Create Depth Part 2

      16:32
    • 10. Fine Mixing

      22:10
    • 11. Details: Highlights and Shadows

      20:24
    • 12. Details: Mist and Depth

      19:48
    • 13. Final Adjustments

      24:25
    • 14. Review

      4:50
    • 15. Time Lapse 1: Course Landscape

      4:58
    • 16. Time Lapse 2: City of Light

      4:03
    • 17. Time Lapse 3: Silence of the Flame

      4:27
    • 18. Time Lapse 4: Arctic Isolation

      3:32
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About This Class

Want to create your own original landscape through digital painting? If so, you're in the right spot. In this course I will show you my personal technique in creating environments from traditional to abstract. I'll be showing you multiple examples in real time and time lapse form!

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A blank canvas can be very intimidating, however the technique I will show you, will allow you to create landscapes with an already established color palette and value scale. The process is supposed to be stress free and should be exciting to explore all the possibilities that are out there.

This course takes commitment, so as long as you pay close attention and don't give up, anyone can do this. Keep practicing and just like anything else, you'll find yourself getting better and better results. But don't get too caught up with the results, focus on enjoying the process and naturally your results will improve.

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There are some things you will need in order to proceed (I go more in depth in the hardware video). You will need a drawing tablet of some kind, a mouse will not work. Tablets go anywhere from as low as 25$ to as high as thousands of dollars. You don't anything fancy, the tablet won't make you a better painter, only you can make yourself better.

Tablets:

Wacom Intous Pro ($179)

Wacom Intuos ($75)

Cheap Huion Tablet ($25)

You'll also need Adobe Photoshop (Link), or a similar program. Now, since this is NOT a course on how to use Photoshop, I will explain some things however, I won't go deeply into detail about how to use the program.

If you don't know a lot about Photoshop, I have a course on how to use Photoshop for beginners. So, you can check that out if you'd like and then come back here, and that you really help you so you can proceed in this course. I'll link this course below.

Meet Your Teacher

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Sean Voelger

Digital Artist

Teacher

Hello! I'm an Artist creating, discovering and exploring. I want to share what I've learned along the way. I grew up in NY and have been creating art for a long time, there's nothing I would rather do! For the most part, in terms of medium, I'm all over the place; it's hard for me to settle on something. Usually, I stick to digital mediums, traditional paintings and drawings using anything from charcoal to oil pastel. But for the core part of me, I'd consider myself a digital artist.

I plan on creating more and more Skillshare courses as I continue and evolve my own personal skills to share to the world. I'm always trying to improve my courses as new ones come out, so be sure to check them out!

 

 

