Digital Abstract Stylized Landscape Painting in Procreate | Delores Naskrent | Skillshare

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Digital Abstract Stylized Landscape Painting in Procreate

teacher avatar Delores Naskrent, Creative Explorer

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

9 Lessons (1h 13m)
    • 1. Intro to Abstract Digital Landscape in Procreate

      2:14
    • 2. Overview and General Discussion

      4:46
    • 3. Sketch and Prep

      9:12
    • 4. Creating the Tonal Palette

      8:24
    • 5. Paint Blending, Detailing and Progression

      12:52
    • 6. lmproving and Finalizing the Composition

      12:31
    • 7. Textural Finishing Elements

      12:33
    • 8. The Final Layout and Mockups

      9:28
    • 9. Conclusion and Wrap Up

      1:22
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About This Class

There are more methods than ever to express ourselves with digital tools. It is simply mind-blowing how we can create truly stunning artwork, and we can do it increasingly efficiently, and with no mess! This class is for anyone wanting to try abstract art for the first time on the iPad. It is geared towards beginners, and up to intermediate painters, looking to design a collection, to increase their Print-On-Demand offerings, or for anyone interested in exploring abstract art purely for fun and personal use. Don’t have Procreate? Many of the techniques are totally do-able in Adobe Photoshop or Fresco! I talk you through the essentials to consider when planning your painting and you can watch me throughout the process of painting at least one, with a review of several different styles I have experimented with.

In this class, you will learn how to use nature as inspiration to create an abstract artwork. I take you through the steps to create the abstract landscape artwork using a reference photo as inspiration. I will discuss composition and design, color mixing, planning your artwork, and I’ll show my entire painting process from start to finish. I will explain my stylized, expressive techniques using a limited palette of colors. Limiting the palette is an ideal way to keep the palette harmonious, so we will stick to an analogous color scheme (which I will explain).

Learning how tonality contributes to better compositions is one of the goals here. This class is suitable for artists with some knowledge of painting in general, but it will also be good information for beginners. Once I have the painting, I will also model how you can “art direct”, as I do self-critiques throughout. I am actively troubleshooting as I go through the class, trying to resolve design challenges as I go. I talk about using other artists’ work as a starting point for design, and give you many strategies for personalizing the style to make it unique to you.

I explore many of the Procreate settings such as blending modes and settings. I will explain the brushes I used in the process, keeping it as simple as possible for your first go. If you are experienced, I hope you can learn a new style from me and perhaps a new approach.  The key concepts I will include:

  •  review of my techniques in creating the initial layout
  •  planning value and tone in my composition
  •  discovery and adventure when developing a new style
  •  approaches you can take in your creative work 

This is a great course for you to take no matter what your purpose for the art you create. Approach this course with a open mind and heart, and you will create something to love! Let’s not waste any more time yakking! Let’s get right to it!

Intro:

This short intro will give you an overview of the class.

Lesson 1 Overview and General Discussion

In this short video, I will show you the work of several artists whose work I admire. Exploring the different styles is a method to jumpstart your process. Throughout the class I will be referring to these and other artists and I have added links to relevant reference in the projects section on the course outline sheet for you to download.

Lesson 2: Reference, Sketching and Prep Work

In this lesson, I will show you how I use the photographic reference. I will take the photograph and use it to figure out the values I will use in the final painting. At this stage, I will finalize my sketch with tonal values for use in the following lessons.

Lesson 3: Creating the Tonal Palette

Creating a tonal color palette is the next step in the process. I will show you how to create and manage the palette and explain the steps I take. During this lesson I will talk about the value scale and how to use it when painting.

Lesson 4: Paint Blending, Detailing and Progression

You will watch my demonstration of the progression of my painting in this lesson. I will explain what steps I take, such as blending and color picking. I also talk about my underpainting and show you as I add details to give more depth and contour.

Lesson 5: lmproving and Finalizing the Composition

In this lesson, we start getting to the nitty gritty of the final artwork. I revamp the entire foreground and you see me starting to add detail with layering of different types of textural brush strokes. I touch on blending modes and give you several other ideas along the way.

Lesson 6: Textural Finishing Elements

At this stage of the game, we start to pull our layout together, and I will add tons of small detail to add textural interest. I explain cutting and pasting and give you workflow tips along the way. I impart as much wisdom as I can about developing a consistent style.

Lesson 7: The Final Layout and Mockups

This is the last step and in this class we will be finalizing our landscape and then looking at it on mockups

Outro

We will conclude everything in this lesson with a chat about next steps.

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Concepts covered:

Concepts covered include but are not limited to the Procreate interface, planning a composition, using a photo as reference, what to look for in the reference, how to plan out lighting and shadows, brushes in Procreate, settings in Procreate, Procreate layers, the Procreate gallery, organizing brushes in Procreate, workflow best practices, underpainting, painting best practices, creating a value scale, techniques with paints and blending, and much more.

You will get the bonus of…

  • an hour and a quarter of direction from an instructor who has been in the graphic design business and education for over 40 years
  • knowledge of multiple ways to solve each design challenge
  • handouts explaining key concepts
  • a list of helpful online sites to further your education into surface pattern design.

Meet Your Teacher

Teacher Profile Image

Delores Naskrent

Creative Explorer

Teacher


Hello, I'm Delores.  I'm excited to be here, teaching what I love! I was an art educator for 30 years, teaching graphic design, fine art, theatrical design and video production. My education took place at college and university, in Manitoba, Canada, and has been honed through decades of graphic design experience and my work as a professional artist, which I have done for over 40 years (eeek!). In the last 15 years I have been involved in art licensing with contracts from Russ, Artwall, Studio El, Patton, Trends, Metaverse, Evergreen and more.

My work ranges through acrylic paint, ink, marker, collage, pastels, pencil crayon, watercolour, and digital illustration and provides many ready paths of self-expression. Once complete, I use this... See full profile

