Digital Art Concept Painting | Siobhan Twomey | Skillshare

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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

14 Lessons (1h 29m)
    • 1. Digital Art Concept Painting

      2:08
    • 2. What You Need for this Class

      3:10
    • 3. Roughing out the Composition

      7:29
    • 4. Establishing the Light Source

      9:19
    • 5. How Character Affects the Painting

      2:40
    • 6. How to Check Your Composition

      6:25
    • 7. Creating a Limited Palette

      9:48
    • 8. Starting the Painting Process

      6:49
    • 9. Painting the Midground

      5:51
    • 10. Painting the Background

      4:58
    • 11. Finalizing the Composition

      4:34
    • 12. Adding Details

      12:26
    • 13. Detailing the Structure

      7:00
    • 14. Final Touches

      5:56
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About This Class

In this class you’ll learn key, important principles for composition that are fundamental to background or concept art for film, games and animation, as well as the techniques for digital painting that can be applied to any landscape or environment.

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  • You’re going to learn how to paint with custom brushes

  • How to start your composition with a basic grey-scale sketch
  • You’ll learn about limited palettes and how to create your own in order to give your work a cohesive and balanced look

  • You’ll learn WHY the rule of thirds works, and you’ll understand that it has much more to do than just simply making a pleasing image.

  • You’ll learn how this RULE affects the work that professional concept artists create in the wider context of the animation production.

  • You’re also going to learn how to make visual research, how to collect and analyses images for a project, and then how to distill your own vision into a series of thumbnails on which to base your final project.

Everything in this background is painted directly, with a brush stroke. This is an incredibly intuitive and powerful way of painting and I’m going to show you the exact techniques and thoroughly explain everything as I go.

By the end of the class you’ll have a fully realized and major portfolio piece. You’ll also have a clear understanding of how to generate any digital painting for film, because we will have demystified the process from start finish.

I’ve worked as a background artist on many games, animated tv shows and films, and I am passionate about sharing the skillset and knowledge that took me on my art journey. I really hope that this course will open the door for you o start your own art journey.

Meet Your Teacher

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Siobhan Twomey

Artist, Illustrator, Instructor

Top Teacher

Hello, I'm Siobhan :)

My background spans the disciplines of drawing, painting, filmmaking and animation. I studied Film in Dublin, and at the Tisch School of the Arts, at NYU in New York. I later studied drawing and animation. Since 2005, I have worked in studios in Vancouver and Dublin as a professional background artist and environment designer. I've also worked as a storyboard artist, concept artist, and I have directed a number of short animated films. My studio practice revolves around portrait painting and figure drawing, for commission and gallery exhibitions.

All in all, I've worked for 20 years as an Artist, Illustrator and Animation Professional. 

My passion is to teach others the whole spectrum of Art Skills that I’ve learned and develope... See full profile

