Digital Chalk (Pastel) Drawing with ArtRage | James Pence | Skillshare

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Digital Chalk (Pastel) Drawing with ArtRage

teacher avatar James Pence, Performance Chalk Artist, Author

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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

15 Lessons (1h 44m)
    • 1. Introduction

    • 2. Materials You Need

    • 3. Choose Your Canvas

    • 4. Choose Your Color Palette

    • 5. Tool Settings for Pastel/Chalk

    • 6. Sketch Basic Shapes

    • 7. Draw the Sky

    • 8. Add the Clouds

    • 9. Draw the Distant Mountain

    • 10. Draw the Middle-Ground Mountain

    • 11. Draw the Distant Trees

    • 12. Draw the Wildflowers

    • 13. SaveAndExport

    • 14. TweakingAndRevising

    • 15. Conclusion

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About This Class

Would you like to learn both digital art and chalk (or pastel) drawing? In this class you will learn how to use the digital art app ArtRage while you are drawing a basic mountain landscape with distant trees and wildflowers in the foreground. Familiarity with digital art apps is helpful, but not required. I will take you step by step through the process and teach you the skills necessary to complete your own digital artwork. As we walk through the process together, I will also describe how I would create a similar effect with chalks or pastels.

As I demonstrate this drawing, I will be working with ArtRage and will show you:

  • What tools (brushes) best imitate the look of chalk
  • How to adjust the settings to get the best results
  • How to use layers, lock transparency, the palette knife tool, the eraser tool, and other digital art app elements.
  • How to import a color palette
  • How to choose a canvas or paper from ArtRage's many available selections.  

Meet Your Teacher

Teacher Profile Image

James Pence

Performance Chalk Artist, Author


Hi! I'm James Pence, although my friends call me Jim. And if you're here checking out my classes, I definitely consider you my friend.

If you ask me what I do for a living, I'd have to say, "That's complicated." I've worked as a pastor, a youth camp director, a karate instructor, a singer, a speaker, and I currently help manage an organization that produces art curriculum for homeschoolers. I'm also a published author with eleven books to my credit, including computer books, novels, and memoirs. And I work as a collaborative writer and editor (basically I help other people write their books).

But my passion has always been art!

I'm a performance chalk artist, which basically means I use huge sticks of chalk to draw a 4-foot by 3-foot picture in fifteen ... See full profile