What I want to provide ... See full profile

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Transcripts

1. Introduction: There's something about creating a space literally world forge from your mind and that environment Space speculates our own current space. That environment has the ability to tell endless stories. You can feel the wind and you could see the light bouncing from object object. They sparks something in your head that leads to other ideas, and somehow you still are able to relate to that space. Sean culture. I'm primarily a digital artist like Dio do some other traditional our techniques as well. I wanted to make a course that shows you exactly how to create one of these landscapes. Step by step there on so many ways to approach this, you know, where do I start? What do I do? I draw on this landscape. It's not easy. And I think my technique is actually very stress. Free process is exciting. You do get really amazing results and possibilities are pretty much endless with my technique. Your you're not gonna find it on the Internet anywhere. I mean, this technique is something that I've been working on for a while on I think if you just put your mind to it, anyone can do it. One start creating your own imaginary original landscape. I'm going to show you exactly step by step. How you can do that? Just cute watching. And hopefully else you in the first video. All right, bye. 2. Hardware and Software: Hello and welcome to the very first video in this series. In this video, I'm gonna be talking about some things you'll absolutely need before starting anything. Of course, we will be using photo shop, so make sure that's installed and do keep in mind my version of photo shop probably be different than yours, depending on when you watch this, as it's always being updated. But there should be nothing to worry about. All the court function should be here, and all the tools and such should be relatively the same. Now, I know Photoshopped can be expensive if you don't already have it. So if you do have another program that similar, it may work. But I can't guarantee anything as Photoshopped has some very specific tools we're gonna be working with now. Dobie provides a free trial, their software and your student. They do give you a discount, so I'll provide a link down below if you don't already have the program. And just a quick note on hardware. I'm using a PC. It doesn't matter what you use as long as you can open up photo shop. However, if you are using a Mac and I shout out a short cut or something. The keys will most likely be different in really the most common differences. When I say press control on Mac, it's usually you have to press the command button instead. Next, what you will absolutely need is a drawing tablet. Now. I don't want you guys to spend a lot money, but try and do this with a mouse will be almost impossible. You're never going to get great results, and it's going to be incredibly frustrating unless you use a drawing tablet. Now there's lots of tablets to choose from. Do some research on this sand. Come back and I'd recommend the walk. Um, into tablet welcome is definitely the top brand when it comes to these tablets, so they will be a little more expensive. However, they are really reliable and the last you pretty much forever. I personally started on the welcome into us, and it works great. I think you can get them on Amazon for about $80. However, if you're looking for something even cheaper, I'd recommend any beginners tablet from Huey on, I think, as a night and get a really cheap one for like $30 But that's really the lowest you'll find . Brand new Ah link all these down below. The one I'll be using for this course is theory. Welcome into its pro. It really doesn't matter which one you choose or have. Having a batter tablet does not mean you will get better results. Getting their results comes down to you have to remember that if you've never used a tablet , get a beginner's tablet to see if you like even doing this at all. Of course, you can do more research on this, and I highly recommend that you do so with that said, That is all the hardware and software you will need for this course. I do want to point out that this is not a course on how to use photo shop. So although I will be explaining things, I won't be going hugely into detail on the functions of Photoshopped. If you don't know a lot about photo shop, I do have another course all about how to use photo shopped for beginners, and that course will show you everything you need to know about the program, which also link down below. Once you know how to use photo shop. You can come back here and we can get started. So whether you have a tablet or not, we can still move onto the next videos. We're gonna be preparing and setting things up in photo shop. 3. Setting Up: All right. Welcome back in this video, we're gonna be setting up everything. So weaken, jump into the painting right away. I'm gonna show some formats sizes in brushes I use in a photo shop. So let's go ahead and open up photo shop and you should end up with a screen sort of like this. And in here, we're going to make our file so we can go ahead and make a preset over here. Let's call it landscape or whatever you want to call it. Make sure this is in pixels and the format I always use is 3000. With by 1600 height, you can use any size you want. But whatever you choose to dio, I suggest you try to stay consistent with it as and use that format for every landscape unless it's something really specific. Okay, let's keep the resolution at 300 the rest should be fine. Go ahead and press create and we now have our file. So one thing I do in all my landscapes is I love to add these cinematic black bars on the edges. This is completely optional and up to you. If you want to use this, but to stay consistent, I tend to open up the last landscape I did, and just bring those bars over to this file. These air really easy to create. If you want custom bars first, we need a new layer, and you can do that by pressing this button here. You can then go over to the toolbar and select the rectangle marquee tool. And next, you just start outside the canvas here in drag that selection inward to the other side. Once you're happy with your size, let go and we can go ahead and fill that in with black using the paint bucket tool. Now you need bars on the other side, and the easiest way to do that is to hold down the altar button and in your selection left , click and drag to create a copy, and it should snap into place at the bottom. Okay, let's de select that by pressing control de or command D and let's go ahead and lock that layer so you don't paint over it. We won't need this background layer here so we can just select that and hit the delete key . So now we're actually all set up here in terms of the file and only need to dio is worry about some brushes and some windows first. Let's change our set up. Go up to this corner here, press this button and select painting. If you're already in painting, select reset painting. OK, so first we don't need swatches. Right? Click that hand. Press close. Next, we do need adjustments so we can go toe window, find adjustments, drag it out and docket right here. We also should have history. So again, go upto window, find history and docket up here, OK, lastly, we need to deal with brushes. So I will say I am a big believer in that You only need one brush sort of will mainly be using one brush but I have three brushes in total that we will be using to make this as simple as possible. I have a download link you can click below in the course resource is where you will find a brush pack when you download it. You should see a file like this called brush back. And while photo shop is open, all you need to do is double click the file and a new folder should pop up right here under brushes. If that didn't work, you can press these three bars right here and find import brushes. This will bring up your files, and I need to do is find that brush back. If, for some reason you're still having problems with this, then the most I can recommend to you is to create a brush of your own or find another on the Internet. There's tons and tons of videos on how to install them, and tons of brush backs are all free to download all over the Internet. So what you need to do now is make sure your tablet is working, plugged in and ready to go. If you've never used to drawing tablets really straightforward, holding the pen over it will let you move your mouse around and applying pressure to it lets you paint Photoshopped, play around with it and try to get used to it, especially with these new brushes I've provided. So if that said, we're now completely prepared to start creating our landscape in the next video, we're going to get started 4. Finding Your Image: all right, well into the next video in the series. And now that we have Photoshopped all set up and ready to go, we can now move on to the next phase. Now, before we start, I want to remind you about what we're doing here. The method I want to show you is going to give you a result that is almost random. Although you do have complete control of what you dio, this method is going to be unlike anything you've seen before. And the results are really, really exciting as you never truly know what you're going to get a lot of concept artists will often start with a sketch, a thumbnail or blocking in shapes. For this to truly work, we need to clear our minds of any expectations. And as we get deeper into this, we can start to solidify our ideas. Don't worry. If that doesn't make too much sense, I'll be clear flying this later in other videos, Essentially, what we'll be doing is finding something to start with, ah, color ballot with values. Then we're gonna distort this image and start to see things and define them. Ah, lot of artists, especially beginning. Artists say that starting is the hardest part. This method contains no planning or I like to call it in unplanned plan and overly, this should be pretty stress free. I'm gonna throw up some images on the screen right now to show you what I'm talking about. This image right here is just an image of a flower I found online. And I used the colors in value from the image to create this a landscape completely different from the original image. And I'm going to show you exactly how to do this. Here's another example. This is just some blue circuit board that I found and I used those cool colors to create this super cold mountainous landscape. And I have some time lapse videos at the end of this course so you can see exactly how I did this. If you really want to, you can actually look at them right now and come back. Actually recommend that Well, as it will help you understand this more clearly. So let's get started. First thing we'll do is open up your Internet browser and we need to find an image to work with. There are so many images out there with so many variations of color and value, and that is exactly what we're looking for. So what I'm going to dio is I think I want a landscape that is warm. I highly recommend you find your own image to work with, as it will really help you understand how you conduce this with almost any image. In fact, my recommendation would be watch how I do it first and then come back and try to do it yourself. This is the most important part you need to decide what colors you want. Do you want a warm or cool environment? You want a dead or lively environment? These are the key words you will be searching for. So in this case, I want a warm environment, maybe almost a desert e kind of feel. So I'm just simply going to type in keywords like warm rocky Desert and had a spin on an all type abstract. So let's go over to images, and before you look at anything, come over to tools size and click large, and this swollen give us high res images to work with. Now we seem to be getting a lot of landscapes. And believe it or not, I actually try to stay away from landscapes and try to find things like abstract artwork or macro images. Things are really weird, so I can keep my mind clear. So let's makes this search up more and I'm going to type in arts and macro. All right, this is a lot better. The more abstract, the better. Now I want to find something that has a large range of values from black toe white that's always important in terms of color. I'm looking for something warm. Shouldn't be to rain, buoy or psychedelic. I want to make sure there are a lot of neutrals as well, like browns and grays. Now, if you think about a landscape, they commonly have sky, and the sky is usually at the top of the canvas, and it is the brightest feature. I'm gonna try and keep this more on the simpler and more traditional side of things over. You can really get abstract with this, so I'm gonna look for something that has lights at the top of the image. So fun. Things to look for are isolated images like this that have flat backgrounds those are always really fun. But for this I want something that has a lot of detail. Okay, so I think I found something. This has great variation of darks and lights. A nice warm color palette, lights at the top, and it has good detail. I think we can make something really cool. Thus, just remember, in the end, it doesn't really matter which image you choose. There are better and worse images. But as long as you stick to what I said, you should be fine. Also, if you find out that image you found isn't working for you. You can always find another one. There's so many options. I do it all the time. Okay, So I'm just gonna download this image, open up my files and drag it right into photo shop right into the file we made. If your image doesn't fit, don't worry. We can just stretch it out so it fills the frame. All right, so that's gonna be it for this video in the next one. We're gonna start manipulating this image, and hopefully we'll end up with something really cool 5. Mixing Part 1: All right. So this the part where will finally be getting into this? We have everything set up, and the first thing that we're gonna do is if you head over to your brush pack, you'll see the blending brush. Now, if you just select that and you look over at your toolbar the mixer tool, Um and it looks like this. It is a brush with a little droplet next to it that should be equipped. And this is a very important tool. Now, essentially, with this tool, what you conduce so is it's almost like it allows you to paint as if you were using oil pains. And if you've never used oil pains, it's sort of like you can really start blending everything together, and it's it's pretty cool. Now I'll show you what I mean. So in the last video, what we did is, um, Now, I took this and rotated it, man. Now our lights are sort of at the bottom, and that's not what we want. So we can do something to fix that. And what I'm gonna do is select our lasso tool. Make sure layers selected here and we will do is make a copy of it by pressing control J or Command Day J. And that will make it copyright here. And if we just select this part right here, just get all this lights right here. Doesn't have to be perfect at all. And we just move it over here, I'm gonna rotate it by pressing control T for transform. And, um, I think I'll make it a little bit bigger. And just so I can get those lights at the top Now, if I go ahead press control D um, they will de select it, and we now have our lights at the top, and this is going to be for our sky. The sky is what we're going to establish first, and that is going to be the brightest feature in our landscape. You want to keep your lights towards the top in your darks and bottom and just keep that mentality in your head. Just think, OK? Darks are at the bottom, lights at the top. Now, as you go back into the background, your lights are going to be there, and your darks are going to be forward. So as you come forward, more contrast. It's gonna be darker. Now, I'll keep saying that over and over. Um, so I'm going to make I just made a copy again by pressing control J. And now we have some lights here. You can hide this real quick. I'm going to grab this thes darks here. Bring it right here. Press control. T rotate it just like that. Press the check, Mark Press control D. And now, if I have this year and I bring that up here, Okay, so now this is looking a lot better. Now we have our lights at the top in darks. At the bottom. We have some lights all over the place, and I I know I said, like, this is pretty warm palette, but it's really, um it's really all over the place. We have cools, lights, darks. It's a Knauss. Um, variation. I mean, great neutrals. I think we're gonna get something really cool off this. So what I'm gonna dio first is I just made all these layers, so I'm gonna combine these by pressing Control E and then press it again. And now we have one whole layer. Okay, so, um, what we're gonna do is go to our blending brush again. And if we just zoom in just a little bit by pressing Alz in scrolling that's how is humid and all I'm going to dio is if I go in here, you can see right away that I am mixing all these pixels. So let me zoom and even more just so you can see if you just take a look. Here I am. Um I'm using my tablet. Now, this is this where you use your tablet and, um, I'm just pressing down here. And what this is doing is I'm pulling these pixels and you can just see that's just blending all of it together. And I'm just going into spirals like this, and you can see it's all my lending getting a little blurry blending on together, and that's what we want to do throughout the whole entire image. Okay, we want to cover that, get a whole coat of this, and, um, you want to change your brush size frequently. Don't get too big, because then you're going to get muddy results. But pretty much the idea of this why we're doing this is we're blending all these all these pixels together all the this whole image and hopefully we'll start to see shape. Now, once we see shapes weaken, start to hum Establish this landscape. Now you want to keep things in mind? You don't want to go just completely crazy. Um, although that is fun sometimes, and you get some really awesome abstract results. But really, this is gonna be a lot of experimenting before you even maybe even use the blending brush. I, I would suggest hum playing around with in a separate file, and you'll probably see that you'll start to see a landscape even just playing around with it. But, um, this should be pretty stress free and just really just go for it. But for right now, the first thing you want to dio So right now I'm establishing a sky now. Sky, as I said, is the brightest part. And what I'm doing is I'm just taking this lighting light part, and I'm just starting in the light zone and pulling it out. You can just pull these pixels right out and they can see um, flattened money. It gets, um, when you use a big brush. And that's why I suggest using a small brush. So you can, um, get as much detail as possible and you want as much detail as possible. But for the sky, usually it's gonna be pretty clear, Pretty simple. And it's just there like that. Now I am going to change up my stroke. So I'm going like, um Dagnall like this and I go like this and what I suggest is try and start in the in the background or towards the top four and then work your way towards the foreground just like a traditional landscape. That's what you would dio and keeping my brush small. I don't even worry if your don't try to make a like mountain or something. Don't try to make this and that. Onley focus on getting as much detail in here as possible. Now, of course I did say you want toe have established sky. Well, yes, you do want a sky here, and that is going to be pretty clear. You just want just the whole I'm just gonna extend it here. I'm just pulling his fixes. You see, I'm actually pulling out these black bars. Um and you can do that too, that, um you want kind stick away from that from this guy. That's more useful if you wanna bringing in the foreground cause your foreground is going to be the darkest now. I just kind of going all over the place and just I see it gets a little slow there. This weapons, when you work, the higher is images. Um, you can get a little slow, have toe, has the load and whatnot. But if you just have a small brush just like this, you can, um, have it. So it's really not slow it all. But it does depend out fast. You're going, but not not to my story about there. No, I just want you just extend this sky over here. Um, I can already tell that my my vision of a warm, rocky desert landscape Maybe this wasn't the image to choose, but I'm really I'm starting to like what's happening here. I really am. So let's just get a coat going here. Um and I just want to start in the background on work my way up here. I'm starting to notice that Hey, this could be a passed away. Ah, this warm area. Nice bright warm area going here. You extend that there. Um, I said don't look for things, but you will start to notice things naturally. And I mean, I guess I was saying is don't try to make a mountain right away until you see a mountain, for example, like so I'm starting to see kind of like some weird rock formations, but I don't know, maybe this