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Transcripts

1. Digital Art Concept Painting: Hi there. I'm Siobhan. I'm an art instructor and an animation professional. In this class, I'm going to teach you how to paint an environment for concept art like this one. This might look detailed and very complex, but you will learn through working with a set of very simple and straightforward processes and techniques, you can create any digital artwork or painting along these lines. With this skill set, you can produce beautiful concept art for your portfolio that really shows off your design skills for environments or landscapes of any kind. I'm going to talk you through the process, step-by-step in this class. You're going to start out creating a grayscale rock painting and you'll learn all about how to work with values and contrast in order to make the strongest possible image. Next, you'll learn the importance of working with a limited palette. I'm going to show you a very simple and super effective way to create your own limited palette based on a photo. That is going to speed up your workflow and your process dramatically. From there, you'll start to add color to your painting and really see your vision come to life. You will learn how to use one simple Photoshop tool in order to make detailed organic elements such as rocks, sand, and leaves. This can be applied to any environment. Along your journey with me in this class, you'll learn the importance of placing character into your scene, how to create a visual sense of story, and how to keep your viewers engaged and wanting to spend time with your art. I'll teach you how to ensure that your composition is balanced and focused on narrative. This is how professional artists work to ensure that their painting is going into the overall production. I'm so glad that you checked out this class. I hope you join me in the lessons, that you have fun with the class project, and I hope that this class is the beginning of a new and exciting journey for you, creating art for animation. 2. What You Need for this Class: For this course, I'm going to be creating my background art in Photoshop. Photoshop is the industry standard, it's the software that most artists use. It's what you'll likely be using if you do end up working in an animation studio. But if you don't have Photoshop and you don't necessarily want to buy or get a license for it just yet, that's totally fine. There are plenty of free options out there that you can go with. You could do something like Krita or something like Procreate with the iPad. You can definitely follow along with me in this course using any other digital painting software. But if you do want to follow along with me, you could consider even downloading Photoshop for a free trial for a couple of weeks and just testing it out and seeing how you like it. Once you've downloaded Photoshop or you're happy to work in your own specific software, the other thing that you'll need for this course is a drawing tablet. I'm using a Wacom tablet. The specific one that I work with is a Wacom Intuos Pro Medium. A lot of people ask me about which drawing tablet they should use or which one to get. Again, there are a lot of options. You don't have to go with a very expensive Cintiq or large Wacom tablet, by any means, you can start out with a basic, cheaper alternative to Wacom. I do recommend getting Wacom if you are really keen to pursue digital art, if you know that this is something that you want to invest in because you will use it for years and years to come. If you look in your Resources folder, attached to this video, you'll see a file that I've left for you called Landscape Brushes.abr. These are pretty much all of the brushes that I've used during this course and making this background. I've put them all into one folder so you can just easily access them from there. To bring them into Photoshop, what you're going to do is just click on that icon and/or that file and drag it down. I usually just drag it down to Photoshop and release. Then Photoshop's already open, so I'll go "Create New" just to get any kind of a canvas up. Now if I hit B on my keyboard or go up to here, or open window and brushes. It should be the very last folder in a set of folders, maybe you've just got general brushes in your brushes window, but the very last folder should be the one that you've just dragged in. If you twirl down the little arrow, you can see here all of these brushes inside. I'll see you in the next video. 3. Roughing out the Composition: The way I'm going to start out this composition on a brand new layer, I'm going to just block in my shapes and block in the entire composition that I want. For example, I know that in the foreground, I want a general basic shape like this. I want a flat plane in the midground and mountains and then my architectural structure in the background. That's the image that I've got in mind. That's what I've conceived of in my mind's eye and I'm going to just block it in in this video. The important thing is that the viewer's eye, I want it to lead through the picture plane towards that area of interest in the background. I'm also going to add a character as well, and you'll see in this section how adding in the character is going to make such a huge difference. In the previous section on the background that we worked on for the forest, we started out our painting with a lot of color concepts just to get ideas for the composition. In this instance, we're going to do it a little bit differently. I'm going to start out the whole painting in this beginning phase by blocking in values. Working with light and dark values to identify where your contrasts are in your painting is a really good way to do a background painting. The way you do it, for this instance, I'm going to use my Lasso tool. I'm going to very roughly draw some basic shapes. I know on the left here and coming across the middle, is going to be my framing area, my foreground and that I'm going to start painting in with a dark tone because it's going to be very near in the picture plane. I'm really using just a rough textured brush and very roughly blocking it in. The whole idea of using a grayscale or values to start out with is that, you don't have to worry about color, and you don't have to worry about choosing colors. What you're focusing on is making sure that your tones are contrasting nicely so that you've got a lot of nice dark tones and a lot of lighter tones throughout the piece. Contrast, as I've said before, is what's going to make your picture look dynamic and strong visually. This is the foreground. I know, I also want a little rocky outcrop over in this section. This is also going to help lead the viewer's eye towards the center of the picture plane. Again, I'm not being too precious about what it looks like or about the painting at this stage. I'm experimenting here a tiny bit with where the light source is coming from but keeping it very simple. That's it. Those are my two foreground layers. The next thing that I'm going to do before moving further into the piece is, I want to create a neutral tone underneath everything. Make a new layer just above the background layer. You could do it on the background layer as well. Doesn't matter. From my color picker, I'm going to just choose a light neutral tone, just something to take away that glaring white background. Then I want to make sure that I don't paint on that. So on a layer above it, I'm going to block in my midground. Again, I'm using the Lasso tool to make these very rocky organic shapes and then painting in with the textured brush. Now, for the flat plane in the midground, I can actually just use the Bucket tool and just fill it so it's just one flat tone, and I'll merge those two together. That's my midground and my two foreground elements, which I'm keeping separate at this stage so that I can move them around if I need to. The last thing then is just to block out this architectural shape that I want to have in the background, the building or structure. I originally thought I was going to make a ruined city or ruined temple. But as I go, I think I'm going to keep it a bit simpler than that and just make it one structure or one building that's off in the background. The whole look and feel of this painting is going to be a little bit otherworldly and a little bit sci-fi-isk. You can get away with creating a background or creating a structure or an architectural shape that's a little bit different or unique. It doesn't have to be based on anything in real life. What I'm going for is quite a blocky geometric shape that will contrast with the organic shapes of the rocks, and for now, just something like that. I will fill it with a lighter tone because it's the area of interest and I want it to be catching as much of the light in this painting as possible. Now to set that off, obviously, I want something in the background, another kind of mountain or a cliff face or something like that. Now I can bring texture in onto this midground plane because the light is going to definitely be falling on that desert plane in the midground and catching a lot of light. The last thing is, let's put in some faraway mountains, faraway hills to bring in the sense of scale. If you've got small mountains way off in the background, it really gives your painting that sense of depth and vastness and that's really what I want to achieve with this background. That's it. That's my rough composition done and I'm actually very pleased with the entire look of it. I think there's the tones, the really dark foreground tones as well as the midground add great contrast and I think it's going to look really well. I'm happy with that and as I said, it just took me a few minutes to rough it out using the Lasso tool, the Bucket tool to dump in tone, and also the Brush tool, and we're ready to go. Meet me in the next video and I'm going to show you how to establish your light source and how to start creating that sense of light coming into the piece. I'll see you in the next video. 