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1. Introduction: Drawing with chalk is a lot of fun, but it can also be awfully messy. You get chalk dust everywhere and on everything. You get your clothes dirty, you get your hands dirty. And it's not particularly good to breathe this stuff either. So wouldn't it be great if there was a way to do pastels are chalk drawings without all that mess. There is. I'm Jim pen, some professional chalk artist with 40 years experience. I worked with lecturers, chalk, which is kind of like pastels, but it's a lot bigger and softer. And I draw a four foot by three foot picture in 15 minutes. I'm a performance chalk artist and I love drawing with chalk, but I've gotten tired of the mess. And about five years ago I got interested in digital art. And I discovered the APT ART rage. And out of all the digital apps out there, ART rage comes closer to imitating real chalk than just about anything I found. In this workshop. I'm going to show you how to work with the digital app ART rage to create a mountain wildflower seen very similar to what I would draw if I was doing a performance chunk art piece. You'll also learn basic Chuck our technique like how to draw realistic clouds and how to draw a distant mountain. How to add convincing detail to mountains quickly and easily. And most of all, you'll have the fun of creating a picture without having to get quite so messy. So get out your iPad, your tablet, whatever you're going to work with, make sure you have ART rage. And let's draw together. I'll see you in the next video. 2. Materials You Need: Well, let's talk about materials and apps. What do you need to do this class? You don't really need a whole lot. The three things I would suggest are a good digital art app, a drawing tablet, and a pressure sensitive pen. For a Digital Art app. There are, there are a lot out there and I'm not gonna go through all of them. Because the focus of this class is getting a natural realistic pastel or chalk effect. And there are really only two apps that come close to that. One is procreate, and that's exclusively for the iPad. And procreate does an excellent job of imitating soft pastel, but there are some drawbacks to it. And the reason I don't use it as much as because I've found that ART rage and particularly ART rage six, give a much more natural and realistic look. If you're, if you're trying to work with chalks or pastels. So I recommend ART rage six to work with, but again, procreate quillwork. It won't look quite as chalky, I guess, as what you'll see when we do this class. The next thing you're gonna need is a drawing tablet, whether it's an iPad and Android tablet, a Wacom, you'll need something to draw on obviously. And then you're going to need a pressure sensitive pin or stylus. If you're working with an iPad, then if you have the Apple pencil, that's great. If you're working with a Wacom or who he on, the pens that come with them are good. You can use just a regular stylus that's not pressure sensitive, but it's going to affect the look of your chalk and in particularly the ART rage app. So pressure sensitivity is really helpful here. And in the resources section, I've got links to the equipment I'm using and some other possibilities that you might want to look into. So make sure you've got all your equipment together. And then we'll go on to the next step which is setting up our canvas. 3. Choose Your Canvas: Well now it's time to choose our drawing surface. Art rage comes with quite a few options built in. And that's one of the reasons I really prefer it over other apps for doing pastel work or chalk work, because I have a lot of choices to work from. What's showing here is a canvas like you would use for oil painting. But there are a lot of other ones to work with and to find those, you just have to right-click on your canvas and go down to Canvas settings. And that brings up the canvas settings box. And we can make some choices from here at the top, our canvas presets. So these are what come bundled and as you'll see, it comes with art papers, different kinds of canvases, different decorative papers, regular papers, rough surfaces, and even specialty papers. And it's fun to play around with these and experiment and try different things. And one of the neat things about ART rage is that you can actually change your drawing surface midstream and see how whatever it is you've drawn are painted. Looks on a different kind of surface. So it's very handy that wait for doing chalks or pastels. I go with watercolor paper. And that's really not unusual because a lot of times when I do pastels in traditional media or chalks, I will use watercolor paper because I like the, the tooth and the roughness of the surface. Now, once we have the watercolor paper chosen, I want to tweak some of the aspects of it. You can come down and you can adjust the roughness, the grain, and you can adjust the grain size. You can, of course adjust opacity. If you want to have a metallic look, you can add that. I don't really want that, so I'm not going to mess with it today. But what I wanna do is I want to look at the grain a little bit and adjust it. Now there's a feature in ART rage called Canvas lighting. And, you know, if I turn that off, you can't see the grain quite as well. If I turn it on, it's like shining a light that an angle across the paper. And I can come down and actually adjust the angle to whatever angle I want. And I can even adjust the intensity of that. And if I do, that hasn't changed the grain of the paper, it's just made it a lot more visible. So if I turned out that intensity, that green is still there. It's just not showing up when I'm working on it, but I want to turn it up so that I can see it. And then I want to come down to adjust to the grain. And this is a little bit rougher than I would really like. So I'm going to turn that down to about 2929%, 30%. And then I'm going to turn the grain size again. With grain size, I can make it really big. And I can take it all away down to 50%. And that's really where I like it for pastel work. It's pretty close to watercolour paper. And that's again, what I like to draw. Nonetheless, change I'm going to make is in the canvas color. I like to draw on a toned surface. So for this drawing, because I'm going to have a bluish guy, I'm going to go with sort of a blue light, blue gray tone. There's a preview window right down here that you can look at to see what your paper will look like and then click OK. And that's actually a little bluer than I want. So I'm going to come back up and let's just take a little bit more out of that. And that's better. It's just kind of an off white, light blue toned. But again, this is very handy. You can, you can turn your paper and get it to whatever effect you would like to, to create. Now the last thing I do before I decide I'm happy with the paper is I like to check and see what the pastels look like on it. So I've already got my pesto tool chosen. And now I'm just going to come up and grab a color here. And let's see what it looks like when I draw. And I'm, I'm not really going to try to draw anything. I just want to lay a little bit in. And let's see how that is blending. Know how it's looking. And I'm actually pretty happy with that. So I'm going to stick with that. My paper is ready. And so we're ready to go on to the next step. And I'll see you in the next video. 4. Choose Your Color Palette: Well, now that your canvas is set up, let's talk about the color palette. And as with any good art app, there is a color picker that you can work with. And you can of course, save colors to a sample collection. To do that. If I, if I'm on this color and I want to save it, I just come up here and click on Add sample and it adds it. And if I go to another, just click on that plus button after that and it'll keep adding the different color samples. So that's one way to build your color palette. But ART rage comes with a number of preset palettes that are really versatile and useful. So what I'm gonna do is keeping this box open. I'm going to come up into the corner and I'm gonna go to clear samples, take those off. And then I'm going to click again. And I have down here in, excuse me, add samples. I have two options loaded from disk and select from collection. Load from disk is if, if I create my own palette and I want to save that, I can, I can go down to export samples and I can actually save my color pallets on my computer or, you know, on my iPad or whatever I happened to be working with. But if I go to select from collection, then there are a whole host of color palettes that are already set up for me in ART rage. Basic, you have a grayscale, you and saturation USE pastel, use, landscape. And we're going to come back to that. Gotten everything from Autumn mountains to beach city at night, coral reefs, desert. And, you know, I'm not going to read them all, but you've just got a ton. Go down here to samples. And again, we've got more organized on the kinds of colors, cold colors, complimentary colors, fire, mountain, landscape, oil spectrum. And then for still life portraits, again, you've got several different possibilities and even some, some hair tones and just a lot to work with. And so that's why I really like working with ART rage because it, it really gives you a lot of tools that you can have fun with. So what I'm going to go to our my landscape colors and I'm going to choose a couple of different ones. I'm gonna choose autumn