could be like some crazy cloud going on. I don't know, but I'm trying to just mix up my brush strokes like we have. It's pretty flat here. So we have some crazy purple here, so I can just pull those pixels out just like that, and you can really start to see it. Just how powerful this tool is this? Why I love this tool is so awesome. Um, you really this technique, you get really crazy. Awesome, random results. And I love it. So, yeah, we do have pretty crazy color palette going on here. Actually, um, you know, we have, like, some warms, we have cools. We have, like, a pretty cool sky going on. I really it's, like, almost ethereal. I don't describe it, but we're just gonna keep going with this, going to keep going. And, um if you find yourself that you're not happy with something, any section whatsoever if it's to money, just go. I would say just go crazy on it. Really? Like I mean, why keep it there if you don't like it? Um so really, e I mean, if you worked on this for, like, 30 minutes, um e I mean, you really could and there you just keep going and going, but it will start to get more muddy as you go on. And if you get to a point where you just don't see anything, then I would suggest to be there, restart or find a new image, and that's that is perfectly fine. Not every image will work. I mean, I'm sure you could make it work in some way, but really, the reality is that they're not all gonna work for you. I mean, we all have different styles. We all have different this and that. Um so yeah, so now I'm almost done covering this, and I'm just going Teoh, I didn't get over here yet, so I just want Teoh. We have our sky right, And we can look over here if you Look at your navigator right here. You can see this zoomed out. Like if we zoom out, you can start to see things, right? So we're at a point now where I'm going to start looking for shapes, and that's what you want to do. You want to start sort of defining them. Okay, we have sort of background milligram of foreground already establishing here. Like here. This is our darkest part, and we are just going to just keep mixing, Just keep mixing. And I mean, this could be like some handle rock here in the foreground. And I mean, that's just that's just how it happened. And it just kind of automatically like this automatically just starts coming together as long as you keep. As long as you keep your darks in the front like this and you keep their lights in the back , it should just automatically look like a landscape That's just naturally how it will look. Just keep going. And so here. I mean, I consume up here. I'm just spiralling like this and just one off. I just want a full coat, just a whole coat just like this. And I want to create asthma Muchdi details I can is very is important that you really do want to create as much detail as you can. But look at this Look of this. We are really We I pretty much have a full coat. I just miss something right here. We want a full thing going on here. And by the way, the way I'm doing this by moving this I'm just holding down the space bar and moving that, just in case you didn't know that. So it looks like we have a full kind of coat here and now we're at a point where I want to start looking for shapes. 6. Mixing Part 2: So we want to find areas that we want to start kind of giving it meaning. So looking for shapes, right? Looking for shapes, that and those shapes will start to become mountains. They'll start. Come this in that. So, like, I mean, we already have a sky going on here. That's awesome. And we I'm starting to see we kind of have. This is sort of like a mountain that I'm thinking like, Yeah, this could be sort of mountains. So what I'm gonna do is just take my mixer brush, keep it pretty small. The smaller it is, the more detail you get. And you do want a lot of detail. I'm not sure what's going on here, but I do see sort of a pathway leading from the foreground into the background. So I'm going to take this and I'm going to sort of just push those pixels up just like that . And who so I'm thinking like like pathways air. Really awesome. Because it kind of especially feel like, kind of have an s curve going on those air Really awesome compositions. So I can kind of if you have, like, a curvy pathway. Um, those air. Really awesome. Really awesome composition. So it's look looking like this pathway goes through here and it kind of goes up, and I just want to just start defining that I wanna ah, say yes. This is gonna be a pathway. This over here could be like a mountain. And I'm just I'm just moving these pixels like we are not placing down anything. We're not erasing anything. We're not painting in anything. We're just moving these pixels around just like this, and this is just awesome. So this can me we can start to have It's starting to come to me that this is gonna be a pretty mountainous landscape. All right, so we have sort of a, um, Flat Ridge going on here. So let's see what we can do. Teoh have something a little bit different, so maybe I'm not sure what's going on here, but we have a lot of light coming up from here. So maybe something's a reading from there. Something this, but really Okay. It can be anything like anything like any shape you see can be anything like it doesn't have to exist at all. You can make it exist and that is what's so awesome about, um, all of this? So I'm definitely getting a mountainous sense. Kind of like this could be sort of I'm thinking like we have, like, a wall going on here and like, what's happening here? Almost like, kind of like a canyon sort of deal. And obviously, we have some rocks year, and we want to make sure there's there's going the more in the foreground, the more detail is going to be. So I'm thinking, OK, so what can we do here in the foreground? Like maybe we can Oh, yes. Okay, so we're making it more interesting like this. Um, so this thing was working from the background to the foreground. I mean, I was kind of all over the place, but really, um, you can start to see now I'm working in the foreground. Maybe we're again some kind of plants going on, but really, we're getting something pretty Coyer and I think in like, we can just manipulate this, keep moving it, and you just want to keep doing this, keep doing it. And until you say yes, I think I'm ready to well into the next step. And how you know you're ready to move on. The next step is when you're saying like, Yes, I see something here. I want to start going in, and I want O make these these objects more parents. I want this to be this in this to be this. That's when you know you're ready. So, um I mean, you can just keep mixing and mixing and mixing. Um, but obviously, things get more and more muddy and more money when you do that. So you want to be careful about that? I'm just gonna keep working on this, and I think I'm going to speed this up and yeah, I'll get back to you. So I want to say something. This is pretty important em now, as we're getting this idea of a landscape, um, you know, we're going to get this kind of pathway mountains in the distance, that sort of thing. Um, I do want to say I want to show you something that a lot of concept are just tend to dio. Now, if you go to up to image and you go to image rotation and you find flip canvas horizontal, that will flip your entire image and this is actually really important. Okay, um, the idea here is that the landscape should look Justus good as it does flipped. And to the artists flipping this is like looking at an entire new piece. Now, we don't have too much here yet, but I will definitely be flipping this a lot more in later videos as we develop this more. Now, when you flip this, you probably notice flaws immediately. Like I mean, this kind of tilted. Ah, sort of weird. So maybe I need to flatten that out. I mean, maybe too many things were going this way. I don't know. Maybe I want things going this way, but like, your hand will start to go in different directions. And okay, so I actually have a short cut for this. And I set mine to control all H for horizontal. And if you want to change this, all you need to do is go up to edit. Um, go to keyboard and shortcuts. You'll get this menu, and if you go to image, scroll down until you find flip canvas horizontal, and you can just type in that short cut control age or whatever you want type in where we want to use. I just have it set as a ah, quickie on my Where is it? There it is. Um, on my tablet, and I could just keep switching up, but you can see just home different. It makes it. And you might find out that you actually like it this way better. Um, but just keep flipping it. And that will also help you find things that help you look more for things. And yeah, so I'm just gonna keep mixing. Okay, so I think we are. We have something here now. Um, and now remember, we we have our color palette already. We have our values, and we should now start to get an idea of what we're after. Now, let's just take a look and see what I've done. Um, how Keep Keep looking at navigator and looking back and forth so you can see the whole picture. Um, when you when you do zoom out, you get a much better sense of what's happening. You can really start to see, like, Yes, there is a landscape here, and it really is. We have some crazy colors going on here, which, um I I love this. Actually, this is gonna be really cool. So I mean, what we have here, I might work on it just a little bit more, but we have, um, a pathway here, sort of going. We have, like, some really weird mountains in the background. Here we have our foreground. Here we have our sky. And with all that considered, we really were starting to get something here. So let me make this clear. Not every image will work for you. And I said this before, but I'll say it again. But if you found this frustrating and don't see any potential, find another image. I have restored it tons of times and also tried to just get used to this blending brush. A communal, a weird at first. But once you get it, you really It really is very powerful. Just open up a document, start playing around with it, and you might find out that you actually start getting something really cool. It really it's pretty cool. But it does take practice. And guys, this is not easy. This is tough. I mean, I'll help you as much as I can, but it really boils down to commitment in practice, Not every piece you do is going to be great, let alone good. But if you really take the time to practice this, you truly can get some amazing results. So with that said, let me just quickly review some things to keep in mind. Keep your brush small for the most part, especially when you think you're about to be done. Keep your lights towards the top and darks near the bottom. This will help establish step, and it will start to automatically look like a landscape. Don't overdo it. You're painting can get money pretty quickly, and you want as much detail as you can get. That's why I suggest keeping a small brush. And also finally, you need to look for shapes. Once you start to see shapes, those shapes can become rocks, mountains, buildings, literally anything you can imagine. It doesn't even have to make sense of what that object is. Once you start thinking you have a vision, we're going to refine that vision. We're gonna keep refining and refining it. Um, you can refine it in this stage with just with the mixer brush just by moving, manipulating those pixels around. Just keep your brush small and start to make sense of those shapes through light. Your light source can be from anywhere, and you can have multiple sources. But don't stress too much about light right now. We'll get to it later. Really, When you're done with this phase, the painting is actually almost done. You just need to refine it. And it really can once you start to refine and things really start to come together. Um, but like, I mean, this is really just so we're not we're not starting on a blank canvas. We have everything is a lot of it already established. This is really beginning phases. Um, but we're just gonna go ahead and refine it more. You can just keep refining if the mixer brush if you want Teoh. But in the next video, we're gonna be doing a few adjustments to make your vision more clear. 7. Adjust: Okay, so now what we're gonna do is make it so we can see this landscape. Ah, whole lot better. We're gonna change some color and contrast. So this better fits what we're trying to achieve and what I mean by that, um, you know, we do. I do see some sort of a landscape performing here, but what we're going to do in this way, we're going to make it so that vision is more clear. Okay, I know it can be pretty difficult to envision something. It can be hard, but, um, hopefully this will help you understand this a lot better. So I mean this really? We have these adjustments over here, but we're not going to using these because if you see, I'll just demonstrate right here if we just and brightness. If we click on this, it adds a layer. Um, but we're not gonna be using that. Something's gonna delete that. Um, we will be using that in the final video. Now, the reason we're not gonna be using the layers is because it kind of gets all weird and funky like it's just weird. So just trust me on this. What? We're going to do. We're going to apply these adjustments directly to the landscape. So if you made some black bars like I did, make sure, first of all, make sure it's locked. You don't want to be going over that because that could be very, very annoying. So make sure I just called it main. This is our main area. Whatever. Whatever you wanna call it, just click on that. Your main image and what we're gonna dio We're gonna go up to image adjustments. And as you can see, we have a whole ton of options. I'm really just gonna be focusing on right from color. Look up to brightness and contrast. Don't worry about these things. Um, so really, just these and all of these air right here. These are all these icon. This is the brightness contrast right here. So what I'm gonna do, I'm just gonna go ahead, click this and we'll get this menu like this. Now drag it somewhere so you can see your image and still adjust accordingly. And this this is going to come down to you. How much you want to do. It really depends on what you have, and you have to make your best judgment on what you do. So, um, a lot of it comes down to experimentation, but if I just spring up the brightness just a little bit right here, Um, see immediately if you have preview on immediately, things start to happen now. I really love to add contrast. So, um, if I just bring this up to 100 you can see, like, its maximum potential. Uh, I like toe work down from there, and so that looks good. Like that. And the way to check what you just did. You can just enabling disabled preview button. And, as you see, whoa. Okay. Wow. That that? Yeah, that looks so much better. You see, it's so faded now. You can really clearly see that now. And if I just put in the preview Wow, it just did. It pops out so much more. And I keep trying to look at my navigator right here so it can see it from far away. Get the whole picture. You know, maybe we're signed the forms and things that we have. We have some things some weird kind. Ah, spiky things here that fades here. Tomb or spiky things, that kind of repetitive aspect to it. Maybe some mountains here, something. So So I'm starting to see this little bit more. So let's had some more adjustments. So I'm gonna go up to image adjustment, and we'll just work down from here. Not you don't have to use every single one of these. Although I do recommend experimenting with it. Have fun with it. You don't have to use all them, though. But so what I like Do I like to use levels and just clicked on levels and go down to output levels? Onda, we move this up to about two e. I mean, you can see nothing really happened, but I can show you what this is doing. Um, so if I bring this up, you'll see that the whole image gets really dark and this is our darkest stark. Okay, so if I bring this up, you can see now our darkest dark is this, and you can see them. Your I'm comparing this to our black bars. And remember, this is on a separate layer so we could see that difference. And the reason I'm doing this is because I think, um, complete black can be really harsh against the eyes. So I just like to bring this up just a little bit, so our darkest dark will be this dark. Um, and I know it could be hard to see right now, but let me just bring that down, because obviously that's not gonna work. No, I wouldn't touch this because that's gonna lower. Are whites lightest part of the image and that just that you really want? Really? Breitbart's really good highlights. And we can make that more contracts that we can bring up those lights if we bring this bar down. Ah, I know this this whole thing levels can be a little confusing. Um, but just just move the sliders around, see what it does, and you can make some analysis from their conclusions and things like that. So, um, so let's check the preview. Okay, so now we have Ah, much brighter image. I checked the navigator. Yeah, I definitely like it brighter. So I'm gonna press, OK, and we're just gonna keep repeating from there, So we're gonna go to image again, adjustments and, um, curves and exposure. I mean, these these air group together cause they're all really sort of the same thing to They're a little different from each other, of course, but let's go into more color. So this is like a color color's group together, and I'm sure you click on the vibrance and definitely use some saturation. Or if you want, you can de saturate it. That will make it black and white. But, um, think of Vibrant says a fine tuner to your color in saturation is like a course tuner. It's really gonna saturate it. Um, that's how I like the distinguished vibrance versus saturation. There really sort of the same thing, Um, but just bring that up a little bit. It doesn't have. I don't have to be too crazy about them, but that just goes a little bit of a touch like that, and we're already getting somewhere very awesome. So we're going to get adjustments again. I mean, that's really the basics. Always. You got brightness contrast, You know, um, you change your brightness and that sort of thing, you really start to get the image a lot better. One fun thing you can dio is hue and saturation. This one is a really fun one because, um you can change the hue of your entire all your can change your whole color ballot if you want Teoh. Now I don't think I'm gonna change this cause I really like the colors. It's it's very rare that I do completely changed the hue, but that's ones like super, super abstract. I mean, this is pretty abstract, but it's still traditional in the sense that we have a sky. We're starting a foreground here. Maybe there's some plants here, but I'm starting to see things, and that is what we're trying to do here. So one last thing um, we can do is go to filter. We can go to filter, gallery dot dot dots and press that, and we can zoom out here by clicking this minus button in the corner if it's too big and what we have here is our filter gallery, and in here we have a whole Thanh of filters to play around with, and this is really awesome. Cool area, lean plastic. Gramp. That's pretty cool. Very, um, not useful for what we're doing here. But I mean, you can do a lot of things like Fresco. That's pretty cool. And what you do with fresco. You can take this and, um, start using these sliders and adjusting it so fresco is pretty cool. But another one you can use is, but I really like to use his poster edges. Um, this one's pretty cool. I mean, it really doesn't matter which one you choose. I mean, it really depends on what you want to dio. So where we can do we can change up what's happening here. And, you know, you really don't have to know what these mean, because when you start making, um, changes with e sliders, they will change in real time. So one thing poster ization. You can see what's happening here. Let me just zoom up just a little bit. Um, if you look focused right here, and I just bring the post realization down, it's pretty much what's doing. You can see a lot as I bring it down to zero. Um, pretty much it's separating all these colors and to sort of like a topographic kind of feel , um, you know, they're in these kind of layering kind of, um, things here like wave kind of effects. And really, I think prostration post realization is pretty cool, because now we're adding more detail. So I bring this up. You see, it kind of gets a little money there. If I bring it down, I'm separating everything. And I'm getting more detail all of a sudden, So I'm gonna zoom out and, um, you could see, like this is defining our edges. So edge intensity. Now I'm starting to see these edges a lot more clear. Like if you were to outline certain things in any old drawing. And I don't want this to intends, cause I don't want it to be to kind of I don't really want my final results A Have these, uh, thick edges here, So I'm gonna keep it on the light side, and you can just This is really just all about experimenting, and that's really what you have to keep in mind when you're doing this is just experiment, experiment, experiment, and