4. Establishing the Light Source: The first thing that I'm going to do is make a little bit more of defined edges to these shapes, the layers I've used the brush tool quite a lot and I want to now actually give these shapes a bit of an edge. To do that, I'm going to use the lasso tool again, and underneath the painted layer, I'm going to switch to my bucket tool and just put in a black tone or a dark tone underneath. What that does is it gives me the opportunity to merge these layers, and now I've got a completely filled layer, but I still have that lovely brush texture on top. It's going to work really well. If I continue to paint in this way, I can just paint on top, not worry about it being on the white background. Also if I wanted to select it, I can just command or control click into the thumbnail like this. It means that I've selected everything on that layer without gaps. I'll just do that throughout the piece just to tidy things up. As I said, I'm very pleased with how the composition is working at the moment. No doubt that will change as I go on. It always does. But for now, it's a good start. It's a good starting point and I'm just going to finalize these foreground, midground and background shapes. In this video, I also want to talk a little bit about the light source that's going to be coming through in the painting because that's something that is really super important to establish at the very, very beginning. I did have an idea before I even started the composition where the light was going to come from. But if you haven't thought about it up until now, it's really important that you stop what you're doing at the rough stage and decide where your light source is coming from. It doesn't have to be complicated. It's simply a directional thing. For me, my light source is going to be coming from above, slightly to the left, but I'm imagining that the sun or whatever it is is above our heads and the light's coming down like this. With that in mind, the midground plane is going to be super bright. It's going to be lit up. It's going to light up this structure in the background as well, and some of these foreground elements are going to catch some of that falling light. Maybe there might even be some reflected light going on in the back, in the midground mountains. That's all it is. Now that I know where the light is, I can move forward with adding light into the painting. To do that, I'm just going to be choosing lighter tones and adding definition where I think the light's going to catch the object or the rock, say for example. Then also adding in the shadows. This little section in the foreground, my character is going to be standing here, so I do want it to be lit a little bit, but obviously it's going to be in the shadow of this great big cliff on the left-hand side, so there's not a whole lot of light coming through. It's just catching the light, catching the edge of it. Similarly with the little rocky outcrop, we're just going to see a bit of light on the very, very edge. Again, it's important to note that you're doing this within your grayscale. You're doing this in order to understand light and shadow in your painting, and that's why you work in just one tone. You don't have to work in gray, you could work in tones of different values of a hue like blue or red or something. But I just think for, especially when you're starting out, the eye is just much more accustomed to seeing values when you're working with black and white or gray to grayscale. Another really important point is that light is what gives the things in your composition their structure. Obviously, you can see with that building in the background, just by giving it two tones, that has given it a three-dimensional quality. It's got a side that's facing us and a side side facing off to the right. That's what you really want to achieve with lighting your painting. You want to be able to give things in your painting structure. Simply adding a bit of light next to a bit of shadow will immediately give that sense of structure for your drawing. I find that the problem here is to keep away from going into details. You want to establish where the light's coming from, but you don't want to get caught up now in painting details and drawing things, because we're still very much in the rough phase, and we've got a long way to go yet before we start dialing into details. You have to really try and be a bit disciplined about staying very, very abstract at this stage. Those are all my three layers or my three sections, I should say, foreground, midground, background. It's all very defined now, very clear for me and I know exactly what's going on in each section. There's a few layers for each section, but that's okay. That's totally fine. This painting is going to have a lot of layers by the end of it, so it's something that I just have to get used to. If you flip the canvas, you can see immediately where your compositional errors are, so that's a very handy thing to do. I tend to not flip my canvas over and over and over again because your eye then gets used to seeing it in the flipped way and maybe you don't spot your discrepancies. I really try to keep that for just simply when I really need to check the composition. I've now decided that I think this painting needs something dramatic in the foreground to really set it off. It's looking very weak towards the right-hand side, so I'm painting in a palm tree. This is a desert, so maybe there's a palm tree going on. I just want to test this out. I'm not entirely sure, so that's why I'm just blocking it in really roughly. I'm just using any old brush and painting a silhouette of a palm tree. It's obviously not correct in terms of how it looks. It's just to give me an idea. I think you can feel like you're still working on a composition for quite a while. Even if you get all the elements down that you know is perfect, you might have to play with those elements quite a bit, arrange them, move them around, and that's why having everything on different layers, for my process anyway, is so crucial because nothing really stays in place until maybe towards the end of the painting. I think that palm tree works. It's looking okay. It's definitely leading the eye in towards the background there. It's got a nice angle that's pointing towards the area of interest. What I've done here is just basically repeat the elements. This is a great opportunity for me to explain this idea of repeating elements throughout a composition. That is something that you can do to instantly give a sense of depth and a sense of scale to your paintings. If you've got one object or one element, that's something like a tree, which is very readable to the viewer's eye, instantly recognizable, you can repeat that element throughout the painting. That will instantly tell the viewer that the sense of depth and the sense of scale is established. It also allows the viewer's eye to travel through because it's the same thing that's being repeated throughout the composition. What you've got is almost like, you can think of it as a rhythm in your painting. These repeated elements often are referred to as adding rhythmical value or a rhythmical sense to your painting. It's a really good compositional technique to use. I'm not sure I will keep necessarily all of these palm trees in the painting, but for now, it's helping me to establish where the story or where the journey through the painting is going. 5. How Character Affects the Painting: In the last video, I talked about scale and depth, and creating that sense of vastness, or sense of hugeness in your painting. What I'm doing now is just trying to establish mountains in the background to just flesh out that composition and to enhance that sense of depth. In this video though, I want to talk about how adding a character into your painting is going to really introduce the story and introduce the journey for the viewer through your work. That's where I'm at at the moment. I've established scale and depth. I've also established the different values and ensured that the composition has strong contrast in terms of values moving from the foreground through to the background. If I add a new layer above everything, I'm just going to choose a dark color, get my brush nice and small, and sketch in a figure in the foreground. Again, I'm not going to go for details. I just want a silhouette of a person; a character standing in the foreground looking into the scene and looking, ideally, towards that far off structure in the background. It's not perfect. I can work on the details much later, but for now, I'm just interested in thinking about how this character is going to affect the audience's engagement into the painting and make it feel like they can understand the sense of stories. If this guy is standing here in the foreground like this and looking in towards the middle of the frame, what that does is establishes this kind of an arc for the viewer's eye coming from the right-hand side through to this other set of trees, and then catching the character and directing the viewer's eye back there towards that structure. The addition of the character is crucial to helping the viewer understand the story, the scene, or the mood, and helping the viewer to journey through the background, through the different layers, the different landscapes, to that focal point. 