mountains. And that gives me a nice range of greens and a few warm colors and little neutral up in there. And I'm going to come down. I'm also going to add in green forest. Now I haven't added these actually into the samples palette yet. I'm just showing you what they are. And, and there's another one, New Zealand hills. And those are the three that I'm going to start with. I'm going to add one more in a minute, but I'll show you how to add those. I just come over to autumn mountains. Click on okay, and it adds those to my sample collection. And then I'm going to go back again. And I'm going to go back here. The second one I want is green forest. And then I'm going to come back one more time. And I'm going to select New Zealand Hills because that gives me a lot of blues and some different greens here. And then I'm going to choose one more because I do want to have some of my primaries available. So I'm gonna go again to select from collection and go back to basics. And you can go to you and saturation. You can go to use, you can go to pastel use. I'm going to come down here to the more general one. And I'm gonna go to primary colors, triplets. And I'm going to click on that. And that's gonna give me a good collection of, again, strong colors that we'll use later in the drawing when I'm drawing my wild flowers. So I'm going to click on OK. And I've built my color palette there. Now, if I want to save that for a future project, then what I can do is I can come up here and I can go to export samples. And then I can just give it a name. I'm going to just call it colors. And then I'm going to save it. And it will save it as a DOT COM file. So let's suppose now I've worked on a different project, had a different palette. I want to go back to the one that I was working on. Now I can go to add samples and load from disk. And that's going to come back. This file I've created colors cURL, and I've got my color palette back. So it's a very handy little feature. And that's how you build your color palette. And I'm gonna put this color file in the resources so that you can download it if you, if you, it'll only work if you have ART rage. But if you do have ART rage, then you can import this into your system to OK, well, let's go on to the next lesson. 5. Tool Settings for Pastel/Chalk: Now let's talk about Tool settings. In most digital art apps, whatever you draw or paint with is just called a brush in ART rage there called tools. So let's look and see what we have to work with. We have an oil brush, watercolor, palette knife, air brush, got an ink pen. In ART rage, the full version, you can actually customize brushes. You can't do that with the outrage light. And then they have what they call a group pen, I felt pen, a paint roller. And that's a little different. Ruler in pallet knife are really great if you're working with an oil or acrylic effect. They have an oil to paint tube effect. And then of course, eraser and stamps and got a glitter feature and a pencil. So most of the same things that you would find in most art apps. We're going to work with the pastel tool. And we will use the pencil a little bit, but it's mostly going to be the pastel tool that I'll be working with. So when you click on a tool, then you have two ways to adjust it. You can go over to presets. And if I click on that than I've got a number of different choices. I've got hard chalk, hard wax, heavy crayon, heavy pastel. Like crayon might pastel medium, crayon medium pesto, just a straight past El setting. Soft chops off, whack soft crayon, soft pesto. So we might say, well, what's the difference? Well honestly, when I, when I work in pastels, in ART rage, I don't really bother with these. I work pretty much just from the Settings tab. And I worked from this box and I make my adjustments. Now when you open up the settings panel for that, uh, the pastel tool, you have two options, wax and chalk. And I'm guessing that wax is supposed to emulate. Oil pastels and chalk are supposed to emulate chalk or soft pastels. But I want to show you the difference between the two because I've found actually that if I want a realistic chalk or pastel effect, I have to use the wax setting, not the chalk setting. Now let me show you the difference. I have got the tool selected, I've got it set at about 50%. And I'm going to just do a little bit. I've got it set in shock right now, okay. Cuz I'm just going to lay down some color here. And then I'm going to change it and I'm gonna go to wax. I'm gonna go up here. And I'm going to lay down some color and they're really doesn't look to be that much different. And there really isn't. It really looks pretty much the same. But the difference comes in how the chocks interact on the setting. So I'm going to change over to kinda nice, bright, almost bright magenta here. And I'm gonna go back to the chalk setting. And I'm going to pull across both of those. Remember this one here is the WACC setting, this one here is the chalk setting. Ok. Not much difference is there. And it goes across and you don't see much interaction at all. Now, again, I'm using in this magenta color a chalk setting. Now watch what happens when I change it to wax. Ok, you see the blending. That's what I as a pastel, AS like, I like to be able to blend my chalk. And I don't get that with a chalk setting, I only get that with a wax setting. So once I've selected wax, then when I'm working, I will adjust the pressure and the softness. I don't usually mess too much with the noise amount or noise scale. But I will adjust the pressure, the softness, and the size. And to adjust the size you, if you click on that, it will bring this up and you can use a keyboard or let me close that out there. Or if you just drag across, it will adjust it for you. So and I usually that's usually how I will I will do it. So the reason I really like the WACC setting is it lets me blend that shock in a way that the actual Chuck setting does not. And so as you can see, I can blend, I can layer, and I can do an awful lot with this and it mixes and it feels very, very realistic. So that's what we'll be using as we go forward in this. It's, it's very, very similar to what I work with when I'm working with lecturers, chalk. And the only difference, whether a lot of differences, but my favorite differences are that I don't get my hands dirty. So we're gonna go on to our next lesson. Get your settings ready, and let's get ready to draw. 6. Sketch Basic Shapes: Well, let's do our sketch before we start to draw. I'm not going to go into a lot of detail. I just wanted to do a very simple layout so I know where I'm going to place the different elements in my drawing. Now, I'm going to zoom in just a little closer there. So I have a pretty full screen. And I'm working with the pencil tool right now. And I don't really need, I mean, again, there are a lot of presets, but I'm just going with the basic, the pencil. I'm going to choose hardened, darken. And again, I can change any of the details there in the settings. And again, the nice thing is, even if I make these setting changes, they're not retained unless I actually saved the brush. So you don't need to worry about losing what you originally came with with the program. And if you do want to get back, you can just go back here to default settings. So that's clues there. And let me come over to my samples. And I'm going to just kind of choose a and dark, kinda gray. I don't really need a lot of color here. I just want to lay out my picture. So when I do a chalk drawing, and when I say chalk drawing, I'm talking about my performance. Chalk are where I'm drawing before an audience usually have several elements that I will choose. And one of those Often I'll throw in a little kinda little mountain in the distance. And so I'm going to throw it a little bit off-center. And I'm just going to lay that down just like that. Then I have a usually a middle ground hill of some sort or some sort of middle ground object. I'm just going to draw some lines there for that. And I'm going to bring across another objects here. And I'm not going to draw anything else in the foreground because I will add that naturally as I draw. But that's really all I need right now. So, so really we have four elements, four things we're going to work on. One is going to be the sky. Two is the mountain. Three is the hill, or close up mountain. And four is going to be our wildflower field. Ok, so years enough to look just like this, just sketch in some, some basic shapes. And then when you're done, we'll move onto the next lesson. 