Digital Painting: A Forest Environment | Emily So | Skillshare

Digital Painting: A Forest Environment

Emily So, 2D Artist

Digital Painting: A Forest Environment

Emily So, 2D Artist

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6 Lessons (1h 19m)
    • 1. Intro

    • 2. Tools and Settings

    • 3. First Layer of Depth

    • 4. More Layers of Depth

    • 5. Refining

    • 6. Foreground Details

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About This Class

Learn to create a forest environment with some depth through a simple process, then add some foreground details. You can add as much detail as you want or leave the silhouettes more simple, the illustration would still give a sense of depth and the impression of a forest.

Meet Your Teacher

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Emily So

2D Artist


I've been teaching since 2014, and specialize in digital illustration, drawing and 2D animation. I primarily work with Krita, but sometimes work in Adobe Photoshop and Animate. As a professional artist, I've mostly provided graphics for video games and illustrations for purposes such as promotional art and storyboards.

I hope you enjoy my work. Thank you for visiting! 

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1. Intro: Hi, everyone. I'm Emily. And today I'm gonna show you how to create a digital illustration of a forest environment. 2. Tools and Settings: all right. For your tools and set up, Um, you can use any digital illustration software. I'm using credit today. You can use anything like Photoshopped clip studio paint. Farro. Parco would have you. And then for the brush settings, I almost always use the setting. It's a round, hard edge brush that has pressure influencing size and capacity. I want to go into my brush settings here. Critic, Um, my capacity graph looks like this. And then my size graph looks like this. So I just tested out looking like that after president, harder becomes bigger and more pink, all right. And I am using this antique 13 HD, but you can use whatever tablet you have, long as he can replicate this Look with your brushes. I'm also working on a canvas that is sized at 1920 10 80 just to keep it simple. And those air roughly, uh, the tools. And so you should have 3. First Layer of Depth: Okay, So a few things about how I'm gonna do this environment painting? Um, it's a little weird. Um, if you I want to make an environment for, like, a video game or if you're collaborating, Possibly this might not be ideal, because I'm trying to define the positive space with the negative space by painting in the negative space. You'll probably see what I mean when you see how I work in this. But working backwards from layers of colors first and then erasing it away will make it harder to control for colors as you're working. So I'm trying to, uh, were kind of backwards, actually, instead of defining, like instead of defining trees, Uh, you know, with positive space like this, I'm actually gonna be doing it backwards. So I could just really quickly, like, show what? I mean, like, I'm gonna actually be doing it like this, um, and all show it's lower in a second. But this is to me just more fun and kind of like a little easier to control for color of, um, the negative space, which is kind of like just that. It's just been the way that I've been doing it. Um, and also, it makes it so that you don't have to worry so much about the positive space on you can leave it. Uh, totally dark as a dark, solid sill way. You don't have to. You don't have to worry about detail ing too much. You can leave it with less detail, and it'll still look like complete, like, not incomplete. So let me start this, Uh, let me start this again. So, um, try to late name my layers. Um, I'm gonna see this is, uh, base color. And for the base color, I tend to choose, um, something that's darker and less saturated. So I hang around this area on the triangle, Um, and maybe somewhere a little bit more, uh, in the awkward area like turquoise area. And then I'm gonna fill us in. Um, actually want this a little bit more. A little bit more dark, because what I want to do is make the foreground mawr dark and in orderto push further into the distance. We're gonna make it brighter and brighter as we progress. Mawr depth wise. So this is gonna be my base color. And I'm just gonna make another layer. Um, and maybe I'll just put everything into one layer because this is just gonna be a painting . And the reason why I mentioned that this is not ideal for like making video game assets is because you probably want all the positive space as actual positive space, if that makes any sense. So basically, I'm just trying to say that this is just just the painting, um, meant to be just a still image in not broken apart into smaller pieces like layers of trees . So I'm gonna say, um, first, uh, or I don't know, years of depths. I'm just going to say that for now and just trying to turn over, we've to, like, actually named line layers, which I see so many students never naming their layers. Um, so I just came over here and turned the color wheel towards the blue, Um, just to give things based color a bit of a contrast, and I just brightened it a bit more. Um, and I'm just gonna test that, and this is not too high contrast. So I don't want to go like, all the way over here and get break immediately. I want to get right a little bit