6. How to Check Your Composition: In this video, I wanted to show you how to easily check your composition in terms of two of the most important compositional rules, and that is the rule of thirds, and also something known as the golden spiral. I'll show you how to easily do that, and this is a good point in the process to check that everything's working. I find that it's much better to work intuitively at the beginning. Then check that the composition is correct. Make tweaks and adjustments as needed before finalizing things and moving into the color phase. What I'm going to first of all do is the layer that the character's on. The character is really the anchor point for this entire painting, even though it's a really small, tiny element. This is where I'm going to relate everything to. I'm going to double-click that layer, type in character, so I know that that's where the character is, and then there's a number of ways you can generate your rule of thirds. I'll just talk you through a couple of options. One way is to use rulers. In Photoshop to do that, you press "Command" or "Control R", brings up these rulers along the top and along the side of your canvas or your screen. You can just click from there and drag down. When you click and drag down this ruler or this guide, I should say, appears. From the side as well, drag them out. This is how you could make your rule of thirds, but as you can see, it's not even. It's not necessarily very good to eyeball it like this. There is a way that I like to do, which is to use the guides, but to use them in a very even way. I'm going to go up to View and come down to this option here, which is New Guide Layout. Click on that and what happens is you get this option or this dialog box. You can basically set any number of columns and rows in here. You can add in, say, five columns, seven rows, and it's going to generate that number of guides on your canvas. But we want three, so three and three, click "Okay", and there is a perfectly even spaced grid. Then I'm going to make a new layer on top of my character layer. I'm going to choose a brightish color like a red. That's fine, and a small brush. Then just basically holding down "Shift" on my keyboard to create a straight line, I'll draw along these rulers or along these guides. This is how I'm going to make my grid because I prefer to look at it this way. Then I'm going to hit "Command" or "Control" plus the "Comma" key on my keyboard, and that hides those guides. Now I've got a layer which I know is going to be my rule of thirds, and I can relay it. I can just turn it on, turn it off, and relay to everything in my composition to this very simple, very easy compositional tool. I could move things around. As it happens, I just instinctively painted everything to more or less fit along these lines so I don't need to change anything. Actually, I could move the character if I wanted to, but I don't want to have everything literally on those points. That irritates me if something is too set to the rule of thirds. I'm going to leave things like that. Now I want to show you how you can check what's called the golden spiral. The golden spiral in composition, it's derived from something called the golden ratio, which is a compositional mathematical way of looking at images. What I'll do is just paint it very, very roughly. You can go onto Google and get yourself a golden spiral image downloaded, bring it into your Photoshop file. But I'll just try and draw it freehand, as messy as it is, it doesn't matter because it's a tool to show you where your compositional elements go. Right away, I can see that my character is placed exactly where I want it to be for this golden spiral. That's awesome, I didn't even think about it when I was painting him up or placing him within the painting, but that looks pretty good. The golden spiral usually ends about here. Just slightly into that third, it's not on the actual rule of thirds line. It's just lightly in. What I could do is maybe move the character and nudge him over to there, and there he is on that central point, which is amazing. Essentially, that central point is where everything I hope will spiral out. The visual information, the psychological sense or feeling within when viewers look at the painting, will spiral out from that point, and that happens to be the point in the painting where the character is, so perfect. That's how you check your composition to make sure that everything is balanced and harmonious, that you've got a strong dynamic composition that's working, and that you've got a visual journey for the viewer to follow. Cool, we're ready to move forward, and what I want to do now is get into color because we've worked in black and white for long enough, it's time to bust out all of our colors. But when I say that, actually the caveat is that we're going to be working with a limited palette. Meet me in the next video and I'm going to show you how you can start choosing your color themes. 7. Creating a Limited Palette: In this video, I'm going to talk to you about how you can go about choosing your color theme, and I want to say a couple of words at the beginning about why it's important to consciously choose your color theme at the very outset. Choosing a color scheme or a color theme at the very beginning, will help you to progress through your painting efficiently, quickly and without too much stress because you will know in advance exactly the colors that you're going to be working with. Now you can obviously change them as you go depending on the painting but starting out from that point of understanding your color scheme will really help your process a lot. Another thing that I'm going to encourage you to do is to try to work with a limited palette. Essentially that means just using 5,6 or 10 colors and no more. The reason why I sort people to use a limited palette is, number 1, it cuts out an awful lot of guesswork. Just like as I mentioned, having your colors defined means that you don't have to worry too much about how to choose colors. If you've got a limited number of colors to choose from, then you're not going to be overwhelmed by the whole spectrum of colors within the color wheel. It's very often said that if you place constraints on yourself as an artist, you actually help yourself or let's say force yourself into making much more creative decisions than you would have normally. Just think about that as well. Working with a limited palette means that you have to come up with new and interesting color mixes between those very few color choices that you've started out with. A teacher of mine, who taught me painting, taught me that if you work with a limited palette, you open yourself up to a lot more creativity and a lot more experimentation than if you were just to use every single color or have the option to use every single color available. There are a number of ways that you can generate your palette from the outset and make a limited palette. What I want to do is show you a couple of ways. I'm going to work with five colors, then I'll pull up the Color Picker, and choose, let's see, it's a desert theme, so choose an orange or brown color. On a new layer, obviously, just painting a swatch like this. There's one color and then I'll choose maybe a darker version of that paint, a little swatch beside it, and then I'm going to want a much darker tone for my darkest dark, something like that. Paint that in. Then possibly a lighter version, obviously, for the highlights. But the problem with this method is that it's random. You're picking these colors and you're hoping that they're going to work together. There's a much better way to do it if you're not used to working with color or to choosing a color theme and that is to choose colors from an existing image that is already harmonious and balanced throughout in terms of its color. There could be any image that you find in your reference folder of desert or desert scenes. What I've done is, I've left a photo that I took myself recently on a trip, and I'm going to use it to show you how you would generate your colors from an image. If you look in your resource folder, you'll find this photograph. It's obviously very saturated but what I'm going to do is bring it into Photoshop and make some adjustments to it. I thought this would also be a good opportunity to show you how to do this. First of all, let's look at the vibrance. I can bring the vibrance of the image down, not too much obviously, but that's enough. It's looking a little bit more muted now, which is good, then you could look at the Hue/Saturation sliders and bring the saturation down so it's not so overly bright and poppy. You can use the lightness or darkness slider. You could change the hue up here, but I tend to not do it like that. A better way to do it is maybe, go into your color balance sliders and just nudge the sliders here towards an overall tone or an overall hue that you want to have. I want this to be a lot more deserty. The problem with this photo for me, it's not a problem, but there's a lot of green in it. I want to show you how you could get rid of a color that's in a reference image. There's a very easy way to do it. Go to Select, come down to Color Range, and then this Eyedropper tool or the Eyedropper pops up and hover over the color and click down on the color that you are trying to