7. Draw the Sky: Well now it's time to start our drawing and we're going to start with the sky. And I will actually do this guy in two parts. We're gonna put in the, the blue background first and then we'll come back in the next lesson and add our clouds. So to do that, I'm going to start by clicking on my layer box. And I want to add a new layer because I'm gonna keep my sketch here so I can refer back to it. So I'm going to add a new layer. And then with this layer, I'm going to set the layer name by right-clicking and going to set the layer name, I'm going to just call that my sketch. Okay? And layer three, I might as well set its name. And I'm going to call that sky, sky one maybe now called sky because and I'll add clouds in next. Okay? And actually the clouds will be on the same layer. I'm just going to do them in two parts. Okay, so let's close that box to get it out of the way. And I'm going to come to my samples and I'm just going to choose a kind of a dark blue. It's not a real, real intense bluish blue. It's kind of a almost a blue-gray. But that's what I'm going to start with. So I have gone to my pastel tool. Make sure in the settings that it's on wax, not chalk. It's right now set at about 50%, which is fine. And again, I don't usually mess too much with the noise scale. Softness I will sometimes mess with, but right now, a softness of 0 is fine. And I've got it set at a 100%. So I'm going to come in and I'm going to just start laying in color at the top. And when I'm doing a chalk drawing with regular lecturers chalk, this is exactly what I do. Although I tend to mix in more clouds as I'm actually drawing, but I want to get a good coverage here. So I'm, I'm kind of putting a lot of pressure down. And I'm going to make this a little bit rough. Sometimes I draw so fast, my computer has to take a little time to think about it and catch up with me. Okay, I've got that blew in, cued me, I hit the wrong thing there. I'm gonna go to my samples and I'm gonna go to a slightly lighter blue him and try that one. No, I like that. So I'm gonna just throw some of that in. And again, I'm not trying to be real neat. I'm not trying to draw anything in particular. And then I'm gonna go with a little lighter blue as I get down toward the horizon. And I'm going to, and it's okay, the reason I kept the sketches so that I can go ahead and draw over my. My outlines here and then I can just move the sketch up a layer. And so I've got, I've got that laid in there. It's a little sparkle of the paper coming through, but that's okay. And at this point it's going to be time to blend a little bit. Now, blending is a little different process and I'll show you how we do it. I'm gonna go over to my pastel tool, which I still have up, hit the settings. And I'm going to come over here to softness. And I'm going to turn that way up. And then I'm going to also reduce the size down to about 4750%, somewhere in there. Okay. And let me just get that out of the way. And oh, that's right. I'm going to also relate in the pressure just a little bit. And then and I'm still in the lightest blue, I'm going to just kinda go over the edges between the colors because I'm not looking for, you know, a digital type gradient look here. But I do want to fetter the colors so that the, the change between the colors is a bit more gradual. Okay, so, and I'm not, you know, I'm using my stylus here, but I'm not putting just a ton of pressure on it. I'm kind of hitting it with a light touch so that I get a little bit of a blend. If I want a little bit more blend that I will, you know, if there's a tipping point where it's just not blending well then I will put a little bit more pressure down. Okay, and now I'm going to shift to that middle blue. And there are a couple ways I can do it. I can just go back to my palette and choose it. Or I can click on the color sampler. And if I come up here and if I, if you're working with a computer keyboard and you hold down Alt, then you just touch that and it's going to match that color. So now I'm gonna go back here again, and let's go back here. I'm going to blend a little bit more into that blue. And actually some of this blue will turn into clouds, some of this middle blue as we go on to the next lesson. So I don't need to have that all just completely gone. Okay. And that's where I think I'm gonna stop. So we'll do clouds in the next lesson. 8. Add the Clouds: Okay, let's add some clouds into our sky. Now to start with, I'm gonna stay with pastels. And if I come to my presets again, I told you I don't usually use these much, but I'm gonna go to a soft wax. And then over here on the settings, you can see how that changes it a little bit. It changes the noise scale a little bit. And it pushes the softness way up and the pressure is at about 50%. Now. I'm gonna leave it at that for now. And for color choices. You know, one of the problems that happens a lot, particularly when you're trying to work with chalk or something, is you draw what I call cotton balls in the sky. And you go to straight white and you draw these big puffy circles and they don't look like clouds. They look like cotton balls in the sky. Well, to avoid that, first of all, you don't go straight to white. I actually started out with a light blue. I'm going to come up into the sky a little bit. Because if you look, you know, you go outside, you look at the clouds. They are not pure white. There are some that will be very, very white. But clouds pick up the colors around them. And they get, you know, if they're real thick, they get dark at the bottom and if it's getting close to sunset, they'll get a warmer color. This is going to be kind of a mid day thing, so I'm not going to add any warm colors in. And as you see, I'm just, I'm just kinda laying in some shapes. I'm not drawing big cotton balls in the sky. And I'm going to blend all of this in just a minute. But now the other thing too is in a drawing like this, the more detailed something is, the more it's going to draw the eye. So I don't really want super dramatic clubs because this is not a, this is not a sky scape. It's going to be a landscape. So I just want to suggest some clouds up in the sky just to give that more of a sky feel. Ok. So I've, I've come in and this is all that light, light blue. Now I am going to go to a more of a white. Let's see if I can go just a little lighter blue here. That's going to be a little brighter. So that's just a very, very off-white kind of blue. I'm going to lay a little of that in just on some of the peaks here, just to give the suggestion of little sunlight hitting little moon, moon, little midday sunlight under on a moonscape. And just a very loose touch. Don't, don't think too much as you're drawing this. Okay, so now I could leave it like that and it has a very nice pastel feel. I do like to blend a little bit, and I'd like to do that before I put in the final highlight. And for blending, you're gonna go to the palette knife tool. And in the presets, there are a lot of different options for this kind of blending. What I like best is what is called the hard wet blender. So I've got that selected and I've got it set at about 36%. And if you set it real high, it's going to really blend aggressively. I don't really want that. I want to, I wanted to kind of a very light touch on the blending and that's, that's good right there. I like that. Because you can really wipe out pretty much any of your detail. If you if you are too aggressive with this hard wet blender. But it is a really useful tool. And it's especially useful if you, if you use ART rage to do water. While not watercolors, acrylic looks or oil looks. Some amazing effects can be created with with this. So I might come up and kind of hit this blue up here and take a little of that paper grain out. I like it, but I don't want it to draw attention away from the clouds. And so I'm just kinda smoothing over and gone back and forth through them hitting just a little bit. And I don't want them super detailed. Just want you to have that nice field of clouds in the sky over a majestic mountain range that has yet to be drawn, but will soon be drawn. And I find this very relaxing. And just take your time. Work it in. Yeah, there we go. Take out that little bit that I just put in there. Okay. Now I could stop there. That's fine. I do want to add just a touch of highlighting. So I'm going to come back to my pastels, but I'm gonna shrink way, way, way, way down about 12 or 13% in that range. And I am going to go to a white. Still not a, not a stark white, but it's, it's pretty white. And I'm just going to come in here and just hit a little bit. In some of these tips. The clouds, some of the tops is to add a little extra highlighting in maybe just a little down here and then a couple of places, not a lot. And then I'm going to go back to my hardwood blender. Whoops, that was not what I wanted. And here we go. Hardwood blender. It's set at about 28%. I think I will probably take it down even farther and bring it back up. A little bit. Tricky working with the blender. And again, just, just a hint here to get that feel. And I think I'm happy with that little bit, too much paper grain there. Okay. I'm gonna stop. It's possible to always work and work and work and tweak and tweak until it's actually overworked. I don't wanna do that. So that's, that's the clouds. Add some clouds in. And then we'll come back for the next lesson. We're gonna do our distant mountain. 