Creating Scenes with Depth in Procreate: Learn About Background, Middle Ground, Foreground, and More | Jennifer Nichols | Skillshare

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Creating Scenes with Depth in Procreate: Learn About Background, Middle Ground, Foreground, and More

teacher avatar Jennifer Nichols, Leila & Po Studio

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (57m)
    • 1. Introduction

    • 2. Downloads and A Look At Brushes

    • 3. How to Post a Class Project

    • 4. HOW to Create Depth

    • 5. Examples of Drawings with Depth

    • 6. Examples of Photos with Depth

    • 7. Sketching a Scene Together!

    • 8. Speed Painting!

    • 9. Thank You!

    • 10. Bonus Sketches!

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About This Class

Have you ever wondered how to get the look of depth in a final piece? Whether it's a landscape piece with mountains and trees off in the distance or a piece with less distance but still gives you that feel of being in a scene where things are clearly "closer" to you and "further" from you instead of being flat, you can achieve these looks with the skills you will learn in this class. There are a few key components to achieve depth in your work and once you understand them, you'll be on your way! At the end of class, we will draw a sketch together to reinforce the skills you learn in class and I'll show you a beautiful way to illustrate it but you can use any illustration style you like! 

I will be using Procreate in class but you can apply the skills from this class with all styles of art so feel free to follow along with as little as pencil and paper! For those with Procreate, there is a free color palette and free brushes in the Projects & Resources tab. All of the image files can be downloaded by anyone!


Here's a look at some fun that can be had with the free brushes! 


Meet Your Teacher

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Jennifer Nichols

Leila & Po Studio


I’m Jennifer Nichols and while I’ve always been an artist, I’m also a teacher, a musician, and a lifelong learner which is one reason I love Skillshare! I love sharing what I know about iPad art and the Procreate app. My teaching style allows you to follow along with me and learn a ton along the way.

If you are new to Procreate, I would start with the Beginner class and then you’ll be ready for any of my other classes! I gear most classes toward beginner and intermediate level procreate users. ANYONE can succeed at the projects I teach no matter what your artistic abilities are! All resources that are needed for my classes are given as free downloads, including palettes and brushes!