more gradually. Um, so I want to start out with lower contrast, but enough contrast that you could see there's a significant a bit of difference. So my first layer of depth here, I'm going to just carve basic card, carve out lake some trees over here, just like how I quickly did that, um, before. So, here's any tree trunk, and then I'm gonna get the leaves appear and then to the other side, and then do another tree over here by again carving up the other side of it by putting the light behind. Actually, I don't want it so great yet because I want to leave the brights for the layers further behind, or the layers of depth further for the back away from us. So well, you want to do is try to make it look natural. Like don't do like a very evenly spaced set of trees. Because in nature, you want toe, make things look a lot more incidental. Um, and space them a little bit more like randomly or more accurately. Naturally. Um, so now I'm gonna come up here, try to define some leaves, and in this case you're going to take your racer and tried to find the silhouette of these leaves. Um, so I'm not gonna go for hyper realism and, like, do you know, really realistic leaves just an impression of tree leaves up here and you can even put in a tree branch. Uh, so I'm gonna stick it out over here, put in a hole over here. It will just give just the impression of a tree branch coming out. I mean, like, send it out over here, and then some more leaves over here. I'm gonna fill out this negative space. So this is what I mean. Um, this one really makes sense. Uh, at least like if you wanted to split this up for video game assets, I don't know how many of you actually make video games, but this is to me much more fun as a painting. Um, because I feel like I'm carving stuff out with again the negative space merger. Define the positive space that being the trees over here. So maybe I should like a tree tree, like, lean over, make it look a little bit more instant until make something like it's happening. Give it a bit more personality. And then so another thing about the environments aside from, uh, making sure it looks incidental natural is, uh, in natural environments, things are just more organic. So you you wanna try to, like, carved out the space a little bit, like, very a little bit in elevation, Like I'm gonna say, there's there's, like, Cliff over here, and then maybe I come back around, maybe it's higher appeared, and then I'm gonna I just to find this, uh, this bagel space over here and then I'm gonna take my racer and probably refined some Ben Drew's. But the moment you don't really have to, you can always come back, leader and refined them further or even paint in, uh, paint in the base color color picking and painting it in. But for now, I'm just who Oh, yeah, you can either painted in as long as you know, whatever you do on top of this, you know, you probably put on on another layer, so maybe I'll dio in this case. I guess a racing and painting and face color doesn't make too much of a difference. It is kind of messy, but in this case, I'm kind of privatizing. More like the process. Um, and if it is just gonna be a painting, it doesn't super duper matter. Okay, so let's say there's grass popping off over here. Maybe I'll put a little bit more grass over here. So for now, this is basically the thing that you're gonna repeat a few more times. We're not gonna do to millet. Too many layers, just for simplicity sake. So you could do as many as you want, but I'll show you in the next part what I mean by that. 4. More Layers of Depth: all right, I'm gonna add more layers of depth to this. Just Teoh. Keep organized. I'm just gonna make another layer on top, which kind of doesn't make sense because I'm actually pushing back away instead of putting objects, objects on top of what we already have. So, um, me, I'm just confused you more. But anyway, I just made another layer. Um, I was gonna name it more layers of depth. Um, and I put it on top because otherwise it's not going to show up. Um, underneath this second color that I use some would have spin on this color wheel motor tours the blue and bring bring it up a step further, uh, like, brighter, significantly brighter than, um then the second color that we used before. So that should be enough. But, you know, don't go to break because I want maybe one or two more layers of depth. So what I'm gonna do is try to keep these tree staggered like don't. I would not add another tree like right behind this one. Um, I'd rather do it more like a country like behind these trees. Make it look, Maybe make it a little bit skinnier, Uh, T give it more of a sense of the illusion of depth because those things go further away from you. They appeared to be smaller and take the eraser again. And so bridges brush in little bit worked up, so already had some trees leading off to our left. So I'm gonna make one, uh, leading off to our right, take the series for and find a little bit more, believes over here and also make it skinnier. Make another tree over here. What you're doing is just carving away adding some definition to objects and notice how I'm just keeping it really simple. I'm not really bothering with adding too much detail. And it feels like this environment is more populated with what I think is a pretty simple and quick process. So, um I mean, I think it be suitable for, you know, whatever. Just the backdrop, like