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Transcripts

1. Intro to Abstract Digital Landscape in Procreate: Hi guys and welcome. My name is Dolores now sprint and I'm coming to you from sunny, Manitoba, Canada. This box is the first that I've done using Procreate. So I hope you enjoy. We're going to be producing the landscape. And it's going to be kind of a stylized landscape and producing a series of bees for art licensing. And I just thought it might be fun to go through this process together. If you don't have co-create, you'll be able to do exactly the same thing in whatever pete program that you use. It can be fresco, affinity or even Photoshop. The concepts I'm going to teach you will take you right from the very beginning, planning stages, right, to a finished illustration. I'm going to give you so many different ideas. Your head is going to be swimming by the end of it. The first thing we'll do is research the subject. We're going to be looking at a few different artists to get an idea of the kind of style that you might be aiming for. Then I'm going to take you through and we'll use photographic reference to create a sketch. From that sketch, we're going to block in different values on a monochromatic color scheme. So you'll be learning everything to do with value that will go from very light to very dark values to produce a landscape with a lot of dimension. Then we're going to be adding a bunch of detail. I'm going to be taking you through and showing you examples again. And we'll talk about some best practices for adding layers and adding textures during the process will definitely be exploring Procreate brushes. And we'll talk about contouring and adding dimension to make you laugh can't really interesting. By the end of the class, you should have finished illustration For at least know how to put one together. If you heard about this class through an e-mail, thank you for having hit the Follow button in the past. If you haven't done that before, this might be a good time to do that. So just hit that follow button and you'll get all of the information about my courses as I released them and any other offers that I might have. Are you ready to get started? All right. Let's get into it. 2. Overview and General Discussion : Guys, welcome to Lesson 1. So less than one here we're gonna do some research. We're gonna take a look at some artists that I feel are a really good influence. Jennifer Lamar, Claire breadwinner, Jane Newland, and a few more. Okay, so I think I've mentioned it before, but to him, I recently got a new agent, so I've assigned, I guess, but a month ago during all the hectic moving kind of stuff that was going on. And one of the things that this agent covers that the other agent did not was surface pattern design. And specifically one of the things that she's asked for is landscapes to be used for puzzles. I haven't done a lot of landscapes in the past, so I did a lot of research trying to decide on which direction I might go style wise. So I will actually walk you through a little bit of what I did as a process for finding what's my style might be. And one of the things I did was go to Pinterest, of course, and I searched for abstract painting, landscapes. I also did the same thing. Just looking by going to my browser and typing in abstract painted a landscape here as well. And just kind of browse through what I saw come up there. I really like this kind of a style, but I wasn't sure if that would be enough detail for puzzles because one of the things that my agent did say was as much detail as possible for a puzzle. So, you know, it kind of was shopping around for, I guess, for different techniques or ideas for techniques. And I somehow landed on a couple of artists that I really want to share their work with you. One of them here, Claire Brahman are also teaches a 100 Skillshare. Ironically, the actual traditional painting. Her classes are definitely worth taking just for the sheer information about techniques and just general sort of information about abstract painting. So she was one of the ones and another one was Jean Newland. I really liked her kind of work. This went super, super stylized and a lot of detail. So it could imagine doing this as a puzzle. So between her and Claire, some of the big work, figure thumbnails of her work. She's an artist whose style has really evolved. So it was a really good exploration, seeing all the stuff that she's done over the years. I watched a quick video of her featured on a talk show and she really talks about how she progressed over time. So that was a real good eye-opening experience of actually put the link in the course materials so that you could go and take a closer look at fiscal style. Looking at other artists and how their work evolves is a great way to think about how you want to progress through your development and process. And one of the things I do when I'm in my browser, just to let you know as I click on Tools here and I go to size and put it on large. And then that way, when I do get these thumbnails here, they're really great focus and you can really see the detail. So anyways, I ended up saving a few of these to my Pinterest board. And when I was looking at those other two artists, I also came across this artist chance lean. So chances work is also something that is really appealing to me. So just kind of looking at styles here and trying to decide on how I was going to do my work. And then I just went for it, got on my iPad and started experimenting. So what this class is going to show you my process to produce my submissions for possible use as puzzles or other surface pattern design applications. Maybe something like a flag or pillows. Who knows? I'm still at that submission stage. So there's no way of knowing which way this is going to go. But I thought this would be a great way to share that whole adventure of trying to find a style or trying to develop a style. So in the next lesson, I'm going to talk to you about the sketching and preparation that I did. So I'll see you there. 3. Sketch and Prep: Hey guys, welcome to Lesson 2. In Lesson 2 here we're gonna get some photographic reference and then we're going to start our sketching and preparation work. Let's get right into it. So before we get into the actual initial drawing in planning on my document on the iPad, I am here in my browser just to give you some ideas of what it is that we're attempting to do. So the important thing we are going to need is to find out or figure out the tones in our painting. I'm probably gonna do it pretty much monochromatic for this first one just to be able to really hit this point home with you. So I found a couple of really good references and I've added these to the course materials. And this one I think was the best one to illustrate exactly what we'd be doing. So we're going to have a photograph. We're going to take a look at it and we're going to break it down into different areas of tone. So this area is a very good one to show as an example, this is the kind of thing I would suggest you look for, especially for this first project that you do. And that's something that has a lot of different tonal values. So you could pretty easily count about 10 here. I'll show you the breakdown and you can see the different values have been really isolated from the detail. So It's very easy to get caught up with a colored picture and think, oh, this color is gorgeous and nice, should add that color. But if you break it down to the tones, you're probably going to be able to do this project fairly easily. I actually do this with my students in high school and we'd create the value scale. So we would do the mixing of the page. We'd have sort of a middle value, white and black and do all the mixing in between. And then I would get them to trace the photograph and show all the different areas, all the different tones, and then number them based on their value scale. Then use the scale as the guide for PTH. So that's exactly what we're gonna do. This is kinda cool, even doing it just the dark and late, reducing it to be absolutes. But I guess it's the most relevant examples. So this is how we're going to work at. I'm going to go into Procreate right now on the iPad. And I apologize in advance if you hear any noise in the background. We still have builders here working on the other end of the house. I'll also apologize because it's the first time I've done this kind of a setup here and so I'm not sure how well it's going to work out. My sound is probably different because I'm using a completely different sound input device. Hey, how your are some of the photos that I was kind of thinking about are considering for this project. And the main thing I was looking for is areas of different values. So here, there was a lot of dark and light medium tones. Some really good ideas about how to compose my artwork or lights to that one. This one also, because it had a lot of different values that I could kind of make out. I decided against this one, had an a why. And this is the one that I ended up choosing for this particular project. I really felt that this one was good because it had a real Like a light source from this end, some really bright, bright areas and some really dark areas. So this is the one