Here are a few illustrations I’ve made in Procreate. I lo... See full profile

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1. Introduction: Hello, my name's Jennifer Nichols. I'm an artist and a teacher and a fabric designer. In this class I'm going to show you how to create a scene with depth. I provide lots of free brushes and we'll be using Procreate. But you can benefit from the techniques I show in class using any medium you like. We won't be getting technical and class. Just learning some key components to keep in mind that will help you portray a sense of distance in any scene. We will briefly explore background, middle ground, foreground, as well as color placement, size, and more. Finally, we will create a full sketch together so you can practice the techniques which will help you remember them later. I'll also show you a speed painting of how I complete the illustration. But you will be using your own technique for yours, whether it's procreate or even a pencil and paper. Let's get started. 2. Downloads and A Look At Brushes: To download the resources, we're going to go ahead and go to the Projects and Resources tab of class. And all of the resources are over here. You need to be in a browser and it needs to be in landscape mode. I've heard of people having trouble with Firefox. I'm in Safari, it's the only one I use. So I don't know about any other issues that there might be. But for Safari, this is how it's done. So I have several jpegs here in a brush set and a dot swatch, which is the palate. So for the jpegs, I'll just do one for you. Let's do brushes. So you tap on it, tap Download, and then you're going to see a little download button here. And we'll come back to that after we get other things downloaded. So then the brushes set, same thing, tap Download. See a little Download and swatches, tap download. And you'll see the little download. Now you can tap here and go directly to it from here. So if you do the JPEG, it just opens. So if you're in Safari and you can then tap the little up arrow here and Save Image to save it to your camera roll. If you tap on the brush set, it's going to bring you to your files tab. So your files tab looks like this or app, I guess it is. And if you can't find it, if you don't remember the name of it, It's minor in alphabetical order. You can just go to Recent and anything you have up here that you just downloaded is going to be right here, which has these three things. So we have the brush set, the palate, and then the web JPEG as an example. So for the brush set, you tap on it, imparts right into procreate. And then in your brush library, it will be the very top on your list because it's a brush set. If it were an individual brush, it would be in the imports. I think mine is at the bottom. And then if you go back to files and do the swatch, then when you go into the color here and go to the palettes, it will be at the very bottom of your list, and you can move that around by dragging it around. So we're going to play around with brushes just a little bit. Oh, let me show you really quick. The, the jpegs I have are just some references. So I have three images that show some examples of what the brushes can do. And then I have about three more that are references for what we're going to talk about in class. And I'll show you those in class. If you aren't using Procreate, these are still great references, but I'll maybe not the brushes that it gives you some ideas for how to illustrate some different styles of leaves and steps that you might still want to look at those. And if you're doing this on pencil and paper, you don't need the brush set or the swatch. So for the brushes, I would like you to spend time playing around with them. The IDE, I really encouraged this a lot with brushes in general. So play around with, oops, I need to be on the right layer. Play around with light pressure and harder pressure and just everything that they can do. Look at the jpegs for the examples of what these brushes can do. And also, I wanted to show you one thing really quick. Most of these brushes have some color changing ability. So you can see this has a variety of colors. And the leaf brushes here also have a huge variety. If there's a brush that you're not happy with having as a color changing brush, what I would recommend is duplicating it. So just swipe to the left and duplicate and then go into it. We'll have a little one there that shows it's your duplicated one. And then you can leave mine alone in case you want to come back to it in its original form and you can do whatever you went to this one. If you don't like the color changing, go into Color dynamics and just turn everything to 0 or turn it down and just play around with it. And then you can, you can choose a different color here, so you can get a better idea of what the color changing is going to do with your different changes that you make. Right? And then you can go to About this brush and you can name it something entirely different. I think for you with a duplicate, I think you should be able to change all of this, but I'm not positive. So you might just need to just have a slightly edited name. I don't know if we'll be able to change this part. And then I'm just going to delete that. But you can just hold on to years. I have a rock brush, I have some little housing brushes, snail house and tint and houses, little, little cabins. So play around this wide messy brushes, a favorite of mine. Really light pressure gives this really cool texture. I'm going to clear this red