just to put something behind your characters. Because I know that, um, people who like to draw just people and animals, they don't want to deal with environments. But this could be good enough as a backdrop, like just simply silhouettes that hint hint at something that that fills, fills the image and then, you know, again, I wouldn't stack a tree like this cause that looks to like artificial. So instead I'm gonna add a tree. Does slightly angled the other way like not, you know, not like don't do symmetry either. I would probably try toe something that looks again more incidental. Um, can you also add another tree branch over here? It's just according to your win, like according to whatever you feel like there is No, there's not too many of rigid rules when it comes to painting environments. Um, just a few. I wouldn't say that. There's, like, environment illustration like this. I feel like there's much less rigid rules compared to, say, joining a realistic portrait. And again, I probably would not too something like this cause a little bit too, um, matchy matchy with the silhouette over here. So instead, uh, kind of like how I was just trying to put more trees, like in between, or like, not exactly stacking directly behind the foreground trees. I'm gonna just, like, make a hill over here and I don't know, maybe there is a log or some kind of bridge over here uh, from this tree to this chunk of dirt or grass or whatever it is over here, um, and many others. Tree roots over here. I don't know. Maybe Xperia down here. God are rooted, who knows? But, uh, somehow this space got cleared or I could just clear this entire space, actually, to make it look like Trey just fell over over here, we're just gonna try to cleanly work around the base color, maybe keep some some train leaves up here. Now, when you do tree leaves don't make them all the same size and shape, Uh, like, don't make them all exact. Orient them differently as well. That's also part of creating a more natural looking environment. And then just again for the sake of being organized, um, again, I'm gonna make a new earlier. I'll do one more layer of of depth just to push it back even further. Even more. Um, only I don't even name layers this thoroughly unless I'm really making something that I'm super committed. Teoh. Um and, um, but just to lead by example, um, as for the color over here, it's spinning toe words. The blue you can really pick any color. I think as long as, um, it's brighter then All the other colors on this canvas so far. So I'm just going to see what purple looks like here. Um might look a little fantastical, uh, and maybe a little mysterious or misty, and I'm gonna define some more trees off in the distance. I might change this color, probably with a filter, because I don't want to have to per season again, But this is creating a bit more depth. No, I'm gonna try to create some firms or something longer grass. Just a very, like the sort of texture that you see in this environment. And since I'm not gonna add any more layers of steps, I'm just gonna go a little bit more detailed. And trees back here are allowed to be even smaller because of the distance. So just keeping all these trees looking pretty uniformed. Pretty simple, but just varying. Um, in size, do distance. Try to make this not look like the trees, placing it in between again, taking my research, adding some more leaves, but making sure again, they're smaller. Todo perspective. So with mine variation and opacity, it makes it so I can control a little bit more, Um, and not have everything, like, be too flat or too hard. I just like this softness that there is, like being able to gradually work in the new value that I'm putting in. Then might be a little redundant and sheer coincidence that a bunch of trees over here got down. If I do another one, but I don't know, maybe something happened. Maybe something just knocked over a whole row of trees you could make. You didn't have to make this over here. You could have made it over there or in the middle. But it just adds a little something like made it look like it's It's not too monotonous over here. Um, no. Just add. Dig deeper down here. I should add even more. Took stuff here. Maybe this tree appear also got uprooted. Who knows? I just feel like adding more down here. Okay, These are all the initial layers. They lay down and you could even like this is an environment. It's an impression of one. You don't have Teoh detail your positive space. You get the gist of what's going on, and there's atmosphere. So it goes to show, like, as long as you follow a few rules. Like making sure things look more incidental. You don't stack things too much or make things to orderly or artificial. Then it should look enough like a natural environment. Oh, and I actually forgot to experiment with colors on this upper layer. As I said, I thought I would, but at least incredible go into filter, but just HSV adjustment for hue, saturation and value. Okay, Well, by default, I guess it goes toe likeness. But I'm just gonna play around with the slider and see if I like any other colors. No looks smokes, okay, But it's really according to taste. Um, what kind of mood you're looking for? Um, if I bump up the saturation, I'm sure if yeah, that might look a little cartoony. Uh, not exactly what I was looking for, because I was trying to make it so that as things got further