that I ended up choosing. So kinda as a fun exercise, I took it into the Photoshop Express app and I experimented with changing it to straight black and white. So a lot of different choices here. Now, I did this so that I could really take a look at the values. And if I had a working printer right now, I would have this printed out to use as a reference. I don't have working printer, so I've kind of ignored the part of the process, but this is something you could easily do in Photoshop. Anyway, I ended up taking just my color photograph. I could have saved this one, but I thought I would show you just what the color photograph and I'm going to take you into Procreate now and show you the steps that I've taken. So I generally don't recommend tracing because you can get really lazy and not do your own drawing. But I figured for the first time at this, it wouldn't be a bad idea because it could help me to really show you the different areas of value more easily. And then some of the changes that I would make in order to not break any copyright laws here, I'm going to be making quite a few changes to this, but I started already by tracing some of the areas of value and maybe some of the things that I would include in my final. So you can see here this is a very dark area in here. We've got kind of a medium area in here, lots of changes in value here with these trees. I know that I want to include a bunch of the tree trunks and things. So I've just chosen a soft pencil from the sketching, this six B pencil. And then I was just quickly going through them black and roughing in some of the things that I would want to include in my final. So I went through that whole process. I'll show you the finished sketch that I ended up with. So you can see from the original photo that I eliminated the lamppost. I've made this tree a lot bigger. I'm going to add, I think something like rocks or bushes in here just to break up this area in the frontal little bit. And I've started to actually draw out some of those different values. So what I did is I reduce the opacity on this image. It's locked at the moment, but I'll unlock it, hit that little n. And you can work on reducing the opacity. So this would be probably a good spot to have had that black and white picture because reducing the opacity, I would still be able to see my values. Now that I've reduced it, it's a little bit harder to really make out the different values, but I think it's going to work for me. So let me just go through and darken up some of these areas or show you the different areas that I'm seeing. I'm seeing a really big area of dark ID here. So I'd probably kind of draw that in. I would definitely show some darker areas where there's overlap. So you can see here that at the moment I'm on the wrong layer, That's why I usually go through and lock. So I'm going to undo those few little lines that I drew. I could tell it was on the wrong layer because there wasn't a pure black. And that's because I have the capacity reduced here as I'm going to lock that layer and go back to my sketch layer here and just kind of ruffians some of those little areas. I think what I would do is this area down here, I would probably do quite dark course that whole area in here and in behind here. So usually at this point what I start doing is I start to kind of scribble in these areas of light and dark to select can sort of get an idea. So I went through and did all that. I'm going to hide my image at this point. And you can see what I'm starting to plan out. And at any point you can turn off your reference and then just decide on areas of dark and light that you might want to have. Like, I think I'm going to want to have areas in here darker, differently under or wherever there's kind of an overlap that would want to go quite dark. And then what I did, just to be able to illustrate this to you a little bit better is I actually went to a different brush completely. And I started to add really deep areas of shadow. Doesn't really matter which, which of the tools you use for this, whichever one, whichever brush you find gives you that dark. And what I like to is that if I don't press too hard, I can get changes in value. So this one is actually a pretty good one that's soft pastel. Similar. Figure out which one that was though. Well, let's stick with that pastel. It seems to work the best. So I'm going in and I'm actually sort of planning in my changes in value in these areas. And you start to get the picture of how your lighting will be when you are doing your painting. So this makes a great reference what I usually do when I've got them all together. I put those into a folder or a layer by themselves. So you can do that by grabbing and moving it and stacking it with another one, and then that will make a new group. So put it back. This is ready to go. And what we're gonna do in our next lesson now is to start planning our colors. And we're also going to narrow down our choices of brushes, and we're going to make a new set to house those brushes. All right, so I will see you in the next lesson. 4. Creating the Tonal Palette: Hi guys, welcome to lesson 3. So in Lesson 3 here we're going to be creating our palette. We're going to be sticking to a monochromatic color scheme. And I'll explain all the details along the way. Let's get started. Okay, so the first thing we want to do now is to create a color value scale. And I've chosen kind of a teal blue for this particular illustration. So I went to my color picker over here. Now you can use either this classic kind of color picker or you can use the disk. I usually use the disk when I'm picking the initial color. So let's say this is the approximate color that I wanted here. Then you can easily pick the values from here. Although I find it easier to pick the values on the classic color picker, because you can see at a glance, pulling it this way will give you the darker values. Pulling it this way it will give you the lighter values. You can add more white and you can add more black. So it's a really great way to create that value scale. That's exactly what I did here. So I would pick a color than I would click down here to create the swatch. And then I was able to reorder these, hold on it and drag. You can actually stick it in wherever it needs to be in your scale. Now, obviously I had pretty much that color. So what I would do is just click on this and hit Delete. And I think I'm happy for my purposes, I've got everything I need. So you can see here that I have actually created some swatches here that are just gray values. And then I've got six or seven different shades intense the color. And then I thought my pure block. So shades are anything that have block added, tense or anything that has a white added. Now I am ready to start my paintings. So what I do generally is I lock these layers here. So we'll go through slides to the left, and then I choose one of the values and I start painting. Now another thing I do to make it easier is I bring these above the layer that I'm going to be painting on. So I would add a layer and see here that it's completely separate. And then I would begin blocking in my different values. So it's up to you whether you want to start with the lightest values, whether you want to start with the darkest values. I've got my palette here. By the way, I was able to name that when I went into the palettes here, you can just double-click on the label. It says untitled and I renamed it. And when I go back to my color pickers, whichever one doesn't matter, the palette will show up here. Now I'm going to clear all of these. There was another project I was working on that I had those and yeah, so I'm just going to start blocking in my areas. I find it easier to block in the darkest areas first. So I think I'm just going to start with basically my darkest other than block. So I'm going to save black for the end. And we'll start with this one here. Now the other thing that I like to do is to make a folder and put all of my brushes that I'm going to use into one group. So the main brushes that I'm going to be using, and these are just default brushes here, right? In Procreate, I am going to use the Nikko rule brush, which is one that has a beautiful texture. So I'll show you here. It's got a beautiful built-in texture, okay? And I'm going to use that for a pretty large percentage of my painting here. So I'm going to add a new group. So the way you do that is you pull down over here and you can see the plus sign here. Now, I'm going to call this custom, and now I can start adding my brushes. So for now we'll just add that Nikko rule. You can just hold the brush and drag it over and you can see that it's a plus sign, so it makes a duplicate of it in this folder, make sure that you're holding. And then when you get to the custom set over here, make sure you hold until it opens up and then you can drop it in there. Now if you go back to the painting set here, you'll see that the original is still here, so it made a duplicate, and now we're ready to start painting. So we've got that darkest and value. And again, I'm just going to do this pretty roughly almost like what I did originally here. Because at the moment I'm just blocking in my color. So decide on the size of brush that you