adjust. Then come over and there's another little Eyedropper tool with a plus sign beside this. If you click on that, you can add to your selection. I'm going to click around my image wherever I see that overly green color, and you can see in this [inaudible] , it's pretty much all selected. Click "Okay." Now this is my active selection. Now I can effect just that selection. I'll go back into that color balance slider thing. Wait. Maybe, might just do the Hue/Saturation at this point, see if that works. Just even the slightest of changes will help. You don't have to go completely drastic on this Hue slider. Just a very small nudge in one of the directions will work. Well, it's giving me the tone that I want, the [inaudible] brownie range of browns. That's good. That's the image that I'm going to work with. I love the overall feel of that for the colors, I like the color scheme, I like the sky color particularly. The next step in the process. You could just pick your colors straight off of this, but there's a really much better way to do it. What I want to do now is just put a tiny little blur onto it. Go to Filter and choose "Gaussian Blur." That's a very small little filter. What this is doing, it's just basically taking our definition. It's not super defined because it'll make the next step better and then go back up to your filter and come down to, let's see, Pixelate and then Mosaic. This is going to turn the image that I've got into those squares or blocks, and you can see that if I drag the slider up, the cell size gets bigger, and that's perfect because that means it's making the color information a little bit more readable and a bit more simple. Now I don't have a very complex image to work with. I've got a very simple tiled image and that's perfect. That's essentially my swatches. I mean, this whole photo is essentially now my limited color palette. But I want to be able to pick from this while I'm painting. I'm just going to drag that window out and have it floating, maybe minimize it or scale it down a little bit. Then I'm going to drag out my canvas as well. The two windows are going to be floating within my Photoshop workspace. Just put that over to one side and just come up here, grab my canvas and pull it over. If I just create a new layer, I'll show you very quickly, this is going to allow me to, in brush mode, paint on my canvas, my actual painting, but then hitting Option or Alt on my keyboard means I can just pop over here, select a color without going into that itself and that will become my active color on my painting. I hope that makes sense. It might seem like there's a lot of steps involved, and you might think, wow, that's pretty complex when it comes to you just want to pick five or six colors. But I think it is worth going through those steps because working with an image that has a really nice color scheme already established, you know that it's working, you know that the colors are really nice together. That just really helps you to start your painting journey, and then making sure that you can read that image in terms of very simple pixelated colors will help you with your choices. If you've got any questions, let me know. But from here on out, I'm going to start the painting process and start getting into the details and creating this final background piece. I'll see you in the next video. 8. Starting the Painting Process: I want to have my layers in order before I really start laying on tons of paint. These are all my foreground layers. They look pretty neat and orderly. These are the elements that go on top. Both of these should be in the midground, and I might actually merge them together. What I'm doing here, I'm preparing for painting, is just literally tidying up my layers. It's just going to help keep things a bit more organized going forwards. I'm going to use all of these layers as the basis for painting, so that's why I want to make sure that I'm not starting out with hundreds of layers. Because by the end of the process, I probably will have hundreds of layers, and that's not going to be grayish. At least give myself a little bit of a head start there. Let me just switch to the L2, which doesn't seem to want to work. That looks a bit too semi, semi over there. What I'd like to do is start on my sky layer and essentially give that some basic tone, so that I can relate the rest of the painting to that tone. I could put a layer in there, but it's got some paint on it, I can see in the thumbnail. I'm just going to create a new layer. Hit "G" on my keyboard to bring up the bucket tool, and select that sky color. That'll do for now. Click "Okay", and put it in. It's a little bit on the green side. Let's make it a bit bluey. There we go. That's a little bit more blue. Now that that's in the background, I can work from the foreground. It doesn't really matter if you work from the foreground to the background or vice versa. What matters is just to start. Let's see, I've got this element here. I'm going to create a new layer above it. Hit "B" on my keyboard. I've got a texture brush already loaded. In the front, it's this dark brown tone. I don't want that to happen. What I'm going to do is make the layer a clipping mask. I'm going to clip it to the layer below. Just hovering over the space between the two layers, I'm going to hit "Option", or "Alt" on my keyboard, that brings up that clipping mask icon, click "Down", and now I can paint, and that's not going to be too much of an issue. It's very handy to have this swatch over there beside me. Maybe I'm going to use a brush that doesn't have so much of opacity built into it. Just by thinking about the light direction, I'm going to start to indicate highlights and shadows. Because I can affect the shape, I'm just going to start to put in some jaggedy edges there. Looking better. I'm on the layer that's underneath and I'm just ruffling up that edge a bit, just looking a bit to roundy. That looks a bit more like there is stones and things. Like I say, I'm not really supposed to be getting into details. Let's go on to this section which is here. I'll create a new layer above it and make that layer clipped to the layer below, go back to my B. This is a very nice dark color, which is awesome. Actually it's the exact same color. Let me put some saturation into it. Here we go. The rock face is obviously full of organic shapes and textures. That's a consideration to really think about leisure, not right now. Right now, I just want to lock this in. Definitely, as I'm going thinking, this is going to need a lot more detail here because this is in the foreground. I'm not going to really be able to get away with just texture brush strokes. I'm going to have to come back in here and add rocks and pebbles and stones. Definitely define especially I'm looking at this little section here, what is that? It looks very silhouette. All this sweeping curve here I don't know, is this sand or is it rock. Stuff like that has to be thought through a little bit, later on when we get to the detail stage. Just making a note to myself, that this doesn't look 100 percent grayish. That's the first section pretty much done now. Or at least the overlay, I would call this an overlay. I haven't done the palm tree yet, I can maybe have a quick go at doing that. Create a layer above clipping mask. That's the color phase started. At least we've made a stab at something and we're going to keep going. Please join me in the next video. I'm going to continue moving through the painting, laying down flat colors or laying down at least a color pass, and then dial into details and start creating organic shapes for the rocks and work on that structure in the background. When you're ready, I'll see you in the next video. 9. Painting the Midground: In this video, I'm going to now move from the foreground into the midground and start applying color in the exact same way as I did with the foreground. That means I'm just going to be repeating the exact same process and using color to paint above this grayscale. You'll notice that I'm not painting directly on the layer, I'm creating a new layer above and painting on top of it. Now, you might wonder, what's the point really of painting in a grayscale and then just painting on top of it? Isn't it doing twice the work? Hopefully, by now you'll notice or you'll understand that that grayscale really is what's going to anchor and create the contrast in your whole composition. It may seem like you're doing the same work over and over again, but trust me it really does help you to keep your entire painting in a cohesive and very strong look. All I'm doing is painting and using the Eyedropper tool to select colors from the canvas as I go or even to select from my swatches over on the left. I'm pretty much sticking to one texture brush. I'm not really using too many different brushes, I'm using this nice, big texture brush just to get down swaths of color. I want this midground to be really lit by the light obviously, so towards the edges I'll have some shadows and shading or some darker tones, but in the middle here it's going to be a very bright, sandy plane. Get that desert sand quality, the color, or the look, or feel of it. Now, one thing to note is that I will obviously be going back in and doing textures in details later. This pass is really a color pass. You don't have to get bogged down right now. I'm not going to really spend too much time trying to create the look of grains of sand. This is more about, once I've gotten my tonal contrast down, I now want to get my color tones down. In the center here, I'm just