you'll find that you're getting really cool things all of the sudden, like, really cool things. So this is really this is really interesting. I really like what's going on here. We're starting to define these edges. I mean, you look here or separating four grounds, we kind of have this outline path all of a sudden, so I'm just gonna go ahead and press, OK, But I do want to point out the reason this does look weird, um is because this is we're only focusing on this layer. And normally, when we're when I press, okay, you'll see that this layer kind of covers it up the black bars layer on my side that you can see that all that weird stuff. But that's because we were only working on this layer. So now we are really happy we have something pretty cool here. Now, keep in mind you you do want to keep flipping to you, see what's going on. And like like, Wow, now we have a different image, but this is gonna come. So I'm gonna be using this Ah, whole Ton Mawr In the next video. When we really start going into us, we're going to go into this. We're in a grabber paint brush tool. We're gonna start really carving out like these kind of structures I see here. But hopefully, um, we're starting to see something here, and I really am strain to see something here we have like a path going on here, and we can see what we did if we go to history and just give me a little confusing understand. But if we go up here, we can see right when I opened this, this is what it looked like at the start of this video. And I mean, that's pretty That is very significant. So if I go back here or if I just it controls E, you can see like that is a huge difference. Huge, Just massive. It just pops up so much more. And I really that should really, really help you start to see something here. Okay, We got really good detail. We gotta sky, we gotta foreground going. We're really starting to get somewhere. Okay, so I'm gonna into here before it gets too long. And in the next video, we're gonna be using our paint brush tool, like I said. And we're really going to start defining what we see here based on light and based on value color, that sort of thing based on the grounds, and I'll be describing it all in the next video 8. Define and Create Depth Part 1: Okay, so this is the point where we need to take a look at what we've done, and hopefully you should start to see some shapes. And hopefully you should be getting this idea of a landscape as long as you kept your lights towards the top in darks towards the bottom. While making sure the image doesn't get to muddy, you should be fine. Now. If you don't see any potential in this, I'd recommend either taking the blending brush and making some major adjustment says, and make the brush really small and just scribble. Scribble out everything and just just to get something new. Or you can restart or find a new image. And you should be taking big risks when you're unhappy with something, because really you have nothing to lose. Also, let me mention if you took a look at the landscape time lapses, you'll notice that the beginning process are a little different. I didn't use the mixer brush. All but the same ideas are all there, and this is just me saying that you don't have to follow these steps all in order, and you can add your own techniques. You can go back to the mixer brush and continue mixing even after we adjusted. There is no right or wrong way of doing something. This isn't math. When I'm trying to do here is give you guidelines to a technique that works for me. There's a 1,000,000 ways you could approach this differently. I just want you guys to be able to have freedom and how you do this. So if I show you a technique and do you think you have a better way of doing it, then go for it. We'll have different styles and ways of doing things so But that said, Let's go over to our paint brush tool in our brush pack. Just select it right here, paintbrush. And this is the part where the control really comes down to you and you can do anything with it. What's great about this technique is we already have our color palette, values and a broad sense of our image, as opposed to just starting on intimidating blank canvas. Okay, so this is gonna be you. I would consider this Is this kind of this is gonna be a pretty hard part. Um, it's gonna take some getting used. Teoh for sure. And I'm gonna show you how I do this. And pretty much with the paint brush tool. If we just go ahead in sample this, um, You know, I I just start painting something. We get paint like this, and obviously we can't really work with this, but this is what I dio. Okay, If you hold down your the ault button, you will get this little eye dropper. And if you left click anywhere, I'm just holding down left click. You can see it now. I'm sampling this color. So say I want, um this orange umm maybe the darker part right here. If I just let go, you can see right here. Now we have that color selected. So this is gonna this is really gonna take a lot of practice, and it's gonna take a lot to get used to, But let me just show you. Now that I have that selected, I'm going to decrease the size of my brush and ah, lot tablets will give you, um, pressure sensitivity. So when I press harder, it should get a little darker. Now. You don't have to have that function if you don't want to but I always do. I always like to just lower the opacity, um, to about maybe 40%. Um, was to 60%. Okay, so I'm just zoomed in here and what I'm gonna dio. Actually, uh, I like to use the I've linked the buttons on my tablet to, um, my computer. So, like when I press buttons, it will automatically hit that button. So I have the Altman tied to my pen so I can just tap and then just start doing this and what I'm doing here. Um, this is how we're going to be sort of blending pretty much. Um, I just keep sampling. This is This is how we're going to do this. Ah, just keep sampling. That is way I have to say about that. You know, we already have our color palette. So what I'm doing here? I am trying to create some depth here within the shape and what I'm doing. I'm putting shadows on this side here, and I mean, this is where it really really starts to come down to you, because every image, it's going to be different. I mean, we I could show you how to do a cloud. I could show you how to paint a mountain. But really, I want you guys. I'm not going to show you that because I want you guys to focus on shapes, OK? Shapes. You can make anything you can make. It doesn't have to exist at all. And, um, as long as you give it light, if you have a light on your object, you can make it exists. Um, the colors are already here, and the value is already here, you know? So I mean, what I'm doing here, I'm just sampling over and over again. And slowly but surely, we are starting to get something and, you know, I see that I'm giving the back of this sum this kind of shape here shadow just so I can give it death. Give it, um, three dimensionality. That's or think. So I am definitely going to be Ah, this is definitely the process. This is where you really start to get into it. So I'm definitely gonna be speeding this up a little bit in a few areas, stopping along the way and then talking a little bit more about it. Um, but a few things you should know in the landscape we have traditionally we have our foreground, middle ground and background and also a sky. The sky is going to be a little different. So, um, this is some things you need to keep in mind when you're doing this, OK? The background is going to have the least amount of detail and it's going to be the lightest feature. Okay, in the foreground is going to be the darkest area. Most contrast, most detail. So as you come forward, more detail, more contrast, and it's going to be leaning more on the dark's. So the reason for that is if we take a look if we're if we're with our eyes if we're here, imagine this here. And we're looking out into this landscape, OK? Between where I'm standing and this mountain in the background here there is atmosphere. There is it's not just nothing. Okay, you have air, you have molecules. Whatever. And, um, it may seem transparent, but once it starts stacking up, stacking up, you know, this is what happens when you if you're on top of a mountain and you look in the distance and you see other mountains, they will appear blue LaPierre, light blue, blue mountains. But as you get closer to them and this is in real life, you can experiment with this or if you know, I'm talking about, um as you get culture, that mountain comes less blue and less, um, not its light, More detail, that sort of thing. So that is something we need to keep in mind. Okay, so we need to keep these relatively light. So, like, I have mountains here. So what? I can dio Aiken, grab this color Kaiman oranges color. I can click here to change my color, and I think I'm going to do I want to keep it in this lighter zone. Okay, This is gonna be, like the lightest part of her image. Besides, from the sky, this guy is a little different, and we'll get to that in a sack. But I just take here, um, take this year. Um, I'm just gonna put down some color here. Now you may be wondering. Well, what about light source? Okay, so a light source doesn't have to be. It doesn't have to be one light source. Okay? Light can come. Any light is so complex that it could be bouncing from object to object. And this isn't even earth like this. I mean, maybe there's two sons I don't know, like I mean, there could be maybe the mountains air glowing, Maybe this and that. So I mean, you really just think about ambient light. Um, or however you want to light it. And right now, when I'm thinking is okay, so there's a lot of light coming from here, so I mean, it's it's kind of like a sunset feel almost sort of like that. So, um, I'm gonna have the light coming in this direction. Um, just like this hitting the mountains here. So I want my brightest parts to be here hitting the mountains like this and all I'm doing. I'm just placing down those bright colors right here, and then I'm just gonna sample them just sample, sample sample. That is really what this whole thing is about. We just need to keep sampling insanity. You're in a press that all button like there's no tomorrow. I mean, you're really gonna start pressing that Holton, and that's why I just kind of keep it, bind it here. And when you do this you'll notice that you know you will. You will, like kind of lose detail. It will become more painterly, sort of feel. And that is okay, because we are going to go back and we're going to start adjusting again. We're gonna start blending again. We're going to do all these things over again. So, really, what we need to focus on now is we need to sort of get these blobs of color all over the place. Okay. So what I'm doing now, Um, as I go down. So down here in these mountains, uh, it becomes darker. Okay? No, I don't want to be it too dark. You don't want to just you straight up black. You're never going to see that. And the depth it's everything is going to come flat. So it's very important to keep your brightest least contrast least detail in the background . And you can have as many grounds as you want. Just there doesn't have to be just of middle ground, foreground and background. You can just keep going. You can have 10 grounds, 20 grounds? Um, sure. I mean, obviously that gets pretty complex, but I'm just using my tablet now. And I'm just, you know, getting these highlights. And if I just zoom back, okay, I can go up to my history and you can take a look of what we've done. So I could do that. And I'm just pressing control Z, see what I've done. I did a little bit here, but really, you don't have to worry too much about what you're putting here because we are gonna go back with the mixer tool. But just try and focus on where you want your blobs of color to go. You want Teoh where you want your lights to go? Your darks to go. That's what you want to focus on. So this I mean, we have these mountains here. We also have this kind of black outline. Um, that's okay for now. I mean, you can kind of just go over it if you do have, If you use that Ah, effect. I did with the filter. Okay, so, I mean, this is gonna take a lot of zooming out. And also, what I will do a lot is I will flip the canvas and now sudden to the artists. Like I said, we're looking at a whole new image, That is that is really That's what we're doing now. The colors are really crazy in this image, and I definitely I'd love that idea. I love all these crazy colors going on. I do want to stick to that. So now I do have, like, um so, like, in this area, I'm just focusing on little areas, starting from the background and coming forward. So, you know, we have, like, kind of a structure going here, but you can see their shapes here. So what? I'm gonna dio I'm just going to see what I can do and make these shapes more parents. So, um, you should know a little thing, a thing or two about lighting. You know, we have lighting coming from this way. So I'm just putting some lights here. And we have come a little bit closer to, um, our cameras or a person or whatever you wanna call it and where we do want to head, start adding more contrast. But we're still really far from the foreground. So we do. I mean, this area is a little too dark. I will definitely say that. So we probably want to bring it up. So one thing we can dio is we can I'm just lightly tapping here. So just putting some lights here, and I just sampled it from here. So what I can do is then grab my darks, and then this is how we're blending. So now you can see that went over the light area right there, Like in sample Here, bring that out. And it's just it's just a told ton of sampling. Now, I'm just gonna probably speed up just a little bit so you can see what's going on. So, as you can see, I I made a little bit later on the bottom here and again, we can check our history if I just scroll up to here. We see when I first opened this, um, that looks like that. And now it looks like that And keep try to keep looking at your navigator to because this is going to give you a small image. You can see the whole soul picture. You can see the whole thing. And what I mean, what we're doing here is we were looking for shapes. I know I I've said this a lot now, but, um We are looking for shapes, and we're using light using light to define those shapes. So we see a subtle idea of something. Okay, so now we want to really, really define that with light, like make it makes sense. And it this does take a lot of practice, you know? I mean, it's not easy. You can look at all these techniques online, and but really, it comes down to practice when you wanna really do this. But just keep going with it and try not to worry about things and trying to just enjoy the process. And that's why I say I mean this Can I can see how this could be. Ah, a little bit of a stressful part. But, you know, we we have sort of Ah, something established here. That's really great. And I guess I should say also the way I'm like zooming in and out. I'm holding down ault and scrolling. And also, when you're scrolled in, you can hold down space and move around. Um, just in case you didn't know that, but I'm just gonna keep doing this and this can take a long time. I'm probably gonna have to separate this into two parts. Um, but we'll see. Yeah. I mean, I want to keep I want to speed this up, but you know, this this is gonna This is a time consuming process, you know? Hum, I would say, Like, you know, usually when I started landscape, I don't I don't do the whole thing. I don't do a whole marathon start to finish in one day usually and like, okay, times take a break after after I get to this checkpoint in this check. Well, time to take a break. Um, so I mean, breaks are important, you know, rest your eyes. Come back, take a look. A look at it back and you'll see like, Wow, this some this looks a lot different. Um, let's say here, um, I have sort of a shadow going here, but the lights coming in from this way, But like I said, I mean, you you kind of make the rules here. I mean, I could say, Well, OK, well, maybe there's like, I mean some growth here, and or maybe this is blocking this, creating this shadow, and it's it's just making it darker here. So, you know, you make the world's here. Um, and you really just need to trust yourself. Um, get practice with this and Yeah, but, you know, will. As I said before, we will start to make this more there. We will get the mixture tool again. I mean, you condone Use the mixture tool in this process if you want to. I mean, like I said the like, you can combine your techniques. I mean, this is this is what I did trying to figure out, like Okay, so what is the best way I can approach these landscapes? And the way I did this was I would just look for you two videos online and just watch these videos And the really, um, isn't too many like tutorials on how to do this? I mean I mean, I would find I would just watch artists techniques and see everyone has a different technique, like Okay, Okay. So this is how they're doing this. Is that doing this? And I just would grab information like, OK, I'm gonna take this little bit of this information, OK? And I'm gonna put that in my technique. Okay, So they're doing this and this and this and you start gaining this kind of vocabulary, this whole collection, this book of ideas, and then you slowly forge your own technique, just like I did. Okay, so what I'm doing now, Um, this pathway is a little dark right here, so I'm keeping my lights in the back, and slowly but surely I'm just gonna bring this forward, and I'm just I just keep sampling that color. It's and it's kind of like the mixture tool. I'm just bringing, pulling those pixels over to where I want TEM. But in here, we have a lot more control cause weaken, Select which color we want. Okay, so, you know, it really takes, like Okay, well, that doesn't look right. Or this. This looks right, But may I could do a little bit more. You start asking all these questions Why you're doing this and, you know, then you make adjustments, and slowly but surely, but the picture does start to come together. Okay, so right now it's still it's still a little darker in here, A little bit darker. They would want it. I mean, um, in future years, we are going to hum, add sort of this mist along the grounds, and it's going to you brighten certain parts. So I could probably add some things here. But, you know, I just want to generally make it brighter and, you know, don't worry. Don't get too caught up in the detail, okay? We're not We're not there yet. We will be getting to detail like highlights. We were going to be getting into that sort of thing. Highlights. You know, um, effects lighting, um, count very specific things. But right now, we just want Teoh take the color, but it where we want it and put the lights where we want it. And as long as you stick to, like, a method where OK, so as long as I keep my lights in the background as I come forward, things get darker and that sort of thing, you know, one would say, OK, well, nor pain landscape, you need no perspective. Well, it's not necessarily true. I mean, here, I designing this whole thing, this landscape here I wasn't really I wasn't even thinking about perspective. Um, you know, it just kind of it kind just comes and you see it and then you make it make sense. I mean, maybe the perspective is weird, But maybe that's just how this world is. Maybe it's just a really weird perspective. I mean, really, just anything goes. And that's what's just so exciting about this. I mean, we can just I mean, it's just endless, endless, endless. And I just really I love it. This is really I mean, this is pretty cool. I mean, we have some crazy colors going on, but we're still sticking to a traditional kind of standard. Okay, so let me just go up to the sky real quick. Um, we have, like, these weird kind of poster ization effects that we had. I'm just gonna kind of see what I can do here. Maybe, um, gonna go up in this guy. Um, you know, the sky is definitely You wanna approach that kind of in the first early phases. You know, I'm just kind of generally doing everything which you should You should do everything. Um, kind of work here, work here, Hear, hear. All over the place. I mean, what we're trying to do here, we're trying to get a whole coats. Ah, whole coat of this paintbrush. We want the whole area to be, um, just, um just a whole coat of this paintbrush. And once we do that, we can move on to the next step. Oh, or whenever you think you're ready, you can move on to the next step. So kind of this is really interesting. I mean, I kind of brought these pixels up here, and we get kind of like this cloud effect, you know? Maybe there's clouds. Oh, that's interesting. You know, um, you know, you notice that I didn't provide a racer. No race, no erasers at all. We don't do any raisings. And you also noticed I work on one layer, one layer. You can work on his May layers as you want, but I don't know. I just use just one layer, and that's how I do it. That's how traditional painters do it. But you know, you don't you can use layers. You can use the technology to your advantage. But I mean, that's