want. And with these textured brushes, depending on how hard you press, you're filling in more of the texture. So I'm going to go in and I'm gonna do this area nice and dark. Kind of medium, dark. My brush a bit smaller, put some dark in these areas. And I do want to put a couple of I guess I'm going to make them bushes and a little bit more rounded and kind of palling that dark. Wherever there would have been kind of a shadow or where I'm envisioning a shadow. Remember my light source came from this angle. If you go back to the photo and take a look at it, Let's unlock that and make it full opacity so you can see, I'm dragging it so I can move it to the top. You can see that it's quite a bit lighter in this area here. So you can see that the shadows are on the left-hand side. So that's what I want to do whenever I'm planning my light and dark areas. Okay. So let's just hide let's lock that again so I don't accidentally color on it a locket. And I'm going to keep going with this darker color on the right layer. And then it gets me be a little bit in here, will get smaller in here along this edge here. And I'm gonna go to my next value, which is this one. Wherever I wanted it to blend, I'm going to kinda pop some of that in there so that I know when I'm going and doing my final painting, that that's what I had intended because I'm going to be turning off all this reference when I'm doing the kind of final work. So at this point, I'm just giving myself clues. I guess you'd say that when I am doing my painting, I don't have to refer back all the time. So you can see that I'm going to be slowly building up from dark to light. I think actually this one would be wrong because I've got that the opposite of what it should be under sample that color. That's another way to grab your color by just holding your finger down or your stylus down on the color that you want. And I'm going to put out on this side here. And then actually I'll go to one of the lighter values. No, I'm remembering that I'm doing it. So yeah, I'm just kind of giving myself these areas of shadow so that when I'm doing my final, they're all there. They don't have to really think about it too much. At that point, you'll see how helpful this really is when you're actually doing this painting for yourself too. Now, you wouldn't have had to do this. I find it's helpful to have it, but you can also just be working here by sliding these over. I just find it's usually a little bit more consistent when you've got the different swatches to work with them, which was I was probably on this one, but I'm now going to switch to this one here. You could picker slowly, you're starting to get the picture here. If I was to turn off all my reference, you can see that I've got some of it started as far as the planning. And after you go through and do a bunch of it, your layer will look more like this. So that's pretty much the next stage where we start adding a little bit more of the actual detail and get these to actual him look like trees. So this is pretty much the end of the preparation. And the next lesson will be all about adding the dimension and textures to our actual components or actual composition. So I'll meet you in that next lesson where we're going to do that. 5. Paint Blending, Detailing and Progression : Okay, So this is where we left it at the end of the last lesson. There's a couple of things I want to start with before I go into my detailing. And then one of the things I'm gonna do is switch to doing a screen recording. So you won't see me in the way with my stylus and my hand. And that will allow me to go sit in a much more comfortable location for a bit. So what I wanted to actually show you is putting in a background. We could have started with that. So what I want to show you is the base layer. I'm going to go into my gallery here and show you the other one that I did, and I've already flattened it. But I'm sure you can see peeking through here is a lot of kind of a darker tone that I used kind of as an underpainting. So let's just quickly go back to this artwork and we'll do that here as well. So as long as the layer is below the one that we're working on, I'm going to hit this layer 4 I add, and that puts it correctly where I want it. Let's just hide this one for now. And I think I'm going to still use that Nikko rule. I hope I'm pronouncing that right. But the Negro rule is a nice one. And then we're going to use a bit of a blender. So this would be where I would be adding other brushes to my custom set. Now the reason I do that, create that custom set is that usually for art licensing. If I'm gonna do one of these, I'm going to do 10 of them. So it's just really handy for me to not have to be constantly going into these different categories to find what I want to have everything right where I need it. So let's go back to our darkest tone here. And what I often do, I think pretty much always do really, is an underpainting that mixes a lot of different tones. I find that that really just adds a lot of interests. I'll give you a little bit of a demonstration with another recent in minutes so that you can see how underpainting can really affect the overall appearance after you add the other detail layers. So I've got that color laid down and it is a bit annoying at this point to be going back and forth and opening up this palette. So what I like to do is grab it here at the top and just drag it out with so it's really handy. So then I just kinda work my way around. Sometimes I add a little bit in the middle, but I worked my way. I'm usually dark to light, dark on the outside and then working my way into light. This can be done in so many different ways. It's totally up to you, but sometimes they go a little bit more neutral with the color. So I add a bit of grade and I basically tried to cover most of the white. You don't have to be perfect with that because we're also going to do some blending. So what I like to do for blending is I like using my oil paint. I've got to oil paint brushes here. I've made this one here by duplicating this one and making some changes to some of the settings. This class isn't going to cover brush settings at all. What I do is, like I said, hold down and drag it into my Custom Category. Sure, you wait until it opens 0, 1, and delete. There we go. And I like using this one for some of that blending because it does this great sort of pulling of one color into the other that I just, I really like. If you do take a look at the classes by Claire Bruckner that I mentioned at the beginning of the class. You'll see that she does this and she doesn't ask quickly, if not more quickly than, than I am here, and it's really a neat effect. A lot of times in fact, she has some of this showing as the main part of her image. So it's a good thing you can learn by taking a look at somebody who is just a really great acrylic painter. So you can go in and do some really neat stuff here for this really bright hue as well. So I've got a little bit of that now put into the background. The other thing you can do is you can use your blenders and let's just close that pellet off with the blender. You're picking the brush. And again, you can pick in any brush category. Let's just try the stain blender. I don't think it's one that I would use, but we'll just try it, get it really big and it's neat. I mean, it's not what I want for this, but you can also of course, go back to the exact brush that you've been using. So I could go to the Nikko rule or I could go to the oil paint or maybe even one of these brushes for blending. And that can even brings another dimension of texture and interests. So remember that this is going to be in the background behind your painting anyhow, for now, when we show where a painting you can see now how that background color, it's really affecting what you're seeing in the foreground. So now I'm thinking that what I wanted to lighten up this central section a little bit more. So I'm going to do that. I'm keeping in mind that I did have that really light area and the light source coming right across and then a dark area kinda coming right across in my original. So let's go into our values here for like a mid-tone and I'm going to switch back to that Nikko rule. So I'm kinda lightening this up. And then I'm going to sample that color and maybe darken in the area in here. That's probably a little bit too perfect, but let's turn this on because you can be doing this working on this layer while looking at this layer here. So keep that in mind because now you can see I am coloring on the right layer, the background layer, but I can see how it's going to work in conjunction with that foreground layer. So I think I'm going to go in quite late. So I could go to one of my lighter values here. I'm going to go in kind of light over here because I'm keeping in mind what this picture had, sort of had that big light area, lots of light around that tree there. So let's go back to the layer. Turn that off. And I'm going to put it a bit late in here. So I think that's a decent enough for me to start doing my time-lapse of the detailing. You'll see me work with the same brush and I'll be doing a lot of adjusting as far as size goes. And you'll see me flipping back to my reference frequently in order to