9. Draw the Distant Mountain: Let's do our mountain now. Now, if I was doing this as a performance chapter, I knew you were watching me draw. I would whip out this little distant mountain and about 20 to 25 seconds tops. But it'll take a little longer here. But it's still not difficult. And the first step is going to be to add a layer, which I've already done at a layer and I'm named _id mountain, so it's close to that. Let's choose a color. I'm gonna choose the lightest blue that I have up there. And let's see what that looks like. And it come over and make sure I've got the right tool selected. And right now I'm still in the palette knife. I want to go back to pastel. It's still pretty small for my last time, I'm going to put it at about 50%, roughly 52. Okay, that's good enough. Okay, so I've chosen the very light blue. Let me see how that looks and that's going to be good. It's kind of a almost a bluish gray back out and close that. And to draw my mountain, I am going to actually move my sketch layer to the top. And I just drag that up to the top. And now I can see where I wanted my mountain to be. So I'm going to draw my mountain in this pretty simply. It's a nice purple issue mountain. Purple mountains majesty. You know, very, very, pretty distant. But not just a ton of detail. Okay? And that's pretty much all I need for the base color. Okay, now what I'm gonna do is I'm going to move that Sketch back down. Well, actually what I'll do is I'll just turn the sketch off. There we go. Oops, I made a mistake. This is the downside of digital RG Would I did, I drew on the sketch layer. So what I'm going to have to do is undo that. And I'm gonna go to my mountain layer and now I'm going to draw on it. You know, you get to learn from my mistakes. Okay? That's alright. It's very frustrated. That's one of the frustrating things about digital art, is if you are working with layers and you get caught up and involved in your drawing and in your art. And then next thing you know, you've done half an hour's work on the wrong layer and it is very disheartening. As so. Okay, so I've got my mountain drawn in now on the correct layer. So now I'm going to go up and I'm going to turn off the sketch layer. One of the difficulties in working with ART rage pastel tools is that it's very hard to get a good sharp line. And yet I'm on this mountain. I don't want to fuzzy line at the top, so how do I get a sharp line? Well, I go to my eraser tool and I'm going to actually shrink that down a bit. Now in the, in the presets, you'll see there are a lot of different options. Instantly race and hard-edged, kneaded eraser, softer Acer. I want either hard-edged or incident rays. Actually Incident races is going to be more suitable for what I'm doing. So once I've chosen that, I don't really need to tweak it aside from the size and I'm going to keep it at about 27%. Now one of the other cool things about digital art is if I want to work in detail, then i can blow things up. Can't do that with the regular chalk. So all I'm gonna do a zoom in here. I'm actually, I'm working at a desktop computer, but with a drawing tablet, so I'm just using my mouse and scrolling. And as I scroll it, blows it up. And then I come over here to this tool up near the right corner, and it's called a canvas positioner. And what that's going to let me do is it's going to let me move the canvas. And it will also let me zoom in and out. But I just want to move it right now. Okay. And then I can just close that for the moment. I'll come back to it when I need to turn off transform and come down back here to the Eraser tool. And then I can come in and I can kind of scope that mountain to give it the sharp edge that I would like it to have. And I can make it look more. Mountain he I guess is the, is the word. And if you're doing mountains like this, don't make the peaks two, Stark, too steep known. Don't make it look like the Matterhorn. Because again, the more detail you have, the more it's going to draw the eye. So you just want kind of a nice little mountain shaped like that, sort of squashed down, upside down V is what you want to go for. Okay, so now I've got the shape but I don't want it to just be flat like that. I went a little bit of interesting and it doesn't have to be super detail, but I wanted to, to have a little bit of life. So how do I do that? Well, I could just go in and free handed, but this is where I'm going to take advantage of locking transparency. So I'm gonna go here to layer locks. And I'm going to lock transparency. And what that's gonna do is it's going to mean that the only part of this layer I can draw on is what already has been drawn on. So now I can come back to my pastel tool or I can use a pencil if I want finer detail. And I can kind of go to a lighter color, I'm gonna shrink this down quite a bit. And then I can just kinda hit the side of the mountain with a little bit of color. And that's actually not my me look at my settings here. I'm still on pretty soft, so let me turn on, turn the pressure up just a bit and maybe turn the noise scale down a little bit. Here we go. Here we go. Okay, that's a little bit. And again and again, this is not like making it a snow-capped mountain. All I'm doing is throwing and maybe some places where the sunlight is hitting. Just real light strokes is to give them mountain a little bit of substance. And then if you want to, you can kinda go down and just pick up a little gray. And again, don't don't overdo it because it really does make the mountain stand out too much if you do too much with that. Okay, let's shrink it back down. And okay, I'm reasonably, reasonably happy with that. So I'm gonna go back to my canvas positioner. Let me get as boxes out of the way. And then I'm going to just move that Canvas more back into a center position. Can close that, and then I can zoom back in. And we have our mountain. Now the next thing we're going to draw is the, it's sort of a mountain too, but it's going to be what I would call a closer uphill. And we'll do that in the next lesson. 10. Draw the Middle-Ground Mountain: Well, let's draw in our Middleground. Till now, I have already created another layer. I'm just calling it mountain too, even though it's really more of a hill and a mountain. And I have made sure this time that I'm actually drawing on the mountain layer, not, not the wrong one. I still have my sketch on top. I'll turn that off in a minute, but I want to use it as my reference so I can get the general idea of the hill that I drew. And I'm gonna go back over to my pastel tool. And I'm going to crank that up to about a 100%. At this point. It might be a little bit too much, but it's a little bit large. I'm going to take that down. Let's make it about 50. Can't get a very good, well, okay. That's what I wanted to do. About 50-50, 1%, that'll work. And I hit undo, Take that off. It's another aspect of digital art. I really like his being able to undo my mistakes easily. Ok, so now I have a middle ground Hill to draw. Color wise. I am actually going to use sort of a charcoal gray. So, and I've already got that selected from my palate. So let's draw that in. And again, I really, this is pretty much how I would draw it. If I was drawing in front of an audience, I would draw it fast. Would not spend a lot of time when I do a chalk drawing in front of an audience, I have on average maybe about 15 minutes tops to complete the drawing. So I really don't have a lot of time to work with. And I want to make sure that I get in the details that I need. Let me bring that up bigger now so I can cover more areas. Incidentally, if you'll notice as I draw, if I draw over certain boxes, like layer box or whatever, those just disappear. But they come back as soon as I pick up my pen. So it's a nice little feature and most digital programs have that. Okay, so I've got, I've got some sparkle shining through my picture. The one thing I want to make sure is that I am covering up the all of the UN uncovered or unpainted canvas between the between the sky and the mountain. So that when I begin to shape this, I don't end up exposing this bear blue canvas. Ok. And again, I have the same thing at the top. It's really kind of fuzzy and we can work on that right now. So let's go to the eraser and I'm going to shrink that down. Again. Don't really need to blow it up too much this time because it's already pretty big. So I'm just going to come in and begin to sculpt. And the main thing I want to make sure that I'm not See, I went a little bit too far there, so let's undo that. And what I'm gonna do is come back here and shrink that down. And let's get rid of some of that sparkle. And then I have to turn up the pressure to do that. You go, that'll take it out. And again, you can do most of what you need in adjustments, just adjusting the pressure and the softness. The pastel tool. Just remember to keep it on wax. Not on chalk. Kind of counter-intuitive since I'm doing a digital chalk drawing. That there you have it. Okay, oops, don't want to do that. It's shrinking and me, that's not what I want. Technology is great except when it does, when it wants to and not what I wanted to. Just take that out of the way and then take that out of the way for now. And whoops, needed to get back to my eraser tool. Okay, so and you'll notice I'm, I'm not following my guidelines exactly. That. They are literally there just to give me a working idea of the shape that I want hits, it's not set in stone by any means. Ok, so I'm still getting some sparkle down through here, but I'll go back and correct that later. I'm gonna go ahead and stick with what I've got here. So okay, so that's the base color. And usually when I'm doing a chalk drawing, a performance Chuck art piece, I will usually work with like three colors. I'll do a base color. And then I will come in with something to give shadow, and then something to give highlight. And sometimes I'll do that in the opposite order. What I wanna do here is I want to lock transparency again. Okay, so I can come in with another color. So let's go to our palette. And I have a number of other grey colors to work with. This one. Let's try and see what it looks like. And let me just sum on the eraser tool. Always get back to the right, right tool. Okay, that's okay. But I'm not crazy about it. So let's hit undo and take that off. And let's go with me, shrink this down here. And I'm not particularly crazy about that