really thing. You can do anything you want. I'm not going to say no. Don't do that. Well, maybe a few things, but really, I'm just I just wanted to be open and, you know, not want you to realize that not every technique will work for you. 9. Define and Create Depth Part 2: Okay, so right here. I kind of have a little bit of an elevated pathway here, and I mean what I'm doing, I'm just using lights and shadows. This is the whole thing here. I mean, just lights, shadows. Um, that's where the lights and darks, lights and darks just constantly working together, and then you create this whole image. So, you know, um, if it's elevated here and the light's coming in through this way, it's going to hit the pathway and it's kind of go create a shadow right here. And that's how we're gonna get a little bit of an elevated feel now. You could say like Okay, well, that's a little dark. Um, it's true, you know, the the things you got realized. But, um, it's not too much distress, but we're just putting down blobs of colors and lights in areas that we want them. And I know I keep saying that, but let's try and think about color balance to, um, you know, colors ca NBI anywhere you want them to be. I mean, we have this orange and then we have this blue. I mean, those are complementary colors. That's pretty intense to have right next to each other. So, you know, I will say also with the atmosphere thing that I said, like, you know, as you look back, you see blue mountains, but also not I mean, you have to understand that it's not not every atmosphere is blue. Okay, so let's say this is a planet like in Mars when you look at him mountains in the distance there, not blue, they're red. That's cause the atmosphere on Mars is red. So maybe in this world, maybe I have kind of an orange atmosphere, I think. Well, maybe we'll go of that. And, you know, that could always change. We know it seems that maybe I want blue kind of landscape, but, you know, we will kind of go in with the soft round tool here and start making it very apparent. Um, with our grounds in that sort of thing. So, you know, I mean, it's not too much to worry about. Just try and get these colors down and trying to look for shapes now, you know, you know, you look, you find these areas here and it's kind of you'll notice like, Okay, this is this is just a mess that I don't see anything here. Um, these are thes thes could be a little difficult. And this is why it's so important to keep detail all over the place and when the best things you can do is just kind of plop kind of random lights, colors and values all over the place here. And it's the same idea. When we were in the first video in the early stages when were mixing, we're just starting to look for shapes again. So perhaps maybe there's kind of this way of looking at this kind of pinkish pathway going on. Ah, something like this. It's pretty interesting. Um, you know, But it's very explore toe very experimental and just keep that in mind on and should be fine. So I don't know. Maybe you kind of comes down here. I don't know why the pathways orange, but that's just kind of how ended up. And you just kind of work off these things. So Okay, I'm kind of approached this area. I'm gonna take a look at this area here, cause I mean, this is kind of a focal point. I mean, if you look at the Navigator. This kind of the first thing that pops out, you know, you have your pathway up here goes into the distance and that sort of thing. So I'm just gonna I just wanted to find the shape. Let's see if we can make this shape makes sense. And, you know, we have kind of, ah, similar shape here, and, uh, these two shapes, they're going to kind of talk to each other. You know, um, they are going to make sense together. They're not gonna be completely different, like they're they're the same species of shape if that If that makes any sense, Um, it's one thing I'm doing. I'm actually using kind of this cool color for shadows, and that's typically what you'll find like when it snows. When it's cold, you'll see you won't see like like a shadow isn't completely just black. It's got blues in it, like you have blue areas like it's cool, it's cool kind of color, and you can have warm shadows if you want. But, you know, um, I think this kind of this is a decision of making now, um, about you know, we have, like, a blue cool shadow and right next to this complimentary bright orange. I mean, that is really going to make a focal point. So I'm just gonna kind of bring it out here, see where it goes, see where it makes sense, and also Okay, this is really fascinating me. We have some really interesting light here. This is another light source. I mean, um, So what we can do here, I must say, Like, I don't know. I mean, this could be anything. This could be anything. Let's say there's some kind of object that's just glowing here. Just sending out this light. All this random line. It's like, Whoa, all crazy. I mean, I mean, your world can be anything. It doesn't have to follow any rules. I mean, light can just come from anywhere, anywhere. So, like, maybe right here we have kind of this erupting life like weird goop, like just erupting out of here, just light spilling all over the place. I mean, and now it's affecting all the here. I mean, we have, um, lines here, and I'm just gonna I I see these shapes here, and we can start to see how the light is going to bounce off of this. And yeah, we see that. Keep looking. And Navigare See what the whole picture is doing as we come out as we get farther away from the light source. Um, obviously, depending on how powerful it is, it's going to dissipate. Okay, so we have this. I mean, maybe it starts to affect over here. Um, like, maybe we get just just a little hint of it, you know? Not something crazy. All of a sudden, we're going. Even Mawr detail reading like light on the shadow. Things are going crazy. Um, so, I mean, a weakened sign. How thick. We want this kind of weird, like, Spike technical thing to be so I can define that with my shadow. So Aiken kind of do this like, OK, Like, how are we looking at this like, Is there two sides? Well, maybe there's three sides. Maybe there's force. I mean, you know, it could be anything like I can put orange here all of a sudden, we're getting light here, and, you know, that could be something like Weaken branch that out, that sort of thing. I like to go up to history. Um, just screw up here and we can just see what we've done. And already you can start to see like we are. We're having a big this is going to have a big impact if you just look at the sky alone. I mean, I just I didn't do too much here, but I just did some things. I mean, look here. You know, there's trying to be detail here here. I mean, all of a sudden, these pillars, they have a back to it. They have shadow haven't even touched over here. But we're just gonna keep going and going and going. So this is the part room. I'm probably gonna start speeding things up now that you're saying to get the gist of things about how things work. - Okay , so now I've been working on this for around about just a Knauer, And, um, if I just go to my history, we can see you just exactly what we've done. So I just click right here. You can see all the processes. Everything is what it looked like. Um, when we just did the adjustment video. And if I just that controls the, um impressed controls again, I can start I can see. Ah, in compare. So, um, as you can see, I got a whole coat of of the paint brush all over here, and I will say right away. It I I know it is blotchy, you know, it's blotchy. It's money. It's messy. And that is perfectly fine. I mean, what we're doing right now, we're We're not finalising anything, okay? I mean, what we're trying to do here is get the colors, get the lights and darks where we want them. Okay, so, you know, like, I mean, there's a certain place where I would start adding some detail, you know, that sort of thing, You know, over here. I mean, I might work just a tiny bit more on this, but, um, we'll see. And, um I mean, you could see I got a whole coat here. Okay. You know, one thing I do want point out is Ah, Look, if you look up here, you know why the sky a little bit, But, you know, I want you guys to know like, um, you know, I kind of like I'm sort of a cloud sort of thing going here, but I want you guys to realize like that. You know, just because this looks like clouds doesn't mean they have to be clouds. Okay? I mean, this It could be anything. It could be anything like Maybe it's some weird, distorted planet in the background. Some weird energy. I don't know. It could be anything like it doesn't have to be a cloud. Um, you know, these are shapes like like me. This some weird Rocky formacion going on here. And you can give it that title. Like, you know, this is these air, like, Cem rock formations going on here. But ultimately, these air just shapes. Um, And these shapes, I've planted them here in this environment, and they're interacting with other similar sort of shapes. Like organic shapes were different shapes. I mean, that that's really what they are. They're just all shapes combining together, creating this environment. Um, so a few things I want to go over just to make sure we're on the same page. Um, is that get a whole coat, as I've said, a whole coat with your paintbrush all over? Um, your canvas. Okay. So make sure you're flipping the canvas as much as you can fill it in as much as you can. Like with the code. I just said, um, look for shapes, you know, Then those shapes start to become things, you know, defying your light source. Okay. And what I mean by that, you know, I've been working, like, just with ambient light's like, I'm thinking like, this is a very floral kind of landscape that's going here, and it's very abstract. I'm thinking, OK, well, maybe there's some floral. Um, plants are glowing, so I flag added some like lights here. There's like a light source coming here. There's light sources. Here's, you know, you have the sky raining down with light. You know, there's a light source. I mean, it's really bright here, like maybe there's some luminescent process properties going on. But I mean, really, it could be anything like maybe there's a sun over here, some kind of light source lighting up these pillars, but, you know, focus on the light source. But don't let it get too much to you if that makes sense. And like I said, think about atmosphere. So you want to keep your lights towards the back and, um, you know, in the foreground, it's gonna be darker against its A lot darker here. A lot lighter here. I mean, right now, it is looking a little flat, but don't worry too much about that, because we are going to, um, give that a little bit of editing in future videos so we will establish more depth, including missed in that sort of thing. And, you know, like I said, uh, there is atmosphere in between you and it all depends on, like, what environment you're in. Okay, so and also, make sure you are sampling a whole lot. Like I said that, like, you know, you want a sample sample here, You know, maybe I want some darks over here. All I have to do is sample that door, bring it over here, start painting, and then I can you know, I make a value in between that so I can start sampling in between that value. But, you know, it's OK that everything might look blotchy, and I are sort of thing what we're gonna do, we're gonna end up going back to the mixer tool in the next video or a few videos in, and we're just going to start mixing again. We're just gonna be start repeating this kind of process over and over. You know, searching, doing the blending brush, doing the pain, price blending brush. You can do that as many times as you want. You can just keep doing that. Keep doing until you're happy. Or maybe you like the blotchy nous of the paintbrush. Gives them more paint. Hillary, I kind of feel that's fine. I mean, anything really goes, anything goes. I mean, you're the artist and you make the decisions. But now that we have all these refinements going on, um, we can really start to see that if we look in the navigator, you want to keep looking in here because you want to see the whole picture from a smaller perspective. Um, but now that you can, we can start to see this kind of landscapes to coming together. You know, the pathway kind of rocks, floral kind of crazy things like that with sky, that sort of thing. But, um, now that we've created more depth in the next video, we are again. We're gonna start using the mixer tool and starting Teoh get all this blotchy stuff out, and then we'll start, you know, moving into highlights. Finalizing and adjustments start bringing it all together. You know, we're really We're kind of in the midst of, Ah, our process here. So All right, I'll see in the next video. 10. Fine Mixing: Okay, so welcome back to the next video. Ah, In this video, we are going to be doing what I like to call fine mixing. And, uh, this is very similar to the mixing video. A few videos back, um, where we just took our blending brush, which I just went crazy all over this image, just trying to establish a basis for our landscape. And, um, we're going to go back to our blending brush over here, so I really have it selected. So you can just go ahead and select that, and pretty much what we're gonna be doing here is we have all these globs of paint from the paint brush tool. Um, now, I'm sure yours is going to look a lot different from mine. Um, but I'm talking specifically in style. Everyone has their own style. I usually glob up all all this pain, and I always like to go back to the blending brush to just do some fine mixing, you know, mixing. But it was very coarse. And what we're gonna be doing, we're gonna be doing this very kind of slowly, steadily and everything to be good. So, um, if you do leg the globs some people might like. Thumb this where you You can start to get some options around here. Um, but if you do like the globs, that's perfectly fine. You can just completely skip this part, or or you can just You can do it. You don't have to do it. I mean it, really. It's completely up to you. But I always loved Dad this in and yeah, so pretty much I'm gonna show you what we're talking about here. Um, the best way to approach this would be to start from the top to the bottom, and especially if you're working on one layer, which I recommend you dio. If you're working on multiple layers, which some of you might, that's fine. But just keep in mind that you're gonna want to have this checked right here. Sample all layers because if you don't have it checked, um, it will only sample the layer you're on, which is not ideal, and it will start. You illness start nosing, you'll get frustrated. It's like, why isn't this working so usually the best way to just, um, do as either click this or combined onto one layer? I always just have it checked marked. So yeah, eso Let's get into it and one can do. I'm gonna start on the sky and you can see I have ah, bunch of hard edges here, and hard edges are fine. But I'm just gonna go in here and remember how powerful this tool can be. Now, we have a lot of outlines here, so look at that. I just went right over that line right there. Here's another line. I can just go right over that and it's gone just like that. Now I can pull these things black bars around. Um, you know, that's fine. I just kind of push it back up in there, just like that, and that works out just fine. So pretty much this is gonna be very similar to the last video we did where we're just getting one hole, even coat across the entire landscape. And we would just want to keep going until we get that whole coat. Um, and all the globs are gone, but I don't know, maybe you like the globs. Um, I'm not particularly a fan of the globs. I really like this. Look where things extremely a blended. Um, and especially if you did use that certain filter with the poster ization and outlined sort of thing, because that's how we got all these outlines here again, you can just go right over it with this blending brush tool and just remember, like, Look at this. I'm just bringing in these light how use Right here. And I'm not really sure what's going on here yet. I mean, there's some weird kind of clouds. Maybe I'm not really sure. But, you know, the lightest part is going to be near sky, like the background of this guy. The atmosphere and these were probably the darker parts are like the clouds and stuff. That's where I think so. You know, I'm just kind of lightly going over everything, man. We can check our progress if you ah, saved in, closed out, open it up again. Can go back here and just check what we did. OK? Yeah. And that's just ah, it's a good way to check it with your history. And that's why I usually have it there. So I'm just gonna slowly so like, here we have like this really weird, like these air really hard edges. Just go over it just like that and it's blended. I'd like to have a nice Ah, nice blended sky all together. Um, I think that really works out really nice. Um, typically, you don't want him hard objects in the sky. It can look a little weird, but yeah. Um, nice blend blended. Ah, sky usually works out really nice. So yeah, this this is, um this could take a little bit of time, so I'm definitely gonna be speeding it up in time. Um, but it shouldn't be too stressful. Um, you know, as long if you have this, like, established area, it really is just you're just really just going over all the areas you already did, and it really has a profound impact. Um, once you get this whole coat over. So I was kind of I mean, I am literally just scribbling back and forth just with the blending brush, just going back and forth just like this. And we are getting something pretty interesting here, and depending on how realistic you want it, you know, you do have control of what you want. And if you do decide like I should have painted something that you can always go back with your paint brush and just paint something in and then blend it back. And that usually works out all good and fine. So I'm just gonna go ahead. Um, I will say, Don't overdo it. Just like the mixing video. Don't overdo it. You can overdo it and can get muddy pretty quickly. Um, but, you know, it's not too much to worry about, you know? So have the sky here. I like nice, muddy, blended skies. This is definitely an abstract sky. I will definitely say that it is a pretty abstract landscape, extremely abstract, but it's definitely definitely out there. So, you know, uh, you can work pretty closely and I just hold old zoom in my mouse. You know, I tend to switch, um, from my keyboard and my tablet, so I'll do things on my keyboard, my press old, or use my mouse to navigate, You know, you can do that. And some people like to just use everything from their tablets and people like both, um, you know, that sort of thing. But, you know, whatever you want to do is completely fine. So I'm just gonna go ahead and speed this up a little bit. And if I think of something important to say, I will stop it, and that will be that. Okay, so I just got done off the sky and I just still about the mountains. You can see just how much more, Um, it got blended, but I just checked my history real quick. You can see alg lobby. It is here. Super blended. Super nice, just like that. And I just want, um, mention that you do have a lot of control with this sprout. Shying as I've said, it is a very, very powerful brush. Very, very powerful tool. I mean, I'm just scribbling away those c. I don't even use her an eraser. No erasers whenever I pain landscape racers or just just not even a factor. Um, I just scribble things out, go over it with pain, and that is that is how I solve my problems with that. So, um, let me just show you what you can do with this brush. I mean, we look at this pathway, we can really manipulate this. I mean, this kind of straight here, So I kind of wanted a little bit more curvy, you know, s curve kind of deal. So I'm just I mean, as you can see, I'm just pulling these pixels out like that. Like that. Just pulling that out. Just getting that nice Esseker. But now, obviously, we have that here. But I can just pull that purple in right here, just like that. Bring that here, and I just scroll it right out. And all of a sudden, we now have this curvy pathway just like that. So you really have a lot of power here and is I just I just love this tool. Love it. Um, you know, I'm thinking this pathway. All right, Let's just have it kind of disappear into here. Cut that off array there. Kind of overlap. Okay, so all of a sudden, now we have this nice little curvy pathway that was one straight, like, I mean, that took me, Like, what? 30 seconds? 