really get the idea correct. And then you'll see as I worked my way through my time lapse. The progression of detail. And then you'll see a lot of the blending. But I do, in order to get it to look more like that gallery image that I had saved. So this is kinda what we're aiming for. This is what we have right now. So Let's go take me a little bit of time to do this. So I'm going to go and get comfortable. So we'll start to hear what I have is a bunch of the larger areas. I've turned my outline back on so that I can use it as a guide as I'm going through and drawing here. So I'm kind of blocking in all of the trees. Sometimes what you see is an I go past the line that I need and then I go back with something in the foreground to just smooth out the extra little details that I've added. So I can overlap a tree trunk right into the foliage and then go back and lighten up or draw over at the edge of the foliage to clean up my edges. Sometimes you see me completely paint over something and you're probably thinking, why would she do that? But a lot of times it's just easier to have the big solid background and then come in with the foreground elements that are either lighter or darker. And you'll notice that I've got most of the foliage highlighted on the left-hand side and a lot of the tree branches. I will be doing that too as well. Well, here's an area where I've gone past the edge with my tree trunks and then I just clean them up by doing the foliage over job. And as I'm moving along now I'm adding more and more detail, more and more branches. I'm blending a lot as I go along. I'm blocking in a lot of this color right now in the background. I could be waiting and then taking a look at watch. My other background layer has, and it might be sufficient. Sometimes I actually just flatten the two layers together at this time and then go in and do all this extra detail. So it's really a question of workflow and how you like to work. It's actually moving a lot quicker than I thought it would. Mainly because I've blocked in a lot of the main colors in advance. So here in there you'll see me going back and putting these highlights on. Playing around a little bit with my negative space. They are around the trees trying to decide where I want the blend to be between light and dark and how I want the light to be hitting some of these trees. I'm adding depth by adding more and more trees in between the bigger trees. And note that having them different tones gives a lot more depth. So darker ones later wines, just a variety so that it really looks like some of them are further away. If I want a really straight line, I start the line, draw it the full length and then hold it. And that gives me a perfectly straight vertical line. It's really starting to look like a forest, I think. Trying to decide where this power should go. A kind of eliminated the road that we saw in the main photograph. I think overall, I'm ready to think about my next steps here. Okay, so taking a look at this now, I think I need to stop and just regroup for a little bit. I'm going to add that background in there to get a good idea of how my depth is looking. And I want to see how this path is looking. I may add some more foreground items here. I'm definitely to work on these little bushes. I think overall I've captured that depth I was looking for and a lot of dimension here. So I'm gonna take some time off camera to do a little bit of that work and I'll come back to you in the next lesson and show you what I've done. And then we'll probably start talking about the detail work that we might want to add. So looking back at my other finished one, what I want to do in the next couple of lessons is talking about all this detailing that I've done and added in order to really enhance the final look of it. Alright, so I will see you in that next lesson. 6. lmproving and Finalizing the Composition: So we're at the point now where we're going to be really adding some of that really interesting foreground stuff that's going on. Let's get started. Okay, so I have stopped to take a look at my painting here. I actually took a break overnight and really looked at it this morning when I decided to get back into my recording here. So what I did is I went in and took a look at my reference again. And I can see a few things that I want to change in this area. But the most important thing is wanting to change what's happening here in the foreground. So I've just quickly, I've thrown in a little bit of a sketch here and actually even blocked in a bit of the color here. So I'm going to be adding a bunch of shrubbery, I think in the front here. I probably will make some rocks in amongst this as well, and just some general kind of overall changes to the way this looks. So I'm going to do another time-lapse where you can watch me as I go through the process of making those changes. And if there's anything important, of course I'll do a little bit of a voice over with it, but I thought it might be fun to also show you a little bit of stuff that you can do with that underpainting that you have. So This is the underpainting. I've made a duplicate of it, so I went onto the original layer, hit Duplicate. And I want you to just take a look at what I've done here with blending modes. Just to kind of take a look at how that might add to the overall interests of what I'm doing. So if you've never played with blending modes, this is the best time to do this. You know, to take a look at something like this and ask yourself how you can improve your overall texture may be or your color. And what I did is I basically put that over top. Let's just take a look at it with nothing. So this is normal. This is just how that finished background looked. And then you can start at the top and work your way down. And of course, some of them are really, really dark. And that can be adjusted afterwards using your other adjustments like Hue and Saturation and Brightness. But just work your way through these and just kinda take a look at some of the really cool things that you can do just with that blending of that one layer. So what I ended up liking the most with the soft light, but also I did like the way multiply added so much of the texture. So multiply would be a good one to experiment now with the layer adjustments. So let's say we go into hue and saturation, and of course we want to do it on the layer. So I've got the wrong layer selected. Yes, I do. So select that and then go to your hue and saturation and brightness for your layer. And take a look at what the adjustments do. And look how fun it would be to experiment with some of these other hues with that overlay. I mean, that's kind of a really neat color scheme too, especially if it was saturated. So that's something to experiment with. So I'm going to undo that few taps here, bring it back to normal. And I just wanted to show you another blending mode that was really cool and that was different. Now, it's really dull here, but right now I only got the opacity at 43 percent. But look what happens when we increase the opacity. And you can see how absolutely interesting that is with the difference. Because what that does is it combines, I can't remember exactly. I think it gives the opposite of whatever the color is. So that would be a perfectly complimentary color and then it mixes the two in spots. And I really loved how this light was kind of peeking through here in the back. And of course, you can still go in to your adjustments. Brightness or darkness. Experiment with a saturation, experiment with the hue. So I really quite like that one that would definitely be interesting. And I think we'd need to do some more adjusting of the values. But what we could do is then combine the two or three layers that we want and do some adjustments on them as they're combined. So I'm not even sure how I'm, what I'm going to end up with here. Let's try actually curves. This is why experimenting is so important because who knows what you could discover here? Your look could be so affected by this, but it could be what makes your technique different, even if you've been looking at another versus technique, doing something like this could change everything and make it absolutely unique to you. So I just want to share that. I'm not even sure which one I'm going to use at the very end of my project to decide on the look that I want. But for now, I'm just going to work on that overall composition. When you go back to normal, I'm going to just delete that layer actually because I don't need it at this point, but I know now that I have that in my back pocket to really add to my finished piece. Now you're just going to see a time-lapse as I go through and complete my painting. This very first thing that I'm showing you here is actually you racing out of the foreground to show that background layer. Now, I personally have chosen not to do it this way because I want to have a nondestructive methods. So I'm going to be using layers. But that's just to show you that that's one of the possibilities you could experiment with. So here you see my sketch that I've just kinda roughly did. I'm going to add a few more items in and just kind of get myself ready for that next stage. Here I am just experimenting a little bit with putting path