because that's hard to see because this really cool texture, but then harder pressure makes it a lot more solid. I've been using this a lot just like that. And it's also a little bit streaky. I really like this Hetchy brush. It is a color changing when two though. And all of these color changing ones tend to be really beautiful when you set the color really close to black. So whatever color you have over here. And then this being really close to black, it just has some really, really cool looks there. Right? Rocks, grass, a little dot that JPEGS are these pages right here. So this is just showing you some of the brushes that you can make, bushes or trees with. This is a really great texture brush to use. I gather all over brushes well, for like white, kind of aged anti-gay look. This is that wide messy. So it's this href wide messy. So it's kinda neat. Look for that. And then you can see this slight color changing in that these two feathery wins. So those are the subtle pain t subtle color change. And lets the next one, the feathered paint color change. Those are both very fun too, especially for kind of a wispy background. And then this is that when that you can do a big Blache background width and that's called paint splotch texture. Here is, this is also one of your jpegs, and it is just some examples of how we can make some fun shrubs in Leeds. These are the different leaf brushes you can see close up. They're all a little bit different. One of them has slight color changing, which is kinda cool if you're making a little grassy patch because you can see the different blades instead of them all overlapping into one blob like this one. And then these have a bit of a pencil texture to this one's a little bit transparent, it's a little streaky and transparent. And then this is the same thing but solid. This, all of this is in the background, is this wet, messy squash. So all of this in the background is wet, messy wash. And then there is just a Procreate native brush here, six B pencil. And then this is my brush that doesn't have a taper but still has that pencil texture. So there's a lot of fat here as well. And then here's some fun leaf ideas. We're gonna be doing this at the very end of class. So I use some of this streaky brushes on the leaves here. Is the 6 B pencil to get some, it tapers out at the end. So that's kinda nice. Whereas the no taper just is very solid from start to finish. So depending on the lucky one. So just given some different examples here of what you can do with the brushes. But play, play, play. 3. How to Post a Class Project: All right, So in the Projects and Resources section, you just tap class project. And this part confuses people a little bit. This image button is just for your cover image. It needs to be eight minute, eight megabytes or smaller, so it's fairly small and it will crop to a rectangle. This image button is where you add images into your project description. And you can add as many as you want. So you can title it and then you can write things to me if you have questions or just letting people know what you did and add images here, you can only add one class project per class, but you can come in and edit them and add more later. If you have more landscapes you do later and you want to show us and just keep adding into your one project. So here's an example from the character design class where the cover photo is cropped to this rectangle. So that is not your actual project inside. So you can, It's just really awesome for everyone to be able to see what people do in class. I designed this class so that everybody could come up with a very different looking character. So we didn't all have the same exact character that our current class, the landscape class. We might end up having a similar class project because we're going to do this sketch together. You can choose to illustrate that exact sketch or create your own brand new one. Alright, let's get started. 4. HOW to Create Depth: I wanted to show you this hedgehog dry and because it's kinda of a compilation of a few of my classes, I do have a hedgehog class. It's for teaching stylized hedgehogs as well as a realistic one. And so this style, if this one isn't necessarily taught in that class, I have a fruit class called delicious fruits, where I do teach a blueberries specifically. So they're super fun. And then I have a class on illustrating with the selection tool. So you can see how these leaves, for example, or almost collage like I just use the selection tool and then I select all the things I wanted to add color to and then added all the color and textures. It also illustrates what we're going to learn in this class, which is a completed scene. And I get a lot of requests for trying to figure out how to do this. So there's a few things to keep in mind. And as long as you can just kinda keep those things in mind and those JPEG downloads will help. You can have a reference so you don't have to keep coming back to class to find out. Then you can do this. And basically, you need to think about background, middle ground and foreground. So I think everyone is familiar with what my background is. It's what's behind everything. Middle ground is kind of in the middle, but it's kind of where maybe most of the action is. So the tree, the mushroom and the blueberries and the hedgehog is all the middle ground. These bushes behind the tree. They could be considered the background with the moon back there. That's probably officially the background. But if there was no moon, these leaves would be