20 seconds. I mean, really, you have so much power here. I mean, if I go in these, um you know, we have some weird rock formations I love. These shoes are awesome. So I could just take this and blend this. I don't really like the black outlines me a little too much a little cartoony for me, but, um, I can just scribble those out just like that. I mean, it really is amazing what you can do with this tool. There's so, so much just pulled these pixels, And it's really not that hard to use you. Just once you get a hang of it, just boom. Just keep going and going and going, and it's it's really awesome. And I'm just going around here. I'm just again getting a full coat. Um, all the places, you know, I'm taking my time. You don't have to rush this, you know, you could, I suppose. But, you know, um, you know, you just take your time on it and just this is uses fine mixing. You know, you just gotta get everything to where you want it, and we will come back with more detail and that sort of thing. So just gonna continue with the time lapse, All right? I just wanted to stop the time lapse or second right here. I just wanted to show you this thing, Um, so you can see I'm kind of like, um, creating these kind of cliffs right here. You can see that with the pathway over here. I just won't show you, Al. I'm doing that pretty much what I'm doing. I have these these globs right here of white, um, light pain right here. You're gonna I'm All I'm doing is extending it, um, toe a plateau to where I want it. In all I'm doing very similar to Bob Ross, Um, is and just taking this part, the light parts and just dragging them down just like that. And all of a sudden, we have an illusion of sort of a cliff. We have a little bit depth right there, and I use this quite a lot. And this is really a great way to fill up space where you just you don't know You don't know what to do with. So that is a really, really cool way of creating cliffs like that. All right, back to the time lapse. Okay? I just want to get a little bit pause here. Make sure I'm giving you plenty of examples, but also not boring you to death. But I just want oh, again give you another example of how powerful this brush ca NBI. And I just, um, kind of had this very pointy mountain sort of thing just manipulated at this. What? Just looked like I just went with the mixer brush and created this and we'll show you what I was doing. Pretty much, um, I would take this. And I'm just smoothing this outgoing, this nice little curve here and all I'm doing. I'm just pulling that pixels, pulling the pixels from the sky. Um, and essentially, it's acting as an eraser tool, which is really awesome. And, you know, I'm going over the black lines, some black lines here, But if I just want to get rid of that, just take from the sky right here, and it's gone just like that, We can really see this is an extremely powerful tool. I mean, if you just look in this one area right here, um, and we go back with our history. Look how messy that looked. It looked like like nothing. And then I just go into the mixer to all and spend a little bit of time, and all of a sudden I have this and we have so much more toe work with all of a sudden, and this is just right. Really great. Um, And you also noticed, um, that I was flipping alive. Very important. Very important. You will really start to see new things. You're looking at completely new image era. Flip it right now. There is that. There we go. OK, so completely different. It's completely different. Some people might say, Oh, it's the same. It really is not. It really is important. Very important. Okay, Yes. They just keep flipping, flipping, flipping. Um, you will see if you just, uh, kind of just go online and look at some time lapse videos. You will learn a lot from time lapse videos. So that's why I included some of my older time lapses. You can learn a lot from just watching a time lapse and just observing what's happening and what what they're doing. Really, can. I mean, that's how I learned. You can see right here just taking the sky. Okay, so that looks a little So we have some weird stuff kind of going on sky kind of goes in here, but so it's kind of thicken it up so I can pull the pixels from the mountain just like this . And all of sudden, we now have all that mass in You can get really, really creative with us. Really? Can, um you know, we kind of have this whole, like, kind of landscaping you can see in the navigator. Um, very important to see the whole thing. He can also just is your mountain. Look at it like that, um, comparing, comparing, looking from a smaller view. Just keep doing those things flipping. And that is it. You know, Ah, working from the background coming forward. And you should see I'm I'm getting there. But, you know, it will take time, So just gonna keep going and yeah, - alrighty . So I have just finished, um, doing an entire coat over the whole landscape. And I just want to show you what it looked like before or at the start of this video and right here. Okay. So, as you can see, there is a really significant difference here. I mean, you can see that, um, we look like here. All those blobs air gone. A lot of the black lines are gone. We just have this all around much smoother. Um and, ah, like idea. going on here? I mean, we have. I mean, this mountain looks so much better. The sky looks better. Just everything. Just I mean, um, if you look here, we have, like, Cliff, since I've just blobs here and now they have done a full coat. Um, I just want to take a look at it, and, um, see if there's anything, um, very apparent, like anything sticking out. So, um, a lot of the dark areas, like, um, we don't really want the dark areas in the background, so probably just clean that up a little bit. So just clean that up right there on this kind of a mountain. So a little dark, but will probably laying it up. You know, there's gonna be a few spots they missed, like here. Could just smile that in just like that, and yeah, I mean, you can really just see the difference this makes. And if you want to, you can go back in the paint brush tool, um, in just like defiance marries a little bit. We're gonna be doing that, um, in the details in the next video. So we're gonna be doing adjustments were going to cleaning everything up essentially in the next video. So make sure that your relatively happy with the landscape you have now because, I mean, this is really the last your last chance to get any major adjustments in major changes, that sort of thing. Even though it is fine mixing you can you can still make some pretty bold, um, decisions here. Eso cause in the next video, we'll be doing details. We're gonna be adding, like a mist off like fog. Uh, we're really gonna be separating the ground, because right now, it, um, may or may not look like it is a little flat. Look at the navigator, and it does look pretty pretty nice. Um, have a good focal point with these three, um, little spiky things here, and you'll notice I do tend to do that a lot. I have a lot of spiky kind of. These were like waves. Like it really is. Kind of sounds like a notion of of stuff, but I'm seeing a lot off potential for fauna, you know? Let me just flip this here. Um, they should look pretty much the same. Um, I think it looks better like this. Ah, okay, We'll make final decisions later. But, you know, um, really, with the fine mixing, it opened up a lot more. A lot more opportunity. Ah, you know, I can see a lot more shapes now. Very defined, that sort of thing. I could just go here. I mean, if you look here, I mean, this is like I mean, it's really like sculpting. It's a very rough and then I just, like, refined it a lot. You know, this definitely can use more contrast, cause this kind of blending in over this ground, but until still tell, it's, um, different ground here, um, but definitely looks very here. There's definitely more contrast in this version more than and that's really do with the the outlines here, but will be adding a lot more adjustments in the adjustments can make this look so much difference. So if you're disappointed with your landscape so far, don't worry. There's still hope, and and also, if it's your first landscape, you know, first landscape, I mean, you know, Yeah, they never were all going toe on them. We're not gonna look great. You know, you're gonna get great ones here and there. But you're gonna have going to get all your bad ones out. And in the beginning, and then eventually, you'll start getting better and better. You know, that's just style. Everything works. But anyway, um, gonna end it here, trying to know, trying to make this video too long, but, um, gonna end it here. And in the next video, we're going to start looking at more details, uh, doing a little bit more refinements and things like that, creating depth and such. So, yeah, I'll see you there. 11. Details: Highlights and Shadows: All right. So welcome back to another video. And in this video, we are going to be taking a look at some details, effects and missed. And really, what that means is is we're gonna be going back to the paint brush tool right here and well , first, let me say that, um, if you are at this point, um, and if you're not exactly happy with what you did in the last video, um, and you think you can keep going with it? Uh, I can suggest is is you can go back to your paint brush tool and just keep repeating, um, the define and create depth video. Then go on to the find mixing video, and you can just keep switching back and forth doing a full coat with the paint brush tool , doing another coat with blending brush tool and slowly and slowly you will get more and more and more detail, okay. And yeah, you can just keep doing that and doing that. But I'm going to skip that for now and go right to details and facts. Um, just standard way of doing this and, um, pretty much in this Rio Yeah, we're essentially doing details. And, um, this can include things such as? Maybe, I mean, I had some kind of fungus kind of fauna here. Maybe you want to add something that you didn't quite get. And you can do that here, but pretty much we're gonna be working with a pretty small brush, OK? And we're gonna be working with the paintbrush right away. So highlights this is what we're gonna be doing. We're gonna go over to our color picker tool right here. Just click this square right here. And, um, you're gonna want pure white just like that, and you're gonna hit, OK? And we're just gonna be adding highlights. And, um, my highlights. I mean, if we look right here, we have a highlight right here. And it's just just this bright part. We have highlights all over the place and pretty much we want to make this more and more parents. And this depends on your light source. Now, um, some people get stressed about light source like lighting like oh, ours. My lights. Zarzuela. Ah, lot of artists will say Okay, well, you know, if your light sources Ah, here. Ah, your lights coming in here Inslee. We had a son here. It's gonna be coming in this way with an arrow here shining on this mountain. Um, so it's coming this way. But, you know, I also have light shining here, and we have shadows here, so that makes it not kind of weird. Right? Here's the thing. You can have multiple light sources. Anything goes. Just really, um, think about this. A zombie in lighting, you know, anything you put down, you can make it work. You can say, Oh, well, these rocks are these spiky things. They're glowing. I don't know. Ah, we definitely have a light source here. Maybe it's just weird, like you don't have to have an explanation. That's what's so great about this. You can say there's two sons, five sons, no sons. I mean, this is a whole world. Then you make the rules. Um, and I know I'm sounding like Bob Ross right now, but, um, it's true. I mean, this is imaginary. Is this imaginative as it gets? I mean, you conduce you really anything like you can say? Oh, well, this close, you don't have to make it really make sense in terms of lighting like here We have somewhere things, and we have light here. But lighting is being emerged here. So shouldn't this be lit up? So I might add some ren lighting here highlights, but because I want to show you that, um, pretty much we're gonna be taking a small brush and, um, you can just go right on the edge here. Um OK, um 100 opacity. That might be a little crazy. I like to pregnant. Downal that paying on your sensitivity on your tablet. And let's say, you know, the light is erupting here and it's coming bouncing off of here, creating this rim lighting effect and you want to look for a lot of rim lighting rim lighting. Ah, that is very it can make really make your image pop. Ah, Holton. So I'm just going in here and I'm just adding in these highlights right on the edge, and rumbling is just adding that right on the edge, You know, um, you know, I probably ah, have some, You know, we have a lot of light coming from this guy. It is daytime. Um, you know, So there's gonna be light overhead. A So I'm just gonna add a little bit of lighting, raise their just kind of go to the edges. And really, you want to make your best judgment. I'm going to give you guidelines. I mean, that's really what this whole courses guidelines is. It's an art. It's not really rules its guidelines, and you could look at as rules. Um, and then eventually you want to start to break. Those rules come in an efficient way, of course. But what I'm doing right now, I'm not worrying too much about where my light source is. I'm just, um really just using what I already have. So we, um So we have, like, light up here. And as I've said before, you want to keep this in mind when creating depth, you want your lightest lights, less contrast, less detail in the background. And as you come forward, you want more detail in mawr contrast, leaning towards the dark's. Okay, So, for example, here you'll notice that I'm not using straight up black right on the shadows, amusing like a light pink, um, as my shadows. And that's because the this is way, way, way in the background, there is atmosphere between you and the mountains. It's not just nothing. There is actual stuff. And the more and more distance there is, the more there is going to be. Atmosphere. Um, it's gonna build up that allow the atmosphere, is gonna build up and create that blue effect. I'll talk about that a sec. But right now we want to focus on highlights. And you can see I'm just going along here, going along the edges, just like that, just so we can get some really nice highlights, Really? Just about have that nice balance of contrast all over the place, Okay? And I mean, it's just just line work, Really. I mean, I'm sort of just doing outlines, but, um, where you place it is very dependent on what you have, but generally right. Where your lights. Ours, Um, you're gonna want to put, uh, those rim lights. Um, I would say try. It probably won't stay away from the foreground with the highlights. And you could put a little bit a little bit. Don't you know? But don't overdo it. Um, thes air. Just details, Just details. We're not doing any major things here, you know, we're just saying this pure white And if you think that it's too white, you can always, um, like, I think, uh, kind of did it here. Um what, like we can just sample the color around it, and we can just kind of have it fade off just like that? Just like that. You see, I kind of got a little bit thicker there. You can add, um, some nice ah, thick highlights if you want to do that. Okay. And that's essentially what I'm doing right here. And I might fade it out just a little bit, so I'm gonna take a movement of a darker highlight, but still have it be a highlight. Sad to these rocks right here, because we have this interesting ah kind of effect here. I'm going to show you how to had kind of a glowing effect is we're gonna be going into our soft, round tool, uh, brush into this. Ah, quite frequently. So. But right now we're just focusing on adding in highlights, and I'm probably gonna speed up just a little bit here. Okay, so, um, I've just said, um, very quickly, I just I had a lot of room lighting, and you know this is a very This is very similar if you've ever done dodging and burning, um, in photography, which is just essentially just making near going in with a brush and making your lights lighter and your darks darker. Um, and right now we're focusing on highlights. Um, so, you know, I I expanded my brush a little bit, uh, gang in a little bit of a larger areas. Um, and I've been sampling to just to match up the kind of the color. Not everything is gonna be pure white with the highlights. I know I said that, but you can sample around that color just by holding ault, and you can create these, um, lighter areas. So just like that. And don't worry about if it blobs up again. Weaken. Go back with the blending brush tool, which I think I am going to do that. So, yeah, um, just gonna keep doing this a little bit right up here. You don't have toe. Overdo it. You can do as much as you want. Whatever you think is the necessary amount to put in. Let me just go ahead and check what we've done. So I go to my history go up here and yeah, so you can see that looks much, much better. You know, um, just just looking at the highlights. Not crazy. Crazy traumatic change, but definitely enough to definitely noticeable. Um, so those highlights are definitely important. Now, what we can do is weaken. Go ahead into sort of the opposites. We can start adding in some darks, and this would be burning. Um, if you've done dodging and burning so very similar, and we just want to go in, See, this is a little bit too dark, Aiken laying that up. Um, you know, I'm gonna sample serve a darker color. Uh, trying to be careful. You don't want to have too many darks in, um, the background layers, you know, you want to keep most of your of the darkness in the foreground. Um, as that's gonna have the most contrast, most detail and least amount of atmosphere between you and to the grounds. So I'm just going here. I'm just sampling along the way, so I'm just picking a dark color. So it's a pretty dark color right here. It's the color palette, and you'll know, So I'm not using straight up like black, um, them actually have the shadows have color. And I mean, that's I'm just sampling around the color like I just showed you. And just like, the shadows will have color. Uh, now, shows would just be a straight by almost never. Um, and typically they will be a cool color. Your highlights air usually be warmer colors. And your dark, sir. Usually cooler colors, as in blue purple Scion group. Um, well, green can go up either way. That's Ah, interesting color. But I'm gonna get into that right now, but, um, you know, keeping these darks here, um, lots of contrast. And I'm just gonna keep going with this already, so that should be good enough for now. Let me just check my history. So we did. And yeah, awesome. We have a whole lot more contrast. Looks much less flat. Um, yeah. So I mean, that was really just a told dodge and burn getting those super white highlights in and getting a little bit of some darks just to finding that just a little bit more. And if you want, um, this is optional. Step what you can do. She could grab your blending brush tool, and you can just kind of blend those highlights. And just like that, or if you like, those kind of some people like this kind of mark making, um, like to give it a little bit of blend just like that, And you can just go around and use this and, you know, manipulated how you want. You know, you have all the freedom here, and it's I am. You're landscape is going to hook much different from mine. Pull out there especially abused a different image, which I encourage, Um, because you never really know what you're gonna get. So you're gonna blend that they're every guy looks good, just like that. Yeah. So, yeah, I like to blend it because, um, it can keep everything unified altogether. You know, he's in the same kind of stroke along the whole image. And, you know, you menace II work on like, ah, a little bit of a little bit here. A little bit Here, lead working in sections. I I work it, Um, but the whole thing, like, I don't render this completely and I leave everything out. You know, you want to work with the whole image All right. So this looks pretty good like this. Um Ah. What I want to show you is, um now, I don't use this technique a lot anymore, but you'll definitely run into this situation sometimes. And it's this idea of hard objects and, um, this I I use a lot in my time lapses. Ah, which I include in the course of you haven't seen already. Um, but pretty much if you want a nice hard edge. One of the best ways to do is just use your selection tool or the lasso tool. So I'm going and select the lasso tool. And let's say I want some I know pebbles or some rocks or something like that. Pretty much what we can dio We can just go ahead and draw a little pebble a little shape like that. And once we draw one Wigan hold down shift until we see that plus bun on the lasso tool. And what I like to dio is like, hold down and use my pen. And I like to just Teoh kind of random shapes like this in, um, you know, I'm not really thinking about it. I'm just kind of putting down these little tiny circles trying to get organic little shapes like this. And I'm just going wherever I think like, OK, I could put like, a little well, pebble right there. And yeah, this technique works really, really great, and you'll definitely maybe might use it. Um, I definitely use ah lot O r. I used to use it a lot. I don't use it too much anymore. Um, this technique really already establishes a lot of the shapes you need, but you'll definitely this is definitely very useful to know. So, um, as you can see, you see the marching ants, uh, selection area and, you know, just these air going to be rocks. Okay, so that looks good like that, actually. Lmmediately. Ah, just a little bit more over here. Kind of faded out. Okay, so now that we have all that selected, we can go over to our paint brush tool and what we want to dio, um, we're gonna want to add some sort of highlight, so I'm gonna kinda should select this. It seems pretty bright. I only want to make a brush really, really big and just paint over it just like that And then if I hold, um, control de to de select all of a sudden we have those shapes filled in, and we have these kind of pebbles like this. Now, if you're not happy with how that looks I know it can look a little weird with, um, all the blended ah areas here, but, um, works really great for, like, if you're doing something really quick, but if you're like okay, maybe that's a little too bright. Um, we can do is you take control Z and now make you go back to the selection, grab your paintbrush a tool again. And, um, let's say maybe there's a little bit too brain Ah, or we can have it kind of ah, grading here. So I'm just gonna bring that down just a little bit and just gonna go over of my brush very lightly. I mean, that's a little still little to break. Um, bring it down. And, you know, you could just keep making adjustments like this and we can also do is just sample the colors around, um, that area and sore just just happen in just like that. And, you know, it can be very hard to see with all the selection back and just hold control the all right ? Yeah, that's looking Ah, much better than it just did. But, um, you know, if you're still not happy with that, still does look a little weird. But, um, you know, you can always grab your your brought blending brush tool and just give it just a little just a little touch. And as you see, it gets a little blended. It doesn't look too kind of future purpose of the hard object, but, um, it is Ah, good way of getting things in there. All right, so that looks good. Like that, um, you know, just kind of blended. And if you want that sort of thing and I can just keep going back with my paint brush, I can keep come adding in mawr and more contrast, just like that. So I think that's going to conclude for that. Let's just take a look at our history one more time just to see what we did. You know, details just like that. And in the next video, what we're gonna be doing, we're in. Take, uh, may be taking a look at missed um, fog. Okay, so that is very, very, very awesome. Very, very cool. And what that's going to see this is looking a little bit flat right now. And what were The mist is going to last two. Separate these grounds, and I will be talking about it. Ah, lot more in the next video. 