either. So let's try this one. And I think that one will work. Okay, so that's a little gray but just a hint of green in there. And I kinda like that. Okay, so let's take that off and get that out of the way. And I have locked transparency. So now I can come in here and I can just hit the sides with some highlights. I don't spend a lot of time thinking about how I'm going to make this look or work. In chalk art, I have to work very quickly. And it's kind of an impressionist style in the sense that it typically looks better from a distance and it does up-close. And so I'm just going to round this out, come in like that. And then I'm going to actually just come here and I'm going to light that a little bit. And I'm going to change the color just a little bit. It's going in the direction of blue. Okay, and now I'm going to come back and just hit with some more highlights. Quick strokes is to get that mountain Ni feel. And then I'm going to come back one more time. And I'm going to come in with an even lighter blue just like that. And if I scroll out a little bit, then I can see if I like this. And what I do wanna do is come back with my palette knife tool. Let's bring that up to about 33%. And I just want to kind of soften some of this. You can still see my, my sketch or forgot to turn that off. Let me turn that off there so that's not visible. And I can blend this a little bit. Now one thing I'll show you this when you're using the palette knife tool and you're working with a lock transparency if you get too close to the edge, that's what happens. It actually tends to erase. And I don't want that. So you've gotta be a little careful when you're using it because it will it will at times do some things that you're really not wanting it to do. And I don't want to blend all of this detail. I just want to soften it a little bit. And then I'm going to come back in. And this lightly in hit here with some of these lighter tones. And then one final thing before we call our mountain done. Maybe two final things. I'm gonna go to kind of a darker greenish gray. And I'm going to shrink down pretty small. And I'm gonna come right on these edges just to give a little bit of shadowing. Check my settings here in a little bit. Turn the softness down. Enrico. And again you can, you can tweak edge, you can add more weight in if you want. You know, I don't want to give it a little snowy effect up there. You're going to add a couple tips of weight just to give that a little bit more brightness. Just whatever. Last thing I'm gonna do is I'm going to come here with a Actually that's a little too. Let's make that a little duller, kind of an olive green. And I'm gonna make my chalk pretty large the most. We're going to turn the pressure way down. And I'm just going to kind of hit some green in here. And then I'm going to blend just a touch. Now we've drawn our middle mountain, and now we're going to add in the foreground, or at least kind of a distant foreground. And it's going to have a row of trees. So we'll do that in the next lesson. 11. Draw the Distant Trees: Well, the next step is to draw our foreground. And it's going to combine a couple of different things, including some distant trees, a field in between, and some wild flowers up close. So we're going to start out laying in or blocking in the general color of the field. So I'm gonna come over here to my color palette. And I'm going to choose a fairly dark, kind of an olive green. I don't want to real intense screen like these ones. And those are just about the same value. So I'm gonna go with that one there. And then I'm going to remember to add a new layer. Right now. I've got several. I've got the sky, the mountain, and the Middleground mountain. So I'm going to add a new layer and click on the plus button. But I want to be up here because I want it to be in-between the second Mountain and my sketch. So I've added the new layer and I want to set the layer name which is going to be wildflower field. Or you can just be more generic and say foreground. Either one will work. And got my layer setup. You can still see the drawing for the sketch, I'm going to turn that off and close that so it's out of the way. Let's go over make sure the pastel tool is selected. And it is at about a 100% right now. So let me see what it's looking like. That's good. Let me check the settings on it and then turn the pressure up a little bit to about 50%. I'm gonna keep the softness pretty low and I'm going to leave the noise amount and scale where they are, make sure it is on wax. And then I'm going to block in the foreground, and that's a little bit large. Actually, a 100% is good, but when you're doing the edges, it's nicer to get a little smaller. So let's shrink that. And about 5045 somewhere in there. Okay. There. And again, I'm not going to try to be really neat like I I was a little bit more so with the mountains. But for this, because I'm going to be turning some of this into trees. I really don't mind kind of a rough edge here because a lot of this is going to look like a tree line when I'm done with it. Okay, and I'm just going to continue that all the way down here. And then I'll come back and take that up to a 100%. So I can block in the rest fairly quickly. And this is going to be kind of a nice little area of flowers and, and I'm going to add some color and a bit. And I'll eventually adds some nice wild flowers up in the front. But for starters, I just want to get a hill effect. And I want kind of a diagonal look here. So I'm going to work with that. And that's the first step. On the next step in turning this foreground into a align of distant trees is going to be to define where the tree's end and where the grass begins. So I'm going to kinda come over and go for a little yellower color, which they have probably got something like that here to try this, all of yellow. Sometimes I forget I actually have a palate chosen. And again, I'm going to shrink this down to about 50%. And I do want to come in to my settings and I want to turn the pressure up pretty high. In fact, I'm gonna turn up to a 100 cuz I really want solid coverage on this edge. I'm going to blend that out. It's not going to stay quite as stark as it is there right now. When I'm doing a chalk drawing, I usually use a yellow green for this. So that's why I'm going with that. And then I'm gonna come back to my palette knife tool. And I'm going to soften that edge out so that it's not quite as stark fact, I'm going to actually blow that up a little bit more so I can blend it. Here. Again, you gotta be careful because with this palette knife tool, it, it does. You can get away from you. And I don't really want it to get away from me that much. And there we go. Okay, so, okay, so now I have kind of defined a line of distant trees there. How am I going to make those look more like trees? Well, I'm going to use a very simple trick that you find in shock art. And that is drawing distant deciduous trees, leafy trees is very much like drawing clouds. It's pretty much the same thing. So I'm going to kind of go back to my more olive green color here. And in fact, to make sure I match it, well, I'm going to go to my little color picker, hold down the ALT key, and now I've got exactly the same color. So I'm gonna go back to here, I'm going to now come and I want to turn down that pressure setting a bit about 50%, leave softness where it is and everything else is good. And I'm going to blow this up because it's a little easier to work with it if it's larger. So I turn on my canvas mover and scooted over like that. And I want to shrink down. And now I'm going to just do kind of a circular motion. And I think the key here with a lot of this is don't, don't make it all the same. You want a little variety in the lines, and so you want to just have your trees kinda bump up and down. Let's move this over a little bit. And actually I have a little bit of a problem here because the value in these trees is very similar to my mountain in the background. So they're, they're going to tend to get lost. But I'm going to really correct that when I begin to add in highlighting one of the first things I ever noticed when I started to get interested in drawing and art was when I would be out and see trees out in the country or whatever. I would see, you know, used to just see green trees. And now I saw all different shades of green in those trees. And sometimes, you know, we miss that. We kind of skewed me didn't mean to do that. We kind of maybe lose the trees for the forest and lose the colors. We just we don't observe. And one thing about art and drawing, as you learn to observe better. Okay, so let me turn up the softness a bit and get that out of the way. So we don't really need that either. Well, here we go. So now I'm going to come in and I'm going to do pretty much like I did with the clouds. I'm gonna kinda hit the trees on the side with it just a little lighter color. And remember in chalk art, you tend to use three basic colors depending on whatever it is you're drawing. You use the base color. You use a base color defines the shape, a middle color. We'll define the texture. And then the lightest color will give you the highlight. So I'm going to finish up here just a little bit, some of this down. And then I'm going to. Take that out of the way for a second, and let's come to our palette knife. Set the blending to about 30%, but we need to blow up a little bit. And then I'm gonna come in here and again, just kinda