the background. The tree hedgehog mushrooms, blueberries would be the middle ground. And then these mushrooms and plants here is the foreground. And so they're definitely in front of the hedgehog and closer to me, the viewer. And depending on how you place these things, you can get a real sense of depth or a more little cozy scene like this. And that's what we're gonna talk about today. So in very simplistic terms, you can divide up a landscape piece or a scene into these three sections. And that is one of the things that will help give you depth. So can't really see the horizon line, but this would be the horizon line right here where the land meets the sky or in a, in a room. It might be where the floor meets the wall, for example. And I have trees that are smaller and they kind of go off in the distance there. And the middle ground, I have my house, I have another tree. This tree is considered middle ground because the base of the trees is in the middle. There. It's in that mid section. And then the foreground has all of my foliage that is closer to me. And then this tree comes all the way down like it's maybe very close to my feet where I might be standing to look at this scene. Since definitely closer to me than this tree. And this tree, even though it goes up into this section that says background, it's considered middle ground because of where it's starting here. So this is one of your jpegs just for a quick reference. And this is another JPEG. And this shows the other key elements that you need to think about when you're creating a scene. It has this depth to it. So identify your horizon line. And anything that is farther away is going to be closer to that horizon line. It's also going to be smaller. And just like in real life, when you're looking far away, say at a person, you don't see very many details of what they're wearing, maybe not even their facial features. You see few details, but also the color is more faded and we're going to look at some photography to show that as well. So the saturation is much less, so it's a little bit more pastels up here. And then close up. We have much more saturated colors. A lot more details. Of course everything is bigger because it's closer to you. And of course it's farther from the horizon line, so it's down here. Now sometimes the horizon line isn't going to be up high on the page. But you can see I made sure I gave it, gave Ollie here a lot of details with the dinosaur and inherent the creases in the pants. And if we zoom in on this Ali back here, It's just very faded and not a lot of details. And of course you wouldn't zoom in and you would look at it like this right here. So those are the things to think about. If you have super-rich tones up here and you also have them back there, it might not give them a look of being far away. If you had Ali back here being really big, that would look really out of proportion. So there's a few more things that go into this vanishing 0.1 perspective and things like that. But these are just things that if you keep in mind, you don't need to really think too technical about all of this. So just provided this just kind of a visual image to kind of ingrained in your brain that foreground things that are closer to you or lower and more saturated. And as you get higher into the horizon line and farther away, things get less saturated. So this is the palate that's provided in class. So just each color disk goes from more to less saturated. So next step, we're going to look at some examples. 5. Examples of Drawings with Depth: All right, In this example, you can see Ali here is much bigger, being up here in the foreground, close to me, the viewer. And the house is small. She wouldn't fit in it at this size if you were to move her back there, right. So it's small compared to where she hits that gives that feeling of distance. The trees are more pale green, the skies a little pale. That grass is a little pale. The flowers are smaller back there, bigger up here. Things are more saturated, darker colors, more details up here. And then my path, that's kinda tricky, but as long as you just kinda get skinnier and skinnier as you go further up. Then then works out, looks like it's getting farther away. Here's one that shows mountains and sky as the background. You can kind of see my horizon line where my brown meets my mountain green here. I have some less saturated trees back here. And then I have my big trees up here. I used one of my leafy brushes and I just put a little highlight on some of those leaves to kind of give it a little more depth. May rock stamp it, put some shadows into them. I drew these rocks. So I have, the foreground has darker, more saturated colors. The middle ground is a little bit more pale, so these are more pale than these. This is sort of still a pretty saturated color, but not quite as deep in tones is this. And if you look at my ground here, it goes from dark brown up to light brown. So that gives this nice sense of things being really far away and the mountains look big. But compared to a snail house. And of course, this is a large-scale house. You can tell that those are way far away in the distance. And so they're just these tiny little things back there. I included a really dark night scene. I don't even know if you can really study it all that well. And some of the rules don't really apply for this because it's hard to have less saturated colors when everything is dark. But I did lighten some of these bushes that are farther back in a lightened the trees that are further