adding some brighter or lighter colors to maybe give the impression that there's a pathway or something that's going from the character back to that structure or that building in the background. To be honest, I'm not entirely sure yet how I'm going to do that, but for now it's a just a color compositional thing to make it look like we're leading the viewer's eye through. Now, obviously this rock or this mountain on the left is part of the midground, so I'm going to paint over this. I want it to be maybe slightly muted, slightly darker, but I'm going to hint at the light direction and hint at where that light might be falling onto this rocky outcrop. That's going to give it some structure and some definition. As I've said before, the play of light in your painting is actually going to give your objects their structure. I want to have dark tones as well as light tones across the surface here just to give it that impression. This might take a while and a bit of experimenting. That's fine. Sometimes I like to switch to the Lasso tool and just curve out areas of the rock. That's another technique that you can do. If you're finding that the brushes are a bit too uniform in size or a bit too big even to make details like this, you can just simply switch to the Lasso tool, curve out some shapes into the rock face. Again, at this stage, don't get too bogged down in details. Keep it very, very suggestive and almost abstract still at the stage. But it does help you to start defining what these shapes are. I probably spent a little bit more time than I should have on this mountain over on the left. I was battling with it quite a bit to understand the structure of it and give some suggestion of detail. I think in the end it looks okay. It's a start, and it's certainly something that I'm happy with to move forward. I think it's going to look okay. The last thing that I want to do in this pass is just give the palm trees on the left slight bit of color, not too saturated, something very muted and toned because it's going to be very far away. So I'm just using a very basic tone just to paint over them like this. You probably won't even notice this, but it's enough to give it a bit more definition. That's it, that's my midground color pass done. All that's left is to do the background. I'm going to move through it in the exact same way. When you're ready, join me in the next video, and we'll move towards completing our color pass on the painting. 10. Painting the Background: In this video, I'm going to move on to the far background, and I want to show you how you can use the technique of the lasso tool and the paintbrush together to create very defined and structured edges and easily and effectively. What I'll do, is I'm going to move through it again in the exact same way. Move my color swatches over to the right. It's a bit easier. First of all, I'm just going to block in the tone. This is obviously on a clipping mask above the gray-scale layer as per usual. I want this building really to be the focal point, as I said, so it's going to be very bright and lit very, very much from the direct light source. This side here will be in shadow and the left-hand side will be in nice. Then to the right of this structure, is going to be another rocky outcrop. I'll just really rough and loosely block that in, and those are my mountains behind. I'm going to hide the mountain so that I can focus on this building. Switching to the lasso tool, I'm going to use this lasso, this is the polygonal lasso. You're basically drawing out the, let's say the silhouette shape or the very outline of this structure. There may be some things along the edge that give it a bit more of a definition. With that selected, I'm going to go over and paint again. That's going to give me the very straight edges that I need for this building. The next thing that I'm going to do is try and give some definition. It's one thing to have a silhouette, but we also need to know what the building looks like. With a smaller brush, I'm just going to indicate where I want shadows to be. That will give that definition and that structure. That really is enough at this stage to give the impression and to give the sense of what that building looks like. I'm not going to do the details yet, but I'm very happy with the way that looks within the whole scene. It does read really strong. It's like a very interesting focal point within the painting. I am going to make this pathway that leads towards it be a bit more defined. I'm thinking this actually could be a dry riverbed or something like that. The next thing I want to do, the far mountains or the far far background. Again, going to create a clipping mask above my gray-scale layer and start adding in some tones. Obviously, these are very far in the background, so they're going to be much, much lighter in tone than any of the foreground elements. Much more suggestive, much more atmospheric, and luckily enough, we don't have to do too much detail on those mountains in the background. We can just give them the suggestion or the hint of definition through brushwork and through colors, and I think that looks really great. The only thing that's really not working is the sky but that's easily fixed. I think for everything else, I'm loving the colors. I love the sense of scale and the contrast in tones. I love the dark foreground, the hint of character, and that focal point in the background's all working really well. Something like a balanced and well composed image. That's great. That's a big relief because getting the first color parts done will always be the litmus test or the maker break-point in your composition. You can have a really nicely defined gray-scale painting and then when you add your colors it falls apart. Having this now, all feel cohesive is really a good sign for moving forwards. It means that the next phase of the project will probably be quite detail oriented, but it's built on a solid foundation. Join me in the next video and we'll fix up the sky and move on to the next phase of this painting. 11. Finalizing the Composition: In this lesson, I'm going to show you how to fix up the sky, make it look a lot more atmospheric, and I also want to add in a little bit more detail in the background. Once my colors are done, you do start to see, or I at least start to see things that aren't quite working. For one thing, I've noticed that the right background area doesn't have the sense of scale that I want it to have. I'm going to add in maybe another cliff or mountain directly behind my building or my structure. So just using a blank tone or a flat tone, I can see instantly that that is going to make a nice addition to the painting. It makes a big difference to the sense of scale for that building, and I think that, overall, it creates a bit more balance, a bit more harmony to the composition. I'm going to just add in some textured brushstrokes over that to make it sit into the composition a bit more. It's a bit dark at this stage, so I might think about lightening it up, but just in terms of looking at it, yeah, I think that works. Those are my background mountains in the back there. I'll just shift them over. Going to do the same over here on the left. Just increase the scale a little bit more, really helps sometimes if you look at your painting as a small thumbnail. You can instantly tell if it's working or not. So I think that looks a lot better. I think before it was just feeling a bit empty. With the addition of those mountains closing in the space, gives a much more immediate sense of a closed-in space, a sense of structure, a sense of scale. But these are the things that you can add in and decide upon as you go. Your process is a little bit fluid like that. It's not always going to be set in stone from the outset and you do one progression at a time. You can obviously go back. You can undo things, you can change and move things around. But I find that working in this way gives you a better sense of completion, like you know that you can move through the painting and get things done orderly if you at least move from a gray scale to a painted version and then to a detailed and finalized textured version. Now I'm going to work on the sky. That flat tone back there is okay, but it needs a gradient. It needs to have the sense that there's dust swirling in the background. So I'm just going to use a soft, round edge brush and just brush on some sandy color on the bottom of that gray and then put a dark right at the top. Instantly, that gives much better, much more interesting sky, I think. So that's all it takes. I mean, you can leave it there if you wanted to. I might add in another little bit of rocky outcrop over here using the Lasso tool and just on a new layer, just putting color in with the Bucket tool and then I can select that whole thing and then just texture it up with the brush if I need to. So that was just the addition of a couple of more mountains or organic shapes behind the building structure, adding onto my mountain on the left and then, of course, adding the sky and creating that sense of atmosphere and depth in the sky. In the next video, I'm going to show you how I move into the next phase of this painting, which is all about details. So much of this painting has organic shapes in it, and that really is great in a sense because organic shapes are a lot easier to paint than architectural, man-made shapes. For all of the rocks and the sand and the desert, it's going to be an intuitive process, much like the painting process has been up until now. But there's an important way that I like to