soft and some of this, it doesn't have to be sharp like a mountain because these are trees and they're going to let some sunlight through, so it doesn't have to be perfect. But I do want to take a little of the edge off of those middle tones. Because I'm going to come back in here in just a second with some highlights. And almost done. You see right there I got some bleed through and that's partially because of my my settings on on the palette knife. Sometimes if you're not careful, it's going to over, correct. So you got to watch for that. Ok, let's zoom out a little bit and move the canvas around. And now what I'm gonna do is I'm gonna go with an even lighter color, get data, we get back to my palette. And I'm gonna go actually with almost a yellow. Get back here to my still. I'm gonna take it way down. And I'm just going to hit him with little bits of color here and there. And again, if I was doing a chalk drawing in front of an audience where you were watching me do this. I did. After crank this all out in just a couple of minutes. Probably about a minute. So I come through and I just I get the initial shape down and then I come back and quickly with the the second color and then hit it with the highlights and I am on my way. Now, you may not be interested in doing the kind of chalk art that I do. And that's okay. Maybe you just want to play with pastels more and you can do almost all of this. Pretty much the same. With pastels. Pastels are a little harder than a lecturer shock is, is very, very smooth and very soft. It has almost no weight to it at all. At the sticks are really big. There are three inches long by one inch square. So there are huge sticks. I kinda like sidewalk chalk, but the difference is they are extremely soft and yeah, and not hard at all. And pastels, even though they're called hard per, soft pastels are harder than lecturers chalk and so the field is different, but you can do many of the same things with them. Okay, now, one thing that I'm going to do is I'm going to come back in and kinda add in a little darker value. Let's bring this up and just kinda think that down a bit. Whoops, wrong thing. I'm in my blender. There we go. And just add in a little bit of dark to maybe define some of these trees better. I, the reason some of this stuff keeps popping up by, I am a left-hand her and my tablet has all its control buttons on the left-hand side. And I have not yet changed that because the chord that I connect to the computer with isn't long enough. What I'm doing here is just, I want to add a little bit of separation with some of these trees. So and again, this kind of art is typically designed to be seen from a distance. So I didn't worry about really nailing every detail. I want to see, see it from far off. Now the one thing I do want to do here to add to the illusion of trees is I want to add in some evergreen trees and pine trees. So to do that, I'm going to switch over to my pencil tool and I'm going to, I think, sorry, see, that's what I'm trying to do. I'm going to go with a dark kind of a gray right now. I'm going to change that color bed, but I want to see how that will go. So I've got I'm set on a pencil. Actually, the pencil can be set to a 100% because it doesn't change much. But let me see what I am getting here when I draw with that. And that's about, that's about right. So what I'm gonna do is gonna come in here. And I'm just going to add. A few pine tree type shapes and again, they're so far away. You're not gonna see much in the way of distance here, her detail here. And I just want some things that are sticking up above. The other trees. See what I've got on my pencil sitting here, hardened dark. They go with a hard too, see if that changes it a little bit longer on as a straight line and just throwing some things out to the side. And again, not not great detail, not intended to be in any great detail. I just want to break up the circular forms a little bit. And let's move this canvas over a little bit. Throw one or two here. And I'm just really just suggesting at this point, I'm not trying to go into great detail. Draw specific, detailed pine tree. I just want a feel for something ever greenish. Ok. Now the next thing I'm gonna do is come through here one more time. This kind of a yellow, but I gotta go back to my past still and bring it up here. And I'm going to break up some of this yellow a bit. Or this yellow green really take that away. Well, parent doesn't like to cooperate with me. Okay. And then just to add a little bit of interest, and I come up, take a little yellow, orange and bring this up a little bit. I'm going to turn the softness way up and the pressure down a bit. And whoops, think that out. Okay, let's get these out of the way. And I'm going to add a little bit of a yellowish look here. Because this is going to become a wildflower field up in the foreground. So I want to kind of give a hint that there are some flowers. This back part of this field. And I'm going to turn my blender down. And I'm gonna just soften that. Let me turn my blender backup a little bit. Okay, and that's going to be the first part of our foreground field. Now we're going to add in the wild flowers and we'll do that in the next lesson. 12. Draw the Wildflowers: Okay, now it's time to add some wild flowers to our field and then create a foreground of wild flowers. So let's go here and open up and make sure we're on our pastel tool. And I want to check my settings. And I want to bring the pressure up to about 50% and I want to bring the softness down to about 50%. You'll notice I'm not, I'm not being precise on the percentages just in that in that ballpark. Then I'm going to still got kind of a a nice yellow orange there. So I want to just see how that is going to look. Me get my toolbox out of the way. And I think that's good. Okay. That looks good. So I'm going to take that back out. Sometimes it takes a couple of clicks to do that. Okay? So the goal here is to have kind of a hint of wild flowers, different colors through here. And then really intensify it up in this corner, which is going to be our focal point. But for starters, I'm going to just go ahead and stay with that color that I was with. I do want to shrink it down a little bit. And it's making it about 29 or 30% is good. That's about right. Okay, so I'm just gonna kinda come in here and I'm, I'm, I'm just kinda going back and forth with my stylus. Or if I was doing this with chalk, that's kinda how I would be doing it. Kinda randomly. Almost kind of a circle pattern. I don't want to really to look like lines too much, but I do want there to be some definition between the color that I'm drawing in and kind of the background grassy color. Okay, so just a little bit here. As you work with this, if you keep your stylus on the drawing board, then it tends to blend more. If you pick it up and start again, you're going to get a stronger dose of color, so we'll be using that in just a few minutes. Okay, so let's go to kind of a nice nope, that's not the one I wanted. A nice orange orangeish red here. And again, I'm just just hitting it in, in a few places. Just want the feel of wild flowers here. You know, I love I live in Texas. In fact, in just a second, I'll I'll take some blue here. But in Texas we have blue bonnets, which is our state flower. And in the springtime is just amazing because you get these fields with these wonderful blue and blue flowers with white tips, I'm gonna throw it. This is not Texas. Texas doesn't look like this here, but I'm going to throw some blue flowers in anyway. Because I just want that colorful feel. That's the joy of painting, you know, as, as being able to experiment and have fun with colors and draw what you see. Or if you're into abstract, do that. And I'm just thrown in some, some color here and there. And let's pull a little lavender in. You know, this is a, this is one of those wildflower field that has a little bit of everything in it. Okay. And, you know, I don't want to get too carried away, but it is fun. Okay. I'm gonna quit. At least I'm going to quit with that part. Okay, now, up here in the front, I want to draw in some darker green. So I'm gonna come over here to my palette. And I've got this and it's a pretty intense screen. I'm not sure I like that too much. I'm going to come here and I've got that and I like that green better for what I wanna do here. So I'll just leave that other one there because I'm going to just go over it anyway and it'll, it'll blend in. And I'm gonna bring my size up to about a 100% and get my palate all the way there. And now I'm going to just kinda stumbled in as what I want here is kind of a feel of maybe just some, some really tall grass or Bush's or whatever. And again, I'm using pretty much that same, that same technique I use for tree is the same technique I used for clouds. Just kinda scramble it in. And then for this part I'm going to use my palette knife tool. And I'm going to have that at about 35%. And then I'm just going to come in here again and I'll let it kinda break that up. So I have almost a bushy field here. And then, and go back to my pastel Tobin, I might take the size way down again. And going to stay with that. I have trouble getting that to turn off when I use my stylus, I have to go to a mouse to get that to go. Okay, so then I'm going to just start doing a little bit of vertical up and down with a, with a just sit on about 13%. So I'm going to get a feel like grass. Ok, Again, I don't have