in the background. So there are things you can do. So here are my horizon line is really low. It's somewhere down in here hidden under these shrubs. And I've given the look of kind of being able to see far away, off in the distance, no mountains over there. And you can't really see too well because it's so dark, but there's a big grassy area in here in the middle ground. And then I have my foreground with these plants right here. Some of these shrubs would be considered the middle ground with the tent. In this LAN, I've made the horizon line very low. And I just, I made the, made it look like the dandelions are giant. Ali is sitting under them almost like they're a forest. So this is just a perspective thing. So it's almost like we are tiny and seen Ali who's super tiny under the dandelions. And they just get smaller and smaller and a little bit more pale as they go off into the distance. And it kinda gives the look of them kind of going over the hill there. I took that same hill and I changed it. I used the same brush at a smaller size. So it just it just looks farther away in a sense. Smaller little paint he blushes. And I lowered all the dandelions. So this might be a little more realistic where the dandelions are smaller than the human. And then that the trees or shrubs, whenever you might want them to be, they aren't showing the bottoms of them aren't showing because I wanted to give them the look of being kind of over the hill and down the hill. So just showing the tops of them. So with that same horizon line, you can get a totally different look. And here's a very simple example of horizon line and almost a vanishing point. If this kind of kept going, if you could see further, this path would keep getting smaller until it just was a point. And that would be the vanishing point. And the horizon line, darker to more pale trees, larger to smaller. So if you did or a road or a railroad track or any path that's just straight like this, that would be a way to give it depth is to have it really wide down here in the foreground and get narrower as you go up to the horizon line. My curvy paths did that as well, but they weren't straight. Just like that. That is slowly got more and more narrow until they just disappeared. So here's an incomplete underwater scene I just wanted to show you you can do the same you can apply the same techniques to underwater. So I have, I'm darker colors here and it goes up to a more pale blue. And I still am working with the water here. And obviously this is extremely incomplete that I have my foreground plants here. I could even put some up here that might be looking like they're coming over from somewhere over here. And my middle ground might be this plant and disrupt. My background is that little rock back there. So you can do it with any type of scene. 6. Examples of Photos with Depth: So I'm just on Pinterest and I looked at landscape photography specifically. Otherwise you might get some yard landscape images. And you can kind of practice looking for the horizon line, the background, middle ground, foreground, and also looking at the colors. Now, if you look at the sky with the water, and you can see that the sky up here also goes from more saturated to less saturated as it gets to the horizon line. Some mountain scenes will give you a really great idea and the color getting less saturated. Here we go. Here's one. So I can't really get the whole thing in one shot, but you can see the closer mountains. You can see the little bumps of all the trees. If you have some that were really, really close, maybe there was one more hill here. Oh, there is. Look at that. You can really see the details in the trees. Fewer details, less green. It's almost more blue. Fewer details. I still see some color variation. And as you go further and further away, is less and less saturated, fewer details. It's kinda hard to tell that those are smaller mountains as you go further and further away. And then the horizon line is basically where lambda needs sky. So there's not really a defined line here, but you get the idea that it's up in this area. It's a good idea also to not have your horizon line be right in the middle of your image to dissidence fun. Rocks being very detailed in the foreground here. The horizon line is where the water is meeting the land in this one. So when I say where the land meets the sky, it's, it's kinda not including mountains. So here the horizon line is right here. And then the mountains go further back into that. It's almost like the mountains are part of the sky. And there's, there's an example of a forest doing the same thing. You can see the trees further back are smaller, they look skinnier and a little bit foggy and fewer details. All the stinks. 