approach this and that is using the Lasso tool to draw. Join me in the next video, I'm going to show you how I proceed from here on out. 12. Adding Details: This lesson is going to represent the middle part of the whole entire painting process even though it might seem that we've worked an awful lot up until this point and there's only really a few more steps to go. But I want you to think of this section like adding the definition to your groundwork. If you broke it down into three main stages, you'd have your initial concept stage, and that will include the grayscale value composition and adding your color pass. Then the second stage would be to add definition using the Lasso tool. The final stage will be to finalize your overall composition, move things that need to be moved, and then add the final layer of effects and atmosphere. I want to go over how to use the Lasso tool with you in this lesson. What I'm going to do is show you how I will add definition to the mountains and the background cliff face behind the structure. Let's start over here in the foreground, on the left-hand side. As you can see, I've done quite a bit of work already to give it a very nice organic feel. There's quite a bit of implied highlights, not too overly over the top, just very subtle shading going on. It does feel very much like a rock face on the left. But as you can see, even with the brush, it doesn't give a nice edge or a nice defined look. I'm going to switch to the Lasso tool. These are essentially the highlights so I'm drawing the highlights of rock. I'm holding down "Shift" to add to each selection. Then I'm going to select a lighter color and brush over those selections. If I de-select, you can see immediately it gives a much stronger and defined look. Do that again using Shift and drawing small details with the Lasso tool. Go for a darker tone now. That's looking great. That's really the technique. Use your Lasso tool to carve out shapes like this, then select the color. You can use obviously a big texture brush as well, that's fine. It gives a nice feel but the important thing is that the edges are so defined that it creates a nice hard edge. I'm going to hide the character out of the composition for the moment. Let me work on the foreground area over here. What I'm doing here is just adding in little rocks. Using the Lasso tool, drawing the shapes and then painting over it is going to give me the impression of bits of rock on the floor there on the ground. As I mentioned before, the wonderful thing about drawing organic shapes is that as long as it doesn't look too off, you can get away with just using any shapes. It doesn't have to be exact or precise. That's why it's really easy with this technique just to use the Lasso tool and draw irregular organic shapes and paint them in. Moving over to the right-hand side, I'm going to work on this rock over here. Give it some striations, some texture and pattern based on the direction of the light. The light over here is coming from above to the right so it would be falling on the right-hand side of this rock. What I want to do now is give a little bit of texture, a little bit of definition to the center of my plane. As I said before, I thought maybe this could be a dry riverbed or something like that leading towards that structure. Using the Lasso tool, I'm going to give that impression by very loosely painting over it. What I can do is even give a definition to say the edge of that plane. Like maybe if it's a dry riverbed, maybe it still has the banks of the river so the Lasso tool is great for that. You just have to be a bit confident with your paint control, and use the Lasso tool like you would a pencil and draw the shapes that you need to. It does take a bit of practice. Obviously, you can get much faster, much better with it, the more you practice. What's happening in the background here is that, and this is one of the really nice things about the technique of painting digitally, is like sometimes things happen by themselves. It looks to me like there's a pool or a lake or river, body of water of some kind at the back there, which I never planned to put in. It has appeared by itself probably through a mistake that I did. But I think it looks really good. All I'm doing here is enhancing that and making it a definite feature of the painting. I guess now there's going to be a body of water, like a river or something that's flowing at the base of the structure of the right of the painting and I think it's going to work very nicely. We'll give the sense that the building in the background has access to water. The rest of the desert is just dry and barren. The next thing that I need to tackle, again using the Lasso tool, is the left-hand side mountain and then that building and the right-hand side in the background. Let's do the left side first. Use the exact same process on that layer with all the textures that I did, the clipping mask layer. I'm going to carve out some shapes and paint over them. If you do want to hide your selection, sometimes it's very useful to, after you've made a selection you want to hide, they're called marching ants. The line that gets created when you've made a selection. Sometimes it's nice to hide it so that you can see the painting and see the effects that you're doing. All you have to do then is just hit Command or Control H on your keyboard that hides the selection. You can paint away without the distraction of the line around the selected area and then see it much clearer. If you want to see the line again, you just hit Command or Control H to make it reappear. Then to de-select any selection, it's Command or Control plus D. The last thing I want to do is move the cliff phase or the mountain that's behind my building, I want to move it over. It's not giving me enough prominence or enough background for the building. I'm just literally using the Transform tool to scale and skew those elements down a little bit, get them into the right place and stretch. I'm going to stretch out so that it goes back over to the edge of the canvas. That's all. At this stage, you can easily do that without things looking too disjointed. Now I want to show you using the Lasso tool how to make a bit more of a realistic rocky texture. What I'm doing is using the Lasso tool with the Shift key selected and I'm drawing broken up shapes. A rock or a cliff face with a bunch of rocks is going to look jaggered and have all of these features inside like broken areas, gaps. I'm drawing like a jigsaw puzzle nearly of shapes that are going to fit into each other. In my mind's eye, in my intention or whatever through this, these shapes are the shapes that are facing the light so they're the top surfaces of rocks. Then I'll add a new layer above it. Credit clipping mask and paint over with a lighter tone. I'm using Command H to hide the selection when I do this. Now I'm going to invert the selection so the outside area selected and do the same thing with a darker tone. It gives a very dramatic effect, very defined, very hard edges with clean cut lines. That may be something that you want to do in your painting. I'm not so sure that it's working in my painting, but I did want to show you that technique as well. Instead of just doing highlights and shadows, you can actually be very specific in terms of shape. I personally really like the crevices that have been created through that technique, but I think I will tone it down a little bit because that's supposed to be way back in the background and it's a bit too defined. You shouldn't really see that much definition if it's so far away. I'll leave it for now as it is, but I may, over time, paint over it and knock it back as much as possible but there you go. That's a great technique if you wanted to use it. If you were painting mountains or things like that that had those very strong defined cracks or breaks within the surface of the rock. That is looking a lot better than when I started out, starting to have that definition. As I said, this is a crucial middle stage of your painting process, bringing in the definition. Just to recap, I use the Lasso tool, made selections, and then chose a lighter tone to make highlights. If you want to select the inverse, you go up to select and choose ''Invert''. Then you can paint darker tones beside that selection. Another handy keyboard shortcut to remember is Command or Control H to hide your selection while you're painting. Perfect. Believe it or not, we've actually got just a couple more lessons to go, and this painting will be finished. The next thing that I want to do is tackle the structure in the background. Obviously, it needs to have detail, needs to have a lot more defined things going on with it. I'm going to use a combination of the Lasso tool and simply drawing. I'll bring that to completion and finish. Then after that, we will do final finishing touches. We're going to add my character back in and that'll be it. We'll be finished. So when you're ready, join me in the next video and let's make this building or structure in the background look a bit more finished and a bit more finalized. 