in there. Kind of changed my mind there. And I'm adding items in the foreground as well as in the middle ground to just kinda continue that theme of forest. And now it's going to be kind of like a forest clearing, if that makes sense. So once I've kind of decided on my components, I go through and just quickly fill in the color like I did with my initial painting. I'm still using that Nikko rule brush. And of course I'm putting in as many of the tones as I think are necessary to give that 3D effect or the contouring on these three-dimensional items. Once I've kinda got a blocked in, I'll hide my sketch. And I really want to encourage you to do a live experimenting when you're first trying to come up with a style. Or trying to figure out your signature style. A lot of times it takes a few pieces before you're truly comfortable with the way that you're putting stuff together. So part of developing the style is developing your color sense, developing your sense of adding tonal value and awful just the way you compose. And I didn't know point how different this wise than my initial really simple red one that I showed you. So I'm still trying to work out that style for myself. It definitely does take time. And you can see here sometimes I'm kinda experimenting myself, how I want my shapes to be. Nothing is written in stone, right? You can always change and make adjustments. You're the artist after all, it's up to you. So use your intuition. You'll know what it feels right and looks rate. So now just like I did with the first part of this class, I'm showing you just the finishing of the shapes, just tightening up some of that line work or outline work and putting in a whole bunch of a deeper shadows and highlights. Now what I'm doing here is getting rid of all of the extra layers because I'm now going to be adding layers. So I have limited amount of layers I can have. So at this point I'm completely done with the reference and the dope Brian's and all of my sort of pre-planning. So I'm going to start with some of my detail work now. So I definitely go through and rename my layers in a way that makes sense. And of course I'm referring back to my initial artwork because I'm still trying to, like I said, be consistent with how the two Look. I'm planning a series here so I want them to ball up like they relate. Now you'll see here in my brush set that I've added a few new brushes to work with. I've got a brush or two from each category. I've added some of these textures and flicks, paint flecks. I think burnt bark has one of the other pressures and one that I really like called gasoline. I hope I'm pronouncing that right. You'll see me use them each. And you can see that I'm adding additional layers just to be sure that I don't do something destructive. So here I'm looking back at my sketch, looking at those circles and stuff and deciding on how I want to go about doing them. So at this point I'm just kind of feeling it out, trying to decide where I'm going to put my textures, what exactly I'm going to do. So try to stick with that kind of original look that I had keeping in mind all of that kind of research that I did, what some of these other artists are doing without copying, of course, trying to figure out my own way to do it so that I get kind of that same feeling. So for now, my first attempt, of course is just very simple lines, circles, that sort of thing. And here I'm using one of the calligraphy brushes actually to do some of this detail. Now I'm going to experiment a little bit with a round brush at about it to my set. Then here comes out by gasoline as well. So this Vaseline is kind of lines sort of like what the scratch board rake would do. So usually put them in fairly boldly at first and then at the end, you'll see me going through and using my blending tool to just kind of soften them up. For my smudge tool. It's hard to know exactly where you're going to end up with this. Sometimes it's too much. I definitely have had that situation and that's one of the things that's great about the layers is I can pick and choose which things to keep or get rid of. It's good to experiment and look at all of the brushes that you have available here in procreate. I am not using any purchased brushes in this class just so that you can really get an idea of what you've got available. And remember, you can go in and make some adjustments. I haven't done very many adjustments. I did a little bit on that Vaseline to spread out the lines a little bit. Then I did a little bit of playing around with Hey, Moses to see if towards the end of this project I might employ some of that. And I did reduce the opacity on that layer a little bit. Going back and looking at my reference, my own work is a really good way to just sort of bring myself back to Earth. And sometimes it's just a way to make me think of what I've done in the past that has worked. So here I'm just kinda experimenting with lightening up that whole section in the middle. There wasn't too sure about that, but I was glad I experimented. This is another thing I've done in the past. I've got a lot of these kind of things in my bird colonels where I've taken and placed a foreground layer and blocked out some areas of the image. And that can be a really fun effect. So I just wanted to quickly show you that. And this is definitely not something that I'm going to use in this case, but it's just something for you to, to think about. You'll probably see actually a lot of artists if you go on Pinterest. There are a lot of artists who do this, who do a lot of detail work. Not necessarily as representational is when I've gone here, but then they go in and make changes on that background to work with the shapes that they've done. So I'm going to take a bit of time again off-camera. I really need to just kind of focus and think about this. And it's a little bit hard to do while I'm working and giving you play-by-play. So I'm going to take a break. I'll wrap up this lesson right now. But at the beginning of the next lesson, I'm going to show you all of the different things that I did to bring this all together. So I'll see you in that next lesson. 7. Textural Finishing Elements: So in Lesson 6 here we're going to be adding all of that little detail that makes this kind of painting so interesting. We're going to definitely be working on items in the foreground. And I'm going to be giving you as many ideas as I can think of. So to get some ideas on what to do for some of my detail work, I went back to my reference and took a really close look at some of the work that I have put into my Pinterest board and investigated. I did suggest to you that you go to this class. There's a few boxes with Claire and she shows all kinds of methods for adding her detail. And when you really look at it, close slug of it is just simple mark-making with brushes. You can see I would say this is probably earlier in her work where she's kinda transitioning from a little bit or reality kind of painting to some of this mark-making. And then where she kind of landed there with all of this texture. And she explained it in that texture that I was telling you about. She said she kinda started working in this direction. And then as she progressed and people started buying her work, she started to get a lot of permissions for this kind of work as you sort of just drifted into that style. So that's how it often works for artists. We don't really know where we're going. We just somehow get there. Here's one with just a ton of detail, so fascinating. Now I've got a couple of artists that I also check out that I have found my surface pattern design board on Pinterest. So Helen guarded because one of them. So if you were to go to the board, my Pinterest site is Dolores. Dolores non-aspirin. And I see a lot of Helen dark here at the top, but I definitely have other artists here as well. These are just a great way to find some ideas for your mark making. Remember gene Newland, I ended up at the beginning of class and she does a lot of just really repetitive, simple marks. So if you were to look at them real close, you would see a lot of little tiny petals, little leaves and that sort of thing. And St. Clair, if you'd looked at it really close, you can see a lot of times we'll just put these little leaves in the foreground. And when you see them from a distance that definitely just give you a full textural feeling for the artwork. So my other board that I would suggest you go to is my art inspirations board. I've got a bunch of those pins recently at the top. And if you go through my whole board here, you'll see tons of different ideas for adding texture and mark-making. Now this is another artist that caught my eye when I was working on this project, and this is Jennifer Lamar. So I've looked at her work. A lot of what you see. I'm sure you've seen this. I've seen it a lot, this particular style. But she does a lot of these leaves and branches and blocked out areas of color in the background. But some of her other words reminded me of clear parameters with all of this texture work over the bold color. Some of these, I wasn't even sure, like they look to me like they could be stamps or maybe they were painted on. This reminds me I've seen this because this has happened to me before