7. Sketching a Scene Together!: Let's create a Canvas class. I'm gonna do inches. I'm going to do eight by 10. The sweat all the other ones have been I'm just going to stick with that. So the width will be eight and the height will be ten, 300 DPI. That gives me 70 layers. That'll be different depending on your iPad. Tap Create. All right, so let's just choose the 6 B pencil. We're going to create a scene together where we're going to focus on background, middle ground, and foreground. Having the sizes be smaller as you're farther away, larger as you're closer. So we'll do the sketch together and then I'll show you a little bit of how I start with the illustrating. And then your project is going to be to either illustrate this sketch that we're creating right now in however you want, if you're not doing procreate and you're doing paper and pencil. However you want to illustrate and post that in the project section. Or you can just learn from this experience and kind of practice with this sketch and create something entirely different. And I would suggest making some changes as we go for this sketch anyways. So I just have the 6 B pencil. I'm on a dark color just for sketching purposes. And there is something called the rule of three, or the rule of thirds. I mean, and if you take a canvas and divide it into thirds both directions, these intersections are kind of really great spots to put focal points. Also, anywhere along these lines are also great spots to put focal points. And as you can see, the center is nowhere near those lines. And so to have a horizon line be right in the center, It's just visually, I'm not as appealing in the end. There's nothing wrong with it. You can still do it if that's really where you want your horizon line TB and bat, I'm going to put mine a little higher. So I like to start with a few layers and then I'm going to sketch on the top layer. So let's just go. We don't necessarily need it to be right at the third down the page, but let's just go up from the middle and have our horizon line. We're gonna do a lake scene. So this is the far side of the lake. We're standing on this shore of the lake and that's the other side of the lake. So on the other side of the lake, we have a little bit of a shoreline, right? So we're just going to have a little bit of indication where the trees and grass aren't going to come all the way down to the water. Maybe it'll be a sandy brown color when you illustrate. And not that you have to illustrate in realistic colors. And then let's have it look a little bit like rolling hills. So just a super simple soup up where you could do more of a mountain. And then maybe another one over here. That's a little too curved. So those look a little steep. I'm going to undo that and just do a little bit more of a rolling hill here. Sorry, I need to turn my page. All right, so that's our background and our trees back there need to be small. So you can do various types of trees. But right now I'm just going to sketch little cotton candy sticks full of cotton candy. So I'm just going to do capitalists, small trees. You could even put one like this. That implies it's around up and over the hill. As you get closer down here to this horizon line, they're going to get a little bigger. So maybe this tree is this big. So add as many trees as you want. And then they don't all have to be trees of course. So some of them can just be shrubs, can have weird sizes here, shapes down here on the shoreline, they might be bigger. I would definitely be bigger. So you can come back and these little roundy trees, you can make them however you want. They don't have to be that shape in the end that you can do something like this with it and not have this shape. Once you're done, this is almost just kinda blocking in where you want everything to go. All right. And then our lake is our middle ground. We don't really need to do a lot to the lake. And then down here we're going to have our foreground. So we can just kind of have some ground. It might end up being hidden by shrubs and things. And if you want a giant tree, this is the time to place a giant tree. So you might want to do something maybe with a big branch coming down like this, all the way down. Right? If it makes it easier for you to not have this stuff that's going to now be hidden by the foreground, does come in any race wherever is hidden here. This trees can have covering up a lot of that so you can just erase it there. That's good. I would fix up this little branch here, but this is just a super rough sketch. You can also come in if you don't like to have all of these little lines going through your trees. You can get as detailed as you went with all of that. All right. So we have a big tree standing next to me, really, if I'm standing here looking out at the lake, you could have a shrub. Behind that tree. So maybe there's something coming out over here. Maybe some pussy willows, some sort of deciduous thing, maybe just something with big leaves on it. Remember, everything that's in this foreground is big. It is going to be saturated in color. And it's also going to have all the details. So you're going to have all of your veins on your leaves. If that's the style of illustration you want, not everybody does that. Right? And then maybe there is a shrub down here on the water to shrubs on the shore here. If you put plants coming up from the bottom across the whole thing, it gives the viewer a sense that they are blocked so they can't just walk into this scene. So here I feel like I'm kind of hiding in the bushes watching what's happening over there. And it's not a clear path for me to get there. So that's just something to think about compared to here where I feel like I'm just down the hill and there's nothing in between Ollie and I. So if you wanted to have this look like you could easily get to the water here, then don't have a bunch of plants. I'm filling in this whole space down here. You could have a bench coming up. Definitely have plants overlapping. And these look relatively big because it's kinda covering that lake in a lot of ways. But it's because these are all really close. Right? This looks very messy right now, but it doesn't have to once it's full of color. And you know what, I think I'm almost done. I think I want to just maybe add another shrub here. And that shrub is in