12. Details: Mist and Depth: All right. Welcome back to the next video. And in this well, we're gonna be taking a look at missed. So, as I said in the last video, this is actually looking a little bit flat. Now, I may not really seem like that. I mean, there definitely is depth here. You know, we have, um I can tell there's a backgrounds guy, that sort of thing, but weaken bush this whole lot more and what we're gonna be doing, Um, if you remember from the last year, I talked a lot about how in the distance you'll see Blue Mountains, that sort of thing. And that was because, um, where you were, when where you are standing and from the mountains in between. That is atmosphere. It's not just nothing. Barry's atmosphere and the atmosphere builds up, builds up. And since the sky's blue on earth, um, you're going to see Blue Mountains, and that's ah is essentially the reasoning behind that, and that's what we're gonna be trying to do here now, as I've said before, you want most year darks to be in the foreground, in your lights, in the background. Now, I did a pretty good job with that, but with this technique and be a little hard to control that. But don't worry, We're going. We're about to solve that problem and what we're gonna do, we are going. Teoh, um, select our soft round tool from my brush pack and should get this round. I think it's a default brush, but I included it anyway, And, um, I've already made a layer. And if you want to make a layer, just leave Eric like, uh, compressed this button right here and I will make a layer on. I'm just gonna call it missed. Okay, So, uh, what we're gonna dio is our sky here is kind of like a greenish scion color, and that's really are basis for atmosphere is not quite blue. Um, but I am gonna put it just a little bit towards the blue side and what I want do I want in my color picker I want to have the brightest option. And I wanted to kind of have it pretty saturated, actually, and just about they're sort of in the middle to the rights and just go ahead, press. Ok, Okay. So now that we have a brush loaded What we're gonna do is you need to figure out what your grounds are. So I see these mountains here. Uh, that's kind of the super background. And then in front of it, we have this whole kind of section here, and that's sort of the background. Then we have this kind of middle ground and a foreground. So you just need to establish, like, what is your ground is? It's going to be very different for each landscape you do, but you're gonna have to use your best judgment on that. So on this new layer, make sure your selected on it We're gonna go over to our ah lasso tool right click. I go to your polygonal lasso tool and you're gonna want your feather. You want a feather it to about 2.5, and that is pretty important. So you know, the mist is not, like, really hard edge. And I'll show you what I mean right now. So I want to separate this background and to do that, um, where is gonna make make sure are less toe quipped. And I'm just gonna go ahead over the edges here, and I really in concerned towards the bottom, and I'm just gonna kind of carve my way out. Um, establish where I want these mounds to be showing. And I'm just gonna go ahead, go along here, go up, go down here. You don't have to be super super accurate with it, but try to be just trying your best. Um, you know, you can do it without the lasso tool if you want, but it can get a little messy that way. So you recommended this way. It is a little slower, though, but more accurate. This kind of goes up here and then over here, and I'm just separating these ground. I'm separating. Ah, this mountain from the rest of the grounds. Okay, so then it kind of goes up and it doesn't. You don't have to follow the top here, so I'm just gonna kind of do that. And there we go. That is one is a very small ground, but way in the background. So that's OK. So go ahead, select our soft round tool. We already loaded up. And what we want to dio, um, is on a very low passing. You want to layer it up, so I'm just going Teoh go across the bottom here, Okay? I'm just gonna keep going back and forth. I'm gonna lifting up my pen. I'm not. I'm lifting it up then pressing down, lifting out, pressing down. And slowly you will see this kind of fog forming and, uh or missed. And if I just hide that, you can see what that did. And this is really, really going to help you, um, or it's going to help the image seem much less flat, much less flat. And this is really, really, really useful. And also, I looked at a little bit of white and there, um, really, really just towards the bottom and that just like that. So I just diesel ect here. You can now see, we have a bit of a fun going here, and since you down a separate layer can see exactly what we did. Now we have that fog in that it really is separating that layer right there. And what we want to do is just do the same exact thing. Essentially, except now we're moving on to the next ground. So we're gonna grab my tool right here. And we could separate this into a few grounds. I see some potential here. Um, and I think what I'm going to dio, I think going to start in right here. Really? The more grounds you have, the better you don't want. I'm like a 1,000,000 crowns. Like, I mean, you want to stick it at least three, and at most, maybe eight. You know, you can go a little bit more or less, but, um, this is really you're just using your best judgment here, and it's really up to you where you want to separate that ground. I'm thinking we can have some 90 separation here. See, it's very blended together here, So I am just going around here, right here, going like this, and I'm pretty rough with it. I'm not, You know, I'm not super accurate with it. Very, very rough with it. You know, I think, um, you know, we can have something here can get a little hard, but you just get your the artists. You have to make these kind of hard decisions like this, um and yeah, so you'll see that over here, it gets a little flat, but that's OK. I'm just gonna kind of do, um, straight line. Sort of right over here. And these mountain kind of rocks, fauna, whatever you wanna call it is going to be sort of the barrier, and that's gonna go around here, go down a little bit, just like that. Okay, okay. I think that part sticking up just like that, I'm just going to keep working my way left to right. And here I think this is gonna be a whole ground by itself, just like that. And almost there. Almost there. Okay, so that's the end right there. And we don't have to worry about the top like I said before. So we can just go right over it just like that and end it right here and see dot or double click. Go back to my brush and the color we want. Now we're gonna want it more de saturated, cause there's less atmosphere. So we're going to see more of ah de saturated color. So I think Ray about here, it's gonna be ok. And all I want to dio is again just very slowly. Just add in this fog and you wanna have it stick towards the bottom. Now you see, it's a little flat here. So I'm gonna sort of, um, get the whole just here by pushing up a little bit, Um, not really staying towards the bottom, but not really singers. It's just staying right in the middle, and I mean, I'm sort of avoiding it altogether, but, um, you can see where it was really dark here. I'm just going over that. Just give it that affect. And, yeah, so this have a pretty big sticking towards the bottom. And if you want, you can turn up the opacity of It's like a little, but, um, a little not is quoted as you want, so Okay, that's yeah, that's 20% Where? Whatever it works for you, but I like to layer it up. Case just like that. Awesome. So we can again preview what we did. And if you look over at the navigator up here, you can see just how much of an impact that has something. Zoom out. Hair control de to de select. And look at that. That is awesome. That is totally separating out. What are grounds here and yeah, that is so much better. Okay, awesome. So we're gonna move on to the next ground just go ahead. Grab your political Lasted too little. Speed this up a little bit. Okay, So now we have that selected and skin do the same thing again. Just gonna go ahead, grab my brush. Um, cooking my color picker. Do you saturate just a little bit? Come over here and I just want Teoh and I'll be intersecting with the other layers, which is perfectly fine, but I just want to keep going here. I've already done that part. So just like that consume. So I did. And you can really? Now, you can really start to see that these grounds much brighter, and they're starting to get a lot more separated. All right, let's move onto the next one. Okay, so now, as we're getting closer to the foreground, um you know, we want to de century it that color just a little bit more, and we want to start using on just a little bit less. Don't go too crazy here. You want to preserve that detail, but you also wanna have that ground separated. Um, maybe See, I just kind of went straight across here. You know, you'll definitely run into those, Um, that could be a little difficult a deal with and just focusing on the bottom here. And I might just go ahead and give this just a nice little coat Very, very lightly across the top there. And right, I'm gonna go a bright, um, near the bottom just to really give it that fog effect. Okay, that looks good. We'll see what we did. Alright. Awesome. And I think when we do, I'm gonna leave this here and now you'll see that you might get things like that, and that's why we feathered it. But I mean, all you have to dio you could just grab your blending brush, and we just do a little bit of, um a little bit of this. We can just get a gonna get that hard edge out of there. Just kind of blended in just like that, you know? Sh right here. Blended in, just like the all good on. And you see, uh, okay, I didn't really do much there, So Okay, now it's good. Now, if you're worried that let me just so high this real quick. So look at that. You we have separated. I mean, even if you look right from here to here. Like I mean, these look almost connected practically. And I just separated out just that missed. And now you may be thinking like, Okay, home. What if I did too much? What if I did too much like that? No problem. Pretty much. All you have to do is come over here. Um, this way. We did it on a separate layer. Ah, we can just go over to opacity. Um, if you just over the text, hold down, left, click and go to the left. You can change the opacity, and just like that is brought to 10%. Has little too much. But you can just control it like that. No, Maybe you're like, OK, but I didn't have enough. No problem. All you have to do is duplicate that layer. And to do that, you do control J. I'll select, and it will double it. So you can really see this mist effect, actually like toe, overdo it and then work down. That's how I like do every adjustment, But we can see this. Okay. I mean, obviously, like, this is just way too foggy. So, um, you know, I did enough here one layer is enough. And I like to make adjustments just like this, you know, Don't be too much, but that should help clear up the contrast in the background. Um, just like that. And all of a sudden, now we have a lot more depth. And But in the next, well, we're gonna be creating Holton more death. We're gonna be looking at adjustment layers, and that is really, really going to separate thing. It's going to dramatically change your image. Really? Have it all come together. Really? Get some filters. It's gonna be all good. All handy dandy. So real quick. I want to talk about, uh, glowing. Maybe you want something that's glowing. And luckily, I have something here that I want to have glowing. So the best way to do that? It's very simple, actually. Um, we're gonna make a new layer. We'll make it like a glow layer and grab your soft round brush and go ahead, select uh, during the color you want to be glowing. Um, amp that up all the way to maximum brightness and then when we have to dio is if you start out pretty big like this, uh, it's glowing here. What we could do is just just, um, change that to, like, 20. If you just tap one your use your mouse here if you just tap once, just low click ones just like that. And then you want to work your way into the light source. So I'm just gonna make this smaller, work my way down here, click once Remi Ochlik twice and then make it smaller. I can click here and it will bring big light source. But I'm just working my way down just like that. And as you can see Ah, it's a little ah week, But that's no problem. Like I just said, we can duplicate that layer by doing control. J, um, wait wanted you two copies and then we do control E twice to combine that layer just like that. And you can see now we have this kind of glowing effect, which is really, really awesome, and, um, that might be a little weak, but what weaken? Dio, um, we just go back in and just really make this apparent here. We can actually make this complete white and just really make it seem like it's glowing by adding that light source down there. I'm not sure what's going on there, but I really like it. But as you can see now, I'm kind of a glowing effect. And you could do that really, Anywhere you want. So I mean, maybe you want this in the sky? Um, skies? Ah, a little bit dark. I think so. I mean, we can just go here, just go here and see if I wanted, like, a son here. I could do this. Fuel clicks. I just make that smaller, um, work out big, uh, then going small and we can see here. We have a little bit of glow. Not too much. But I'm okay if that, you know, Aiken kind of have it glowing out over here. If I want Teoh And these are all the details that really make it come together, it's kind of come over here. Okay, That looks good. And if I just hide the mist and glow, see that everything kind of flattens up. But if I Oneida you can or yeah, I'm Heidi, it weaken. Ah, see that now we have all this, and it may look a little bit less contrast e, but that is okay, cause in the next video, we're going to really be making this, um, sort of pop. We're gonna be adding all these adjustment layers. It's really gonna all come together and just make sure that you're happy with it now, cause pretty much were we're pretty much done, believe it or not, where, like, we're actually pretty much done. So if you're not happy with it, you can go ahead, go back. Going with the paintbrush to a whole. Um, I would hide these first and actually work from there. And then you can put those on, um, just so my interfere what not? And you might want to lock those layers. So you're not touching those just working on this one layer and you can just keep switching back between the paintbrush blending, brush, paintbrush blending, But she was keep going back and forth, back and forth until you're really happy of something. And I'm pretty happy with this. I really like this style of it. Um, you know, and I think it's really it's working out pretty nice. I really love the colors, but, um, once we start angle the adjustments, things they're gonna look much, much different. And this once we add it all and then hide it all this is gonna look like really faded. Uh, but, um yeah, everything should look really, really nice after the adjustments. And I had to show you some cool filters you can dio and yeah, that will be really it. So, yeah, I will see you in the next video. 