where I have used stamps in the work that I'm doing. And you get these kind of. Deeper colors around the edges and the color in the middle is kind of lifted off when you take the stamp off. So I wasn't sure that was really fascinating. This one to me. And one of the things I really liked was that she would lay down that color and then sometimes go back and add P to details around them. You know, if I can find a section here at this point. But it looked to me like she was going back and PT with a darker color here, if you can see that. So with that stamp you might have been underneath. And then she went back and did some bold areas of color around the stamps. So there's another completely different idea. So I'm gonna take you into my piece now to take a look. So let's just take a quick review of the different things that I've done. So first, there's that background layer that I did. So I would call this the underpainting. Then there was the painting itself, the addition of the foreground items here. Then that first details layer, second details layer, not much of a change there, my circles and lines, and then finally, all of my little details. So I'm far from finished here. I've got all kinds of little things that I've added. As you can see, I'm experimenting with different brushes, different looks, different layering. I'm experimenting with the colors and how they're blending. I'm experimenting with different brushes. So I definitely have some here that are just straight acrylic brushes. I've got some special effects brushes, which I found in the organic category. So I tried this twig brush. And the brush actually tried this one out too. I thought that was kind of neat. It's not something that I'm going to use. But let's put this on a separate layer. This one is just kind of leaves. I don't know if you can see it there. So it just kinda give me ideas. I don't think I would use this particular one, but it's just obviously something that you can go and do is create some stamp brushes of your own with textures that would work. And what else did I think I put a couple in here. I had showed you that newsprint, one which is the dots under luminance, I had found this bokeh. And what that does is those kinda of out-of-focus dots. So that was another one I was experimenting with. And really, it really is all about at this point going through and trying to figure out that look that you're after. So I'm going to continue with this and add more detail here in there. So now I'm finding it's really hard for me to do and talk at the same time. So I'll probably do most of it off camera, but I just go to the layer that I'm working on, grab the brush that I'm interested in. And in this case, I'll go back to my custom set that I've put together and I've done this to help me become more consistent so that the next one I do, I'm using all of the same brushes. The script brushes, the one that I was using for these kind of little branches and trees in the front. And this is a good time to go and take a look at some of the reference. You've got to come up with mark-making ideas. They don't all have to be foliage related. And something like this might not have been a bad idea for me to put on a separate layer so that I could then play with blending modes on it. So let me just do that. I'll take my selection tool freehand and just trace that three fingers down, cut, make a new layer, three fingers down to paste. And so here I could experiment with blending to see if I find something that I like better than just the straight, kinda like that soft light. It's nice to, you can reduce the opacity of the screenings. So those are the kind of things that I would now be doing to add the detail here. So I will continue doing that. I'll do that in a time-lapse. And then I will give you a voice-over for any of the other changes that I make now. All right. So here I'm just changing that one shrub in the front. I didn't really like that set of leaves I had on there. So I'm just going to put a more repetitive pattern. And you can see as I'm working through here, I'm experimenting and looking at my other layers. Try and decide on what exactly I'm trying to achieve. So I'm going to go through and continue with texturing of these shrubs. So I'm going to make some changes to what I already had existing. You'll see that I change the value of the painting wherever I see fifth, so where it needs to be a little bit darker, I changed the color where it needs to be highlights. I use something later. I didn't like this one at all, so I'm taking that out. This is where our moodboard would have been really handy to have a few print out. So some of the artists that I was taking a look at earlier, and then I could just take a quick glance and see maybe a different idea for something in the foreground. I know that most of the stuff I'm drawing here is in kind of an outline form as opposed to the solid things that Let's say Claire Bruner paints on. I'm definitely trying to do something very different. So now I think I'm going to try adding this set of DZs in the front as a really bright foreground item. I know that I'm going to be lightening up that background, just increasing the light in the levels. Because I find now that I'm working on it, that it does seem a little bit dull and dark, so I'm going to definitely work on that. But in the meantime, I'm going to experiment with this. I'm putting this on a completely separate layer because I think that way I've got a lot of flexibility. If I don't use it in this one, I could probably use it in another one. And I can experiment also with colors or size. When you're trying to develop a whole new look or a series. Sometimes it takes a little bit of experimenting to figure out exactly what you want for your look. So this is just part of my development process. This is probably just the third I think that I've done, and I do plan to produce at least a series of 10. So now what I'll do is I'll compare this one to the other ones and I'll see you which one is in the direction that I want to go. Now I'm adding lots of firms and leaves to this foregrounds just to make it more interesting, I'm also touching up my little flowers a bit after them, really small. So once I took a look at them, I realized they were a little bit rough. So I might as well just kinda fix that up as I'm going along. And I do love how flexible this procreate workspaces. It is really intuitive the way you can just enlarge or rotate just with your fingertips. I've been drawing in Photoshop, and I definitely find that it's a much more cumbersome interface. Procreates become my new favorite toy. So with these little ferns at the bottom, on copying pasting and doing things like flipping them so that I can spread them right across the bottom. So I do some that are different so that there aren't all identical just to add variety. But definitely speeds things up when you can cut and paste. So once you select, you do up three fingers, scrub downwards and you'll get the interface for cutting. And then you can do the three fingers scrub again and click on Paste. And then you can position wherever you want. So I'm looking at this and I'm thinking I'm also going to need kind of a transition between these really, really bright foreground items. They're almost white. I've got them really close to white, as you can see. Now I'm going to pinch all those together. And then I'm going to add a light blue leafy ferns in between the background items and the foreground. So at the moment I'm doing these as a outline. I'm not sure that's exactly what I want. Will see I may end up filling those with a solid. I'm not sure. I didn't notice with clear Bruner's work that most of hers are solid. So the items I have painted in the background are kind of more in keeping with her style. It does take a lot of experimenting at the beginning. And once I finished this kind of detail stuff, I'll take another break and just kinda try to figure out exactly what I want as my final illustration. In the next lesson, I'm also going to show you a couple of the other things that I was working on. I'll see you there. 