closer to me in the foreground. So that tree is kinda behind it. And then those shrubs are behind the tree. You can do anything you want in that lake. If you want to put some floating ducks or a swimmer, just keep in mind that if there's something that's close to the foreground, it's going to be larger. And as you get out, it's going to be pretty small. This looks like it's pretty far away. So a bird might be my, my eraser. A bird might only be this big, right? Compared to here. It might be this big. So you can do anything you want in the water. But I just wanted to do a really quick sketch with you to show background, middle ground, and foreground. You can illustrate this in any way you want and then post that in the class projects, I would love it if you did. I like C and everybody's projects or come up with an entirely different idea for yourself. The stamps that I have, if you, this doesn't have to be water, right? This gosh, could just be a field going up to there and then you could put a tent, put a cabin. Have to be pretty big. Yeah. Get rid of this ground line here. Maybe even a bigger tent. So any sort of action would be happening right there. All right, In the next video, I'm going to illustrate this scene, how I would do it. See you in the next lesson. 8. Speed Painting!: Hello. So okay. Okay. Ok. Hi. Hello. 9. Thank You!: Thank you so much for taking my class. I hope you're excited about what you learned and can apply these skills to any work you choose. Don't forget to leave a review and post a class projects so we can all see your work and be sure to check out my Skillshare profile for links to Instagram and more. I frequently posts tutorials there as well. And right now there's a dandelion tutorial you might like to use for your illustration in this class. Thanks again, and I'll see you in the next class. 10. Bonus Sketches!: Alright, bonus class. I thought it would be fun to just have a couple more sketches, just to have some more practice. And I'm not going to be doing this speed painting for this, but just we can sketch together. So I'm going to turn off that. And I'm on just the six be on a dark color. And I thought we would do one that has a high horizon line and then when that's very similar, but with a low horizon line. So let's start with a high horizon line, kinda like we did in the lake sketch. So it looks like it's close to a third of the way down the page. And then let's get the snail, get this snail or one of the houses or attempt to just get one of the the living units. And we're going to make it fairly small because it's going to be way up here. So it's going to look far away. Not quite that small. I'm going to go ahead and put it on a new layer so I can erase the horizon line behind it. And then we can erase some of that horizon line. Whoops. I'm on the snail eraser. Back to six B. So to help give this a look of being far away, it kind of already does. We need to remember to keep the things that are back here with it smaller than the things that are closer to us. So if you want to go ahead and add another big tree like we did in the last sketch. You could do that or you could do a different type of tree. Maybe. One of these kind of movie trees. You can make up the angle wrong on that. Something really big. That's probably going to take up a little bit too much space. So this would be the little stump here. So just having that up here in the foreground. Remember this is the foreground because it's coming all the way down to this front bottom area. So it's bigger. And that's already giving us this sense of depth, having us be really far away from that little house. So how about another big tree or more? Maybe like a bush. And remember these can be any shape trees in the end, we're just kind of using them as a place marker here. We could even have some. These are just my quick way of doing some sort of little leafy plant here. Back here. Let's skip any mountains. We know that if we put mountains back there, it's going to make it look pretty far away. But how about we put similar trees to this way back here? Making them look far away means that we need to make them smaller. Maybe even smaller than that. Any sort of rocks that you want or grass, they're going to be way bigger up here. And really tiny back here. If you want any more plants like this back here, say on the corner of the little house, they're going to be teeny tiny. And maybe I'm this way and you'll have a lot of details like all the veins in the leaves, shading texture. And on this one, maybe no details at all to let us know that it's pretty far away. I feel like we need some shrubs as well. Maybe a shrub here on the corner and the shrub behind it. And maybe a shrub up here can decide if you want it to be in front or behind. I'm gonna move those rocks a little. Let's go ahead and have it be behind this tree. So it just kind of be coming out from behind there. Maybe it would go like that and maybe some small shrubs off in the distance to all right, I'm going to shrink that down to when layer. And I'm going to turn it down. But I'm not going to turn it completely off. I'm going to go to a new layer. And on this new sketch, I'm going to have these trees that are in the foreground. Basically the same. And this is just to show you how you can get a completely different look with a different horizon line. Maybe I should have just copied the layer and erase some areas. All right, so super rough. I'm not gonna do that, Brock. I might not do this either. So now we have, we're going to try a very low