13. Final Adjustments: hello and welcome to the final video in the Siri's, aside from a few other bonus videos, but this is the moment where we need to finalize everything in the way I do. That is through adjustment layers. Now, before we begin with that, just want to point out one thing, and you may or may not run into it a bit. Um, but if you ever are using the blending brush and you know, you're just going along with this and like, uh, when you get this, like, weird white line Now, some of you may experience this, Um, and I'm going to tell you that. Okay, this this is obviously not right. And the reason this is happening is because we're mixing and mashing with all these other layers, and all we have to do is go up to sample all layers, just disabled. That, and everything should be back to normal. Um, this button can get can get a little weird. So if you ever do experience anything like that, something is not just quite not right with it. Just go ahead, mess around. If this bun click it, if you tell him, see what happens that should fix that right up. And, um, you know, if you're working all in one layer, things should be all good, But, um, I know in the last. Well, we just added these layers here, and if you wanted to go back and, uh, do that, just make sure that money is off. Um, so that can mess up some things. So let's get into it. And what we're gonna do is go over to adjustments right here, and we're gonna see all these icons just like this. And, um, if you remember from the adjust video a few videos back, um, we went up to image adjustments And did these, um, adjustments strike here? But now what we're gonna do is we're going to start adding layers, and this is going to affect all the layers, um, underneath it. So go up to your top layer, not the black bars layer if you, um, added that. But if you did add that to go to your top layer just under it and click that and make sure selected on that and we're gonna just start adding these in and with way, I like to do it, you don't have to know what really what they do or all that nonsense. It's really not as important as you might think pretty much what I dio. I like to start from the top, um, top left and work my way to the right and then go down just like that. And I just like to add layers. And if one works great, I'll keep it. One doesn't work. Just delete it. So the way this gonna work, I like to start with brightness and contrast. So I just click this. You'll see that a layer instantly gets added right here and make sure that it's right at the top and you'll get this little pop out menu right here that says properties or something like that and you'll see two sliders, brightness and contrast. So what, we're gonna dio it's going to depend this going, you're gonna have to use your best judgment on here. You don't want to use the exact same compresses ideo because, um, my landscape is going to be so much different from yours. So what we're going to do with the way I like to work with this? We don't want too much contrast. Okay, Um there is such thing as too much contract, you see, Like how How dark The Dark Scott is just kind of its harsh on the eyes. But perhaps you like that. Sure, you can keep that. You're the artist. You make the decisions, but I like toe crank it all the way up to 100 then work down from there. Um, you know, instead of starting from zero on going up and this just I think this is ah, much better way and just know your maximum limit of what you can dio. So I'm just gonna keep it right about usually use your best judgment. You don't You don't want the lights to light. You don't want the darks too dark. So that looks good about there. And the way to check we just did is if you go over to the layer you just made you can ah, hide it just like that and boom, just like that, You can see that was what it was like before then. This is it after, and you see that is already a huge different. Like the contrast really makes it like just a huge difference in the brightness you don't want touch it too much. Um, actually, I'm just not even going to touch it, cause we're going to use a different brining technique in a minute. Okay, so that looks good. Just like that. Okay, so next we can move until levels or curves. But I actually I don't really use levels or curves that much allowed. People like to use levels and curves. We already used levels. So I think I'm just not really gonna even bother if that curves people. Sometimes people like curves if your curves kind of guy Ah, you can at that. And if you want or not, I'm just skip over. I'm go right to exposure. And we're gonna get Don't worry about officer again. A great way. Don't want touch that. We just want worry about the exposure slider, and I'm just gonna bring it up just just a little bit. Just a 0.15. That looks pretty good. And I just find that, um, actually will use my technique of bright over brining it, and you can work your way down. Um, just like that. And I think I'm a little bit about the sky. Um I mean, This is really all we're doing is just It's just if you've ever edited a photo on light room photo shop, we're literally just doing the same exact thing. We're just editing a photo. That's all we're doing. And, um, you have all these sliders now, I don't want to blow out this sky, but I do like that kind of glowing effect. So I definitely like it bright like that. Yeah. Um, so just keep on hiding and hiding. That's definitely one. My tips. Um And you see, it kind of looks a little weird like that, but if I'm, um and that in that looks good, just like that. So I'm gonna move on to vibrance. Just add that in layer will be implemented, and we can up the vibrance. Remember, the vibrance is sort of like your fine tuner, and the saturation is your kind of course tuner. Now, if I bring that up, that is obviously way too much, so I'm just gonna bring that down. I definitely like this saturation going on here. I love love the colors in this landscape, so the color is definitely a very parent thing. Um, but maybe here is isn't, um, so you know, you just have to use your best judgment. I can't see your landscape, but, um yeah, so just use your best judgment. And again you could just keep hiding. I mean, all. Oh, my God. Already, you can just see the difference. I mean, this looks so faded and just just just weird. And then we have this. Now, maybe that was a little too much. Um, vibrance. Now, I lost the thing here, but if you find properties should look like a little box here. Cem rectangles and squares. Eso we go there. Let's bring that just a little bit down. We live it up. Okay, That looks good. Like that. Yeah. Saturates the warm colors right there. Okay, let's move on down to hue and saturation. Now, I love to use this one because, um, if marathon from the adjust video I do. I'd like to see, like, you can see how your landscape could be completely different. Um, really can change it, But typically, I actually like to bring this up so I could make this a little bit more red. Um, focusing right here. And I like to look in my navigators. Well, just get the whole picture, and I'm gonna bring this up because I actually like it to be a little bit more yellow there . And yeah, just plus six, that's all. All you need to dio. Yeah, I like that. So actually it now I'm not to add if you watch my Photoshopped a Tory, you'll know I love this adjudged adjustment so much, um is candlelight dot cube, and, uh, we just add color. Look up, three D lit file. Bring down this Trotman drop down menu. Go to candlelight. That cube. We get this now, obviously, this is this Looks bad. We don't want that. So what I always do is I always have to bring down the opacity and can DeLay is going to give that this just super nice, soft, warm, kind of look to it. Um, like, see Peotone and it just I absolutely love it so we can see that the blues are really harsh . I mean, even in my really cold, cool landscapes. Um, I'll still add this, you know, it's like a warming kind of technique. So just bring down the opacity. Just just about that, and we can see the difference. Maybe you don't like it. You don't have to use it. That's fine. I just really love to use it. So I am going to use it, so that looks pretty good from there. We can always adjust later if we want Teoh. And I think I'll add a photo filter as well. And you can see all these layers were just starting to stack up on top of each other. Now, I may or may not use this. Um, no, I don't think I'm going to use this, so I'm just gonna delete it. And that's just kind of the process that is so I forgot. Color balance. Think color balance is gonna be pretty important here, because, um, I have a lot of colors now, this is gonna really rely on your judgment. What do you like, parody? Okay, so I went towards more of the scion. Um, it can be hard to tell kind of what's going on, but, um, you know, I'm saying we're green. If I want that and more magenta, I might just kind of leave that around zero plus one there. And I think we're leaning more towards a warmer type of landscape. Um, just see what I did there. Um Hmm. Okay. Well, I can always bring down the opacity or just delete it, but I think I'll just leave it like that. About 50% opacity. Now, we don't need invert. We don't need post realization, but I will show you posted ization cause it can be looked pretty cool. We just leave the level is really low. Um, if you remember from the filters video, adjust video on me, uh, use post realization to get more detail. Um, that could be pretty cool, but I don't think I'm gonna be using that. So I'll just leave that there and, um, selective color. So, I mean, even I don't really know exactly what each of these just mints do. Um, but it's really not that important. Um, it's just experimentation and that that's really so see Black. So this is affecting the reds, The dark areas in the reds. So, um, and selective colors. I can bring this down. Maybe I won't affect the blues. And I got blacks. Okay, here we go. And now it's affecting all the blue colors. I don't think I'm gonna touch it too. much, but I like that extra vibrancy in the middle here, so I'm just gonna go ahead, leave it like that. So, um, that was all the adjustment layers I wanted to use and to check what we did. We can go ahead, hold down, love. Click right where these eyes are and you convey dragged down until they all disappear right from your just millions. I mean, just let go. You can see what we've done, and I it controls e a few times. You can see this is what we did. And so it looked like before. And it's very important to compare what you did. See what you like, like Okay, maybe there's too much gun transfer. I mean, not enough. You know, you have to make that decision and I think we're looking pretty good. I'm looking at the navigator. Mostly. I think there is a little bit too much contrast, actually. So I think I'm shouldn't take me contrast layer just just lower that about 20% or so and that looks good like that. It can also bring down the exposure. Just little men and just fine tuning from there. And I think that looks good. No. Now that we're done with that, we could see that it was pretty dramatic of a difference. That's that's pretty dramatic difference. So, um, the next thing that I want to dio um and this is really this is the icing on the cake here . This is my favorite thing to Dio. And that is I love to add a sharpening layer. Now, typically, when I'm editing like a photograph, I almost never sharpen it, cause it really you can over sharpen. And a photo is already super, super sharp usually, and you don't have to sharpen it. Um I think it could be too much on the highest sometimes. And it just Ah, the noise looks a little weird, but on a painting like this, the sharpening layer you can't really overdo it. It really makes it pop so much. And I love using it. So what we're gonna do, we're gonna go over First of all, we need Teoh select our layer right here that we got all the paint on as very important or the raise you won't see anything, so make sure that selected and we're gonna go to filter go over to sharpen. And there's lots of options here. Um, minute. Typically, one I'd like to use is just smart sharpen. And we'll get this window like this, and we'll get a little preview over here. Now, I would leave the radius around one point to reduce known is around 10%. I don't have to know what those mean or anything, but, you know, if you want to experiment with that, um and really what we want to worry about is just the amount here. So, um, if we just bring this up, you can see in that this Scott sharpened immediately and let's bring it all the way just so you can really see up. And as you can see, this looks super, super sharp. And just to show you for it after weaken, enable and disable the preview button. So I'm just gonna go ahead and do on. And as you could see, that looks so much more blurry than if I just enabled it. Boom, That is so much more sharper now, what you want to look out for when doing that, as is these weird kind of pixels like this. Like really hard, harsh pixels like that now there, you can always blend it out with the blending brush. That's fine, but ah, 500%. That's a little crazy. I think we're gonna bring down to, like, 238. Um, I mean, you can really crank this up. Um, And if you want to think about, ah, the amount it's it's kind of vibrance and saturation amount is kind of your fine tuner radius is you know, it's a little different effect, but it's more of a course kind of effect when you do that. So I love heading in the sharpen layer. It just really, really helps. So fine, just a civilised. If you look very, very closely, you can see there is a very dramatic difference going on here. If you want, you can crank it up even more. Um, and you can see can also see right here. We also have a preview. It's gonna automatically select the most spot as the most detail. And, um okay, you can actually see up the preview, but you can see it actually here, even seeing the navigator, that it it's a pretty big difference. And that just makes it so much right? so I'm just gonna head, okay? And we have a super nice, sharp landscape. And now, if you wanted to go back and use your blending brush, I would do the sharpening last. Because once you start going in with the blending brush now it's gonna make kind of everything blurry unless you do it very subtly like that. I mean, you can go and like, these pixels could be a little little weird like that. So you can always go back and do that if you want or, you know, at in the sharpening layer whenever you want but weaken. Always see the difference now, like that was applied to that layer. So, um, that could be a little bit destructive, So just make sure that is final the way you want it. And I really like how that looks. There's one more thing we can add in that is the filter gallery back to the filter gallery . So we have a whole bunch options that's gonna look super super weird as, um, if you remember from the just radio reason cause we're working only on this layer and we just take a look we can look at, um these sort of things. Um, now, you probably maybe won't use most of these. Um, but I mean that that's pretty cool. I'm not going to use that. But that's a very cool, like, abstract kind of thing, But this is a really fun place to play a round of stuff. Figure out what you want. You know, you can open up these, Um you probably don't want some of the work. That's really, like, kind of and a crazy Also get crosshatch. All right, See that? I think that looks really, really cool. And I think I'm gonna keep that do this, That that really makes it more blurry. Um, but I know maybe like that look is a very cool abstract kind of Look, let's keep that around. Um, give that around like se six. Okay, so we have, like, some sharp, another sharpening kind of layer going on. We can look at strength. Okay. Okay. Let's see what that does. And I actually really like this look, So I'm gonna hit, okay? And you may not see the difference right away, but we can hit control Z to see that. And you can see that actually seemed to sharpen it up a little bit more, but just in a different way. And I really like that. So now we have a nice, sharp landscape going on, and we guys, we are pretty much done. Uh, that one thing you can do is take a look, flip it and, like, maybe maybe you'll say like, Oh, wow, I actually I actually like that better now. I'm not really sure what I like better, actually. I mean, I've been working on this kind of a lot. I feel like this is just more natural to me. But I also really, I really am enjoying this, too. Um, but if you can't decide, sometimes I can't even decide. But the best thing to do, if you can decide I mean, even anything like if you can't cite on adjustment. If you can't cite on anything, the best thing to do is just close it out. Save it first, please save it and exit out, or minimize or whatever and go away. Go have lunch or whatever. Eat something or arrests. Come back an hour layer and take a look at it again. Or you can get someone else's opinion like Haiti like this better or this better like and, you know, get a fresh pair of eyes on it, see what they think. And that's really the best advice that I could give you for that. But there's one final thing. Just a top it off. And that is a signature. Now a signature. Um, some people are just gonna write it out just like that on a new layer. Um, but if you're someone like me, um, I like to actually just copy over my signature from, um, landscape the landscape. And I know some people are like, Oh, don't do that. Were you crazy? Like, um, thing is, as the artists you make the decisions, okay. And for me, I like to just transfer over my signature, and pretty much what I do is I opened up my last landscape that I did, and I have a signature, and I always just copy it over, So I mean, you can see this one. They did the mixer brush and all that, but I just had my signature here, and I just drag it over into here, and I'm just gonna drag it right here. I like to keep the same size usually, and I always almost always put it in the bottom left where it's pretty dark. You can see it's not taking over the entire thing or but really, you make decisions. I I maybe you don't even want a signature. That's fine. I mean, I like to have a signature say, like, yes, this is my work, that sort of thing. I mean, sure, someone could crop it out, but then it's like it's not really it's certainly like this is your mark, But, um, if you want, you can do that or not, but I highly recommend it. Maybe you want to have a unique signature and just right. Everyone, um, wanted the painting like a traditional painting. Um, but just do whatever you want, but, um, this is this is really end. We are actually done. Can you believe it? We are actually done now what you could do. Like I just said, you could go back and just keep going in with the mixer brush due to do, go back to the paintbrush, really define things you could just keep doing, then doing that. But I really love the style. Um, leaving it like this. I mean, sometimes I would go back and definitely do a little bit more, but I'm loving what's happening here. I love the mark making and, ah, years is going to be completely different. And that's just the beauty of it. I mean, this technique was all about just this, you know, unknown result in the beginning, and you just work from this image, and then you just completely change it. Like, um, I can't even remember the image that we worked on, but I know it didn't look anything like this. So that's what's just so awesome about this. But anyway, thanks for watching. I really, truly, truly hope that this technique worked out for you. But if not, that is okay, because not every technique will work for you. But what I've personally found is that I watch a ton of different artists is create landscapes in photo shop, and they all do them differently. So what I've done through out the years is watch these artists and pick up on little things here and there that they do and I would combine them, take this single bit that from this technique, tickle that Not that And then I combine it into a technique that works for me. So anyway, again, thanks for watching. And I hope this helped. I'll see you later. Bye. 14. Review: Hello and welcome to this final review video. I just wanted to quickly go over everything we did and make some quick wrap up so we can see everything all together. So the first thing I talked about was hardware and software, and this is not too important. But you do need the basics. You'll definitely need a drawing tablet and a computer. It could be a PC, a Mac, whatever works for you. Now, just because I used photo shop in this course, it doesn't mean that you need to use it. If you have some kind of another drawing program that you think will work just as good, then go for it. Next we set up our file in Prepped it. I used 3000 by 1600 pixels at 300 resolution for all my landscapes, and I suggest whatever size you use keep it that size for the next landscape. You do just so your work is consistent. I also set up some black bars to give it that cinematic look. But of course, that's completely optional. Then we need to find an image to start working with ah color palette so we don't start on nothing. Now you could just splatter paint all over the canvas, and that will work. But I think finding an image online is more random and more fun. When using this method, make sure you set your image size too large to get a nice hi res image. Use words that represent what you think you want. Air landscape to be. Is it warm? Is it cool? Gold landscape Cool colors. Warm is an abstract landscape. Is this traditional landscape? So once we found our image, we then took the mixer tool to manipulate the image, pulling the pixels and shifting the placement completely to create a brand new original piece. While keeping my lights at the top and knocks at the bottom, I slowly forged an entire landscape. Although it's hard to visualize it right away, your mind will start to see a sky than a ground and eventually shapes like mountains and trees. When you see those things, try to make it make more sense with light. Give it a shadow and give it gravity by making it wide and towards the bottom. It doesn't have to exist in real life. You make the rules here to make the landscape more noticeable. I like to add some adjustments, like saturation, hue and contrast, and sometimes I'll even look at the filter gallery to give it a more abstract feeling. So when we get this subtle sense of a landscape, weaken crab are paint brush tool and slowly start to define these features. When you do this, try to keep your lights in the background and as you come towards the foreground, make more contrast and lean more on creating darks. Once you get a solid coat of this paint brush tool on the canvas, I like to go back to the mixer tool and just lightly go over everything to make it more smooth. And after adding some extra details like highlights and messed, it's important to add adjustment layers to make it all come together. And finally, I'll add a sharpened filter to make it well, more sharp and also had my signature as a final stamp. So that's it. If you made it through the course. Congratulations. And if you haven't tried making landscape yet, go ahead and give it a shot. I'd love to see them in the project, stab and let me also say that this is not an easy task. This is hard to do, and it really takes a lot of practice. Just try to enjoy the process instead of worrying about the result, and you will get a better outcome. And as I've said before, not every technique will work for you. So I've shown you my technique. And if it worked for you than that's great. But if it didn't, then I'll tell you that when you watch how artists his work, you gain little bits of knowledge from them. And one day you'll finally work up to a technique that works for you. But really, the best way to get better is practice. So I'm gonna end this here. I hope you got something out. This course and yeah, I'll see you later. Thanks for watching. 15. Time Lapse 1: Course Landscape: okay? 16. Time Lapse 2: City of Light: Yes. Okay. Okay. Okay. Okay. Okay. 17. Time Lapse 3: Silence of the Flame: 18. Time Lapse 4: Arctic Isolation: it's.