8. The Final Layout and Mockups: Guys, welcome to lesson 7. So we're on the home stretch here. I'm just going to be experimenting a little bit with things like blending modes. We're putting this on a couple of mock-ups to take a look at. And we're going to be able to probably call this illustration pretty much done by the end of this lesson. And then I'll talk to you a little bit about next steps. Let's get started. So here's where I left off at the end of the last lesson. And I had decided I would try doing those intermediate flowers there in the background with just a solid fill. So I used my automatic selection and inverted the selection and fill that with a solid color than I thought Well, okay, I'm going to do some experimenting with the hue and saturation here, just kinda desaturated a bit. So I was kinda feeling light the back, everything was just fighting with each other. So I wanted to really make it so that there was kind of a break in-between if that makes sense. So to get some leaves around the outside edges, I've just duplicated and kinda reposition the duplicates. And that gave me the leaves around the edges that I kinda wanted. So when you cut and paste it, usually paste it directly in the same position and as it wasn't the first place. And here in my layers you can see the duplicates. You put those all on the same layer by pinching them together. And now I'm just going to do a little bit of experimenting with the random kind of patterns that I put in there. So I'm just kind of working on trying to get everything to be a little bit more subtle, I guess you'd same. So I've just reduce the opacity on this layer just to lighten it up a little bit. Now I know that there's a couple of things that after this class is over, I'm going to go and work on. And one of them is this big tree in the background? Is it overlapping or is it under? I have to figure that out because I feel like the top tree and the other ones, the other three below it is not quite working correctly, and I'll save that for off-camera. I can meantime just showing you all the different things I've done to just make this all work with the depth of field that I'm looking at. So I wanted white to look like it was really in the foreground. Then that medium ground with the light blue leaves and then have them kind of fighting. West's at the bottom, so there's less detail at the bottom. I probably should have attempted this or thought of this as a possibility before I put all those extra shrubs and trees in their front. It's probably something another sort of strategy that I could have used. So here I am just painting a new layer between the background and the foreground. That just kinda helps me to make that transition a little bit more subtle, like I was saying. So with that, I'm also going to try some blending modes. So I usually find that after I've done, like I said, two or three of them, then I kind of arrive at a formula that I can use to do the additional amount of pieces that I want for submission. So if I want to do 10, it might take me two or three to establish the exact look that I'm after. And then that formula I would use to do the other DTT to equal 10 so that they all look like they're part of the same series by do quite like how this is looking at this point. So I think I'm going to continue on that track for a minute and just see what else I can do to make this all work. So I'm going to do the same thing at the top. So I'm doing kind of gradient ombre kind of a look. So it's darker, top and bottom. And a little bit at the edges here. So I'm really using a big brush with that same texture that Nikko rule brush. So now I'm just going to show you that so you can see what I've done. And I'll turn the other layers back on in a minute so you can see how they all interact together. That's one of the beauties of having all the layers still available as that I can do this experimentally. So I'm just going to try pulling this one up here now and went through the blending modes to see how that texture would look on top of everything. So I think I'm really enjoying this part of the process more than anything just because it's a discovery, it's definitely an adventure. Some of these are just beautiful effects. So even if I don't use them for this particular piece, it's something for me to keep in mind. It's something now, but I've learned a kind of a good way of experimenting with technique. So I really quite like this one. So I'm going to leave it on multiply with a reduce the opacity so that my overall coloration isn't too dark. But I'm really starting to like that and I feel like the leaves in the middle ground, those light blue leaves and the white work a lot better now with what I've got going on, what's really neat is that even though I got the inspiration from those artists that I was showing you, I feel like my pieces very, very different than what they had. So you can draw inspiration from other artists, but then try to take it in your own direction. That way you're not copying, not infringing on copyright. You are definitely creating something that's very different and unique to you. So here I'm going to flatten those layers together, those intermediate we use. And I would also experimental little bit here with blending mode. I actually really liked this difference. That is a really neat effects and that's something that I don't remember seeing in any of the inspiration pieces that I was looking at. So this is definitely something that is very appealing to me and I can just think to the future about how many of these kind of things I have just gone hand. I've got tons and tons of these kind of silhouette items that I could use. I've got a whole folder full of vector silhouettes. So that might be something that could use to develop a real series just based on this. So the process is very fluid and at this point, let me show you a couple of other things to you. I'm can take you into a few of the other landscapes with have been working on just a completely different look here. But I wanted to just kind of showing you, I think I mentioned at the beginning of the class that I would show you how the underpainting can really affect the look of the finished work. So I'm just going to add a layer here and put that underneath. And then I'll just color this in. I just random alternate color just so that you can see how it affects the overall look of the painting. So I don't think this is something I would choose. But you know, this is all about experimenting and figuring stuff out. So I was kinda experimenting a little bit with that chance Lee kinda look, you'll, I can't imitate him. Obviously, that artist is extremely good at what they do with their acrylic paint. But I was just trying to get that effect, that really, really abstract kind of a look. And so here I'm just experimenting with the underpainting and I just want you to just keep that in mind. Think about that as a way to enhance or add variety to the work that you're doing. This is how that underpainting looked. So this is kinda thing where I could then take and grab maybe my oil paint brush and do some blending. I probably won't make too much of a demonstration on this, but you can see just how interesting and different you could make your paintings look just by doing some work with that underpainting. And you could also just grab this underpainting and put it over top afterwards. And then try blending modes to see sort of how adding subtle textures or changes in hue and saturation could be done. So here I am using the hue and saturation slider and just changing the color molecules. It's not really subtle. I'd have to also be saturate a bit or lighten up. I just wanted you to get an idea of what that looks like. Let's take a look at another one here real quick and see, again, this is very, very loose. I wouldn't consider these stunned by any means, so don't judge, Let's try it on this one actually, I think I'd like this one better as example. So I've already done the underpainting here and you can see what a difference that makes. And let's just go to the hue and saturation. I'm going to affect the whole layer. And you can see how does using the hue slider and sliding into these different hues can make such a difference to the look of the painting. So there's just a couple of things I wanted to show you real quick. I mentioned at the beginning of the class, just ideas for you and on how that underpainting could be used. So let's go back to our main artwork that we've been doing. And I think that for the purposes of this class, we're going to consider my finished piece. And I'm going to show you a couple of mock-ups to show you kind of what I do when I'm submitting these. So I would submit the artwork, but I would also show it on a mockup. So here are a couple of them that I've done. What I wanna do is just really encourage you when you're doing this initial exploration and trying to figure out a look is that you do a lot of experimenting. It's a lot of trial and error, I know. But this is how you learn what these different settings can do, how layers can interact together, how to construct a document so that it works. And also just how much fun it is to go through this process. All right, so I'll meet you in that last lesson. See you there. 9. Conclusion and Wrap Up: Well, we did it. We're all done. We finally got to that point. At some point you just gotta consider it done. It's really hard when you're developing a style to just really nail it in the first attempt or two, I find that it takes me probably several pieces before I really feel like I have the exact look that I'm going for. I'm going to be practicing doing this kind of a landscape. Like I said, I'm producing a series of 10 as a complete them. I'll try to keep you posted. So make sure you hit that follow button. If you're interested, add yourself to my mailing list. You'll find that at shop dot, dot, dot ca. Once you're added to my mailing list, you're gonna get everything that I send out. A promise not to fill your inbox. I usually try to keep it to one email a month, but make sure you do hit that follow button because I'd love to see you in a few of my other classes. I also have stores on Society 6 and art of where hearing candidate. So you can check those out and definitely check out my Sawzall store. That's where you'll see the majority of my work. Thanks so much for hanging out with me today. I hope you enjoyed it.