to don't have to throw in every detail. Want grassy feel through here like we've come to a little place where the grass is tall and they're going to be flowers in that change to almost a kind of a, a pale green here. Just to get a little contrast, Little. They're a variety. And let's see, we'll take some of that. Brighter green just to green or green and know what to call that. Throw a little bit of that in here. And then I'm going to darken up near the front. I'm going to go a little bit bigger. Here, the front. I mean, with a little bit of, a little bit of gray, little bit horror of olive green. I'm gonna go back down to about 13%, 12 or 13%. And go back to my up and down. This kinda creating that grassy tall grass feel. Okay, now let's, this is the fun part, is let's put in the flowers. Okay, so, so I'm at about 30% and I'm going to start with red. And I'm coming in and I'm just going to start hitting it. Just like that. I'm not going to be really careful about where or how. I just want to throw some flowers. And again, I want these to kind of echo what I put in the back. So I'm going to mix in different colors. But I'm gonna kinda stick with those reds and blues and allow vendors that I threw in back in this area. Let's go over here. We've got our orangeish color. And I wouldn't, you know, I have a drawing called his eye is on the sparrow, where I do this, but it is foreground is all yellow, bright yellow flowers. But then I have a, a, a fence post and, and a bunch of red roses and it's, it's a, it's a fun drawing to do. And because I'm a texts and I've gotta throw in some of my blue bonnets. He's really aren't blue bonnets and is pretty blue flowers. One of these times I'll do a class showing how to do a field of blue bonnets. Okay, so we've got our wild flowers in, could go on and tweak that. Not a lot more detail, but I'm really happy with how it looks. And, you know, if I were doing this and chalk, I would be stepping back to see it from a distance. But here all I have to do is shrink it a little bit. And there is a lot of tweaking that I can do and a lot of little changes that I can make. And I'm going to, but we're gonna do that in the next lesson. See you there. 13. SaveAndExport: Okay, the last step is to save and export your painting or your drawing. Go up to File and Save painting or safe painting as and you're going to have the option of saving it as an art rage painting. Okay? If you want to have it in a different format, then you're gonna go to Export Image File. And then you can save it as a bitmap, JPEG or any number of others, including a Photoshop. If you want to take it into Photoshop and tweak it even farther, you can do that. So that's how you save and export your painting. And I'll see you in the next video and we'll wrap it up. 14. TweakingAndRevising: Well, it's time now to see if we need to tweak anything. If we need to make any adjustments, any changes? Again, it's one of the great things about digital art. You can play with it, you're going to adjust it. You can make changes if you need to. So let's look at our drawing and see what, if anything, we want to change. If I open up my layers, I've got my sketch layer, which right now is turned off. I'll turn it back on. And I don't really need that anymore. So I'm gonna go ahead and just delete that layer. You can also clear it. I'm just going to delete it because I don't need it now. Now we have four layers. The sky, the distant mountain, mountain number two, which is this one. And then wildflower field, which is it's really includes these trees in the middle field here and the close-up wildflower. So, so that's what we're going to look at. We're going to start with the sky and the mountain. You know, as I look at those, I like this guy, but I think the mountain is a little bit to wait. Two, stands out too much. It, it, it really, it's color, pulls it to the front and makes it a little too dominant for my, for my tastes. So an easy way to try to solve that problem would just be to turn down the opacity of this layer, but it causes a problem when we do that. So let me show you here. I'm just going to set opacity to about 50%. And I did that by clicking on this little dot over here on the layer. And you see the problem. It actually works well, it does what I wanted to do. But I stopped painting the sky at that point. So I've got all of that sky showing through. But all I have to do to fix that is to come over here. And let me get my colors sampler. And remember if you're using a keyboard, you hold down the ALT key and click on that. And then I can make an adjustment. Now I have to make two adjustments. One, I'm going to just continue this blue all the way down here so that it's down below the line of where the mountain, those guys show up. But if you'll see over here where this mountain is, there's a little bit of that blue peeking through there too. So I'm going to turn that mountain off not only to bring all this blue down, but I do need from about here on over to kinda continue that on. So I'm gonna just bring this up. Oops, I'm on the wrong layer. And I get on the sky layer. There we go. And I'm just going to bring this down. And because again, we're working in layers, it can go just right in behind those other trees. No problem. And there is a little bit of difference showing up there. So I want to come up to my palette knife and bring that up to about 32 or so and just go over it a little bit. Let me bring up a little higher and blend that into the other blue. And we're good. Okay, so now if I turn my foreground mountain non, Okay, that's good. And if I turn my distant mountain on, now with the opacity turned down, it actually has faded more back into the distance. And it's actually picked up some of this background blue, which I like because it was actually a little too white to start with. So let's look at the difference. Let's bring it back to a 100%. And, you know, it's, it's a nice mountain, but it's way too strong for the rest of that drawing. So we're going to keep that at about 50%. Oops, I hid the Layer, I didn't change the opacity. Let's keep that in about 50%. Maybe a little higher. Let's try 60%. Jay. I think that'll work. Okay, so that's the first two tweaks I wanted to make. The next one that I want to make is up here with the wild flowers. So let me switch back over to my pastel and bring that down a little bit smaller. Here we go. And the problem with the wild flowers ups, I need to be on that layer. Well, let me get my layers back and need to be on the wildflower layer. And the problem with the wild flowers is had a little too much fun with them. They're a little strong. Some of them are a little bit long. They don't really look like flowers. They look like yellows, sticks or boards in the, in the field or something. So what I wanna do is I want to come in and tone those down a little bit. So I'm going to come over and I'm pick up this olive green. And let me check my settings here and got em up 50% each on both the pressure and softness still on wax. Noise is good. No, didn't want that. Ok. So now I'm going to come in and just kinda tones some of these down a little bit. Sometimes less is more. And again, one of the nice things about digital art is it is easy to make some corrections. So I'm just going to come in and hit a few of these. Go with a little darker green to with some of these soften them out so that they're not overwhelming. And I also want to create more of a flower feel rather than streaks of color. And those look pretty good. Let's go. Really dark green, I mean, even dark in that a little bit more. Come down here into the foreground. Just a little bit darker values. I'm gonna make that even a little bit darker than that. It's tweak that a little bit more, a little bit darker. And then if I want to come back and kinda, you shouldn't get, didn't really small about 5% here threw in some grasses. So that pretty much wraps up this particular drawing. I hope you have enjoyed this and we'll come back in the next video just to wrap things up. 15. Conclusion: Well, I hope you've had fun doing this class. I've enjoyed putting it together. It's my first skill share class and it won't be my last. I will be planning other drawings and other techniques to share and we'll get those up for you as soon as I can. So be sure and check back and see what else I'm putting out there. Also, if you have any ideas, things that you'd like to learn or like to see in a class, Bishara and let me know. And I will be happy to try to put together something that will address some of your needs and your questions. And finally, don't forget to do a project and upload it. We'd love to see it. I'd love to see it. I'm always encouraged when I see people drawing and learning from some of the things that I've taught. So I hope that you will go ahead and share some of those projects with me and we'll all learn from each other. And then finally, whenever I draw or whenever I teach art, I have a cardinal rule that I ask my students to never, ever forget. And it's to me the most important part of drawing and the most important part of art. And that is, if you're gonna do art, then you need to have fun. That's the most important thing. The joy of creating, the joy of doing art is all about having fun. It's all about expressing yourself. And so as you go out and you take some of these things that you've learned, I hope that you'll have a good time and I'll see you in the next class. Thank you again for watching.