13. Detailing the Structure: In this lesson you're going to see me painting details onto the structure in the background, and my caveat before the lesson begins is that this has got a bit of a sci-fi field to it, so this isn't based necessarily on anything in reality. I do encourage you to use reference material all the time, obviously, but for this one, I winged it. I think I had a couple of reference images, but I just wanted to make it look like an industrial building that was also a little bit otherworldly, so it doesn't have structures that we would relate to on earth. I also wanted to make it look like it's a massive building or a massive structure. For example, I know when you look at those massive Star Wars-y structures or dune inspired structures, there's going to be very industrial pipes and things coming off them, and there won't be necessarily a very obvious way to get into the building. Anyway, I used a combination of the Lasso tool, the selection tools, and just a basic hard round brush. I'll talk you through it briefly so that you can see how I did this. Here I'm just using the Marquee tool, I've made a selection, and I'm making it a bit wider so that it's facing outwards slightly. I just drag that layer up so that it's actually above the building itself. I tend to make all of these adjustments and painting on top of the base structure, so that if I do need to redefine things or move them around, I can do it very easily. So now I'm onto the Polygonal lasso tool and I want to make this right-hand side the defined edge. That's going to be in shadow, so I'm choosing a basic darker tone, flat tone, and just filling it in like that. Then I'm going to use that as my shadow tone throughout. So rather than being too dark, it's just going to give it a little bit of a hint of definition. On the front of the facade of the building, I'm detailing in some structural feature points really. This is just me making it up of what I think this building is going to look like. I might draw in some windows by simply making vertical lines, small vertical lines give the impression of windows, and then on the side of the building here, I'm going to detail in some outer structures and pipes that are coming down the outside of it. Then I'm going to switch back to the polygonal lasso, I don't know how to pronounce it, just to create some some blocky square shapes. I'm just going to give some definition and interest to the building. Perhaps along the front, there's like a line of columns or even a line of indentations to indicate entry ways or doorways into the building, something like that might work. I'll put another door or entryway at the top, make that also a landing site. Really, really simple and doing it without that much detail could actually be very effective, and you don't have to draw details necessarily. I'm literally using a small brush and creating lines and a grid almost onto the building, and that in itself gives the viewer's eye the impression really that this has got pipes and things along the side. That's all you want to do, is give them the impression. You're not going to go in, close up and show them the bolts that are holding it together, or the type of processing plant that this is or isn't. It's just about giving that overall impression, which I think it's working very well here. I guess you do have to have a little bit of patience with this process because it's about seeing what works, especially if you're drawing or creating something without proper reference material, just sort idea in your head, then you do need to take it one step at a time, just see what works and don't rush it, and try to step back every now and again and just look at it from afar and see, is it working? I'm going to get rid of that mark over there, it's not really working for me, just paint it out, and that looks a lot better. I could if I wanted to give a bit of shadow texture over these overhanging sections, just using the lasso tool and painting a darker tone underneath. You'll notice that I'm not using heavy, heavy texture brushes on this building, that's a very conscious decision to no protection on this building, because I want it to be in contrast to the very heavily textured organic material that's all around it. I'm keeping this extremely clean, just flat tones, flat colors throughout the look and feel of this building, if you were to put textures on top, it would just blend in with the rest of the background, and that would actually have the effect of making the whole thing look quite flat and uninteresting. This way, visually, it's a lot more dynamic, the contrast always is going to help you sell your composition that much better. It looks very believable within this painting, within this world that we've created, it's find unfinished. I'm very happy with it, so I'm going to move on to the final phase of this painting, and that is the exciting phase of adding atmosphere and effects on top of this. Believe it or not, this painting has done all of the hard work, all of the really difficult parts about working with light and shadow, values, hue saturation, and texture, that's all finished. The painting is working, and now all we have to do is put the final layer of polish on top. When you're ready, meet me in the next video, I'm going to add in the character, and then I'm going to move on and bring it to final render. 14. Final Touches: In this video, I'm going to teach you some techniques for making your final touches on a painting, how to add atmosphere and effects. Also I'm going to change up the sky completely and add a moon. All of that will result in the final finished rendered painting. Let's get started. On a new layer, I'm going to grab a brush. There should be a brush in your folder called Clouds. I'm going to gently, just very lightly, add some cloud texture over top of everything. You'll note that this layer isn't down below everything, it's not on the sky layer, it's actually above everything and that's very intentional. I want to give the feeling of mist across this painting. You can do several layers of this. You can lay out your clouds or mist. If you wanted to have a layer of clouds in front of, say, the foreground element, you could just create a layer above that foreground element and add clouds in. This is all just using a very big, very basic cloud brush. You could also do this with one of the default Photoshop brushes. There's a big soft round brush, that's totally fine. It's all a matter of just making sure that your brush strokes are very light on your tablet. Remember your pen can be pressure sensitive, so you want to give a bit of a light touch with that. There's also a very cool brush in the brush pack called vultures. All I'm going to do is put two or three taps of this brush down and that'll be enough to give the hint with the suggestion of those birds flying up there in the sky. Might work, might be a bit cheesy, but I'll see how it goes. I think that looks okay. But now I want to actually jump in and change up the color of my sky, and really push this idea or this notion that this is other worldly, maybe a bit sci-fi, and I'm going to add a bit more drama to it. You could end it here if you wanted, but what I'm going to do is, on a new layer above the sky layer, I'm going to go over to the Gradient Tool. If you hit G on your keyboard and then hold down on the icon, you can see that it gives you the option for the bucket or gradient tool. Select gradient, then this dialog box comes up. Here you can change the color of your gradient by clicking into the boxes below. The slider can move them to adjust them. Then I'm going to pull and drag across, now it should be on the other layers. If I pull and drag across, you'll see a very nice gradient appear. It instantly gives it a completely different feel, much more dramatic. I might even add some textures into the sky itself for clouds. Sample some sky color and just break up that very stumpy looking cloud brush. The cloud brushes that I just laid down now really pop out. They really stand out in contrast. I just want to knock that back a little bit. This is great because it gives you the impression of maybe even like some stormy weather or electrical storm, something very menacing or crazy weather pattern building up at the back. If you wanted to, you could change the blending modes of your clouds. If it's standing out too much, I'm going to try and put it to maybe lighten. I think that works. That's looking a lot better. It's not so bright. That's perfect. Now I'm going to make a new layer above all of those textures. Go to my Marquee selection tool, click and drag out a circular shape and fill it, and that's going to be my moon. Then I'm just going to paint over that moon. With the selection still active, I've just hidden that with Command H. I'm just choosing textures and colors from the nearby sky and just painting over it. Now lastly, I might even darken it altogether, give it a pattern that might be quite visible, say, from the planet that you actually see the pattern on the moon. I think that looks awesome. If you wanted to, that's certainly something that you could do at the very end of your process just to really give it that final look. Add a moon or a couple of moons into the sky, or maybe you wanted to go ahead and add a spaceship in the sky as well. You can also play around with the blending modes of that moon, like on that layer. See what you think works. For me, I think it's best if I just leave it at normal. I've worked on the colors the way I wanted to see them, so I think I'll leave it at that. All in all, that's it. That is finished and rendered and finalized. I'm very, very happy with that. I hope you've enjoyed watching this process. If you have any questions whatsoever, don't hesitate to ask me or send me your work in progress or if you get stuck with anything, send me what you're working on. Let's have a chat and see if we can figure things out. Otherwise, I hope you can finish this to completion and send me your final concept painting for the desert scene. I'd love to see it.