horizon line. So with this low horizon line, that means our snail house is going to be much, much closer to us. I am going to put that on a new layer so I can do some easy erasing. And because it's closer to us, it's going to be bigger. So if you make it about that big, it still looks a little, kind of a little far away. So even with a low horizon line can make it look a little far away. Even with, let's get that horizon line a little bit softer. Even with a small snail house back there. It still gives you that distance that it's far away, but it's more just gives the idea that that house is much smaller and it's closer but smaller. So since our horizon line is so close, I'm gonna go ahead and make a nice big snail house that is going to look really close to us. Now I've completely hidden the horizon line entirely with trees and this nail house. So I'm just gonna go ahead and erase it. We don't need it anymore. Just keep in mind where we had it originally because any trees we add back here, those will will need to remember approximately where that horizon line was. I'm just going to use the selection tool to get that chunk of the snail house out of the way. Because now it is hiding behind the foreground here. Oops. We can merge those layers. I'm going to keep adding. So let's go back to the 6 B and let's go ahead and take a look at what we did on the other one. So we had just some more simple trees and shrubs and a couple of plants right here by this snail house. I think it would look a little too busy if we tried adding another plant in the similar spot has the last drawing. We might be able to do it right here and do a little when. We'll have to see if we can make it look like it belongs to the ground right around that snail house. As far as the background goes on this one, our horizon line was about right at this window. As long as we have things behind the foreground here. So we have the middle ground is the snail house, and all of this is the foreground. So we need to have everything else behind it back there. So you're not going to draw it like this because that would look like it's in front of this tree. Maybe a taller one, tall, skinny one back there. Some sort of deciduous bronchi, shrub might be a nice change. If you want it to look closer to the snail house, you can have it coming in front of the tree here. If you want it to look like it is further back, you would hide the part here and have this tree in front of this twig, a shrub here. So you can see we have a similar look. The foreground is the same, but an entirely different amount of distance being portrayed because we put things really small and far up on this one. And we brought the snail house down and made it bigger. So it looks closer on this one. And then we also brought the background closer because the horizon line is really low. So we don't have that look of having a big field with the horizon line and maybe mountains or something in the back. So for adding color to something like this, you would add. More saturated colors up here, paler colors back here. Fewer details on this. Especially I would do much fewer details on the house than what you see in this stamp. If you wanted to draw some sort of miss, if I'm on the right layer, some sort of path coming from the house, you might just have just some indication of a different color right there to imply a path because it's farther away. You don't want to add a lot of details. This one, it might be a little too busy to do it. But you could really draw an actual rocks like in my example, because it's closer and you can see the details of all the foreground. And that's, that's kinda of our middle ground there. But you can see more details than when it's far away. Details for trees that are super close-up might be a lot more branches that you can see. Shrubs might have a lot of little leaves or little decorations like this, little designing elements depending on how realistic you want it to look or how stylized you want it to look. Shrubs that are farther away probably would not have too much at all, maybe just a couple indications of some other color on them. One of the class projects that I've seen so far in class, since this is a bonus class I'm adding the next day you've already seen some projects, which is great. Is the sketch that we did in class with the mountains suit the rolling hills back there and the lake. And then the foreground up here with what did we have? We had a big tree. This going to hit a color it in really quick. We have this big tree and I think we had a shrub over here. And we have some more plants here. And we did teeny tiny trees in class. And that alone gave this a really big look, like it was a really big lake to cross. When at the class projects I've seen had larger trees over here, larger shrubs. And automatically that gave this lake a small look. So it doesn't look like it's really far away. It looks like a smaller lake. If this line is straight, it almost could look like a river. So it really is just a matter of your own preference. If you want something to look really far away, you need to make it really small. So that was just, just as great as the sketch that we did in class. It just had a different look. And if you keep in mind all the little tips for size and placement, then you'll do great. And let me know if you have any questions. If you're trying to get a certain look and you're really struggling and ticket that. You can post a discussion or if you're in my Facebook group, you can ask me there. I'm more than happy to help.