away, things got brighter and more faded. So we keep the lightness on the saturation down. But I was thinking that maybe a different color, uh, might, um, be more suited to at least my taste. But you can pick whatever color you like. No, this purple pink few show whatever this is. Um, it contrasts well, but I don't think I would go with that because it's like on this sort of opposite end of the color wheel compared to, um, this turquoise aqua color. But I prefer something a bit more subtle. And this, um, orange coral color makes it look kind of menacing. Like there's fire somewhere back there so easily. Your choice of color can change the mood a lot. Um, feels a bit more raining or foggy. With this color, I might just go with my original color. Okay. I'm just gonna try again until I find a color, actually, like Okay, well, I like this better. Um, I don't know if I can eyeball this color until exactly what it is, but it's actually more green. So I just went from from here to, like, here and then all the way back over here, more towards the yellow, but still kind of greenish. So those are the colors that I chose 5. Refining: Now, I'm gonna go over some refinement just to clean it up a bit. It really doesn't have to be perfect or, like, really, absolutely crisp. But where I am going to clean up a bit more is in the first. Later that we painted in. Um, so I'm gonna dio is like, over here. I would consider this kind of unrefined. I'm gonna take an eraser and just and some more definition to this edge and say, there's something more. There's just more tree leaves up here. Okay? I'm gonna try to make sure that everything's pretty solid. I'm gonna put in a branch over here now those Because that's another lonelier above. I'm gonna just paint that in. Oh, right. Well, then I probably making a little ear above in order to really brought Block that out. Um, so I'm gonna find that, uh, actually add a little bit more detail over here and actually to clean this whole thing up. It probably just be better if you actually did a layer above everything. Um, So why are they just do that with this kind of environment? Painting pretty willy nilly about it? It's probably the most organized I've worked on this sort of project. So I'm just gonna make any layer colds round one because I think I'm just gonna make another one above it, to add some actual, like, more detail on the top over here. So I find this Maybe there's some some rocks over here and maybe also some grass. I mean, this tree is on a cliff. Perhaps there's some fruit sticking out, so I'm gonna measuring the thickness off the roots. The roots will probably get thinner as they go to the ends and Sigurd as they go towards the trunk. You some loose routes over here. More detail over here. Just make sure more of these bedrooms harder. Find some more cross over here. I can when you do things like grass or leaves. Um, you know, don't put them in such an orderly row link. You know, don't digress like this. They don't usually wind up, uh, in such an orderly fashion, like so you want to vary their size and thickness and they're orientation. So some of that face off this way Maybe Bentham over a little bit more. Maybe some of them point upwards more. So it's all about trying to make a look more natural. Incidental, because I have this layer above everything that I can actually fix, that there's all kinds of plants that you can add in here, Um, some ideas, or like mushrooms that might be on the tree gives it even more personality. Um, are these like bell flowers or something? Maybe all make one of these first stem and then one of these flowers go off like this, and it's a matter of just varying the sort of textures that you're seeing in the environment that gives it, um just a bit more variety. And I don't even know what this plant is called. Uh, just something that isn't exactly grass. But I mean, I've seen stuff like this somewhere and be able to come up with more ideas on how to vary what's going on in your environment. It requires observation. So it's just like, you know, when you're coming up with outfits for characters than often, people just start out with a T shirt and shorts, T shirt and pants. And if that's all you do, that can get boring. Or perhaps you can declare that your style. But if you observed more interesting outfits than you know, that there are things like Feltz, buttons, zippers, Epple. It's, um and, uh, all kinds of fasteners and, um, shoe laces. Or, uh, you know, all those kinds of details that you can have one closing. Um, now, in nature, there's all kinds of plants. Uh, there's rocks and all kinds of ways that land can be carved out, Um, to just make your environment look more interesting. So, um, when I go over, like what? To put in the foreground? How to detail the positive space in the foreground. Anything could really be here. There, there could be a puddle or stream. It could just be dirt. I don't know. A fairy ring with mushrooms. It, you know, So these air all like ideas I just sort of came up with. And, um, it's hard if you haven't, like, practiced coming up with ideas, like off the top of your head. So it's just a matter of like, um, looking to see either what other people did. Maybe going out and looking at what interesting stuff you confined in environments. Um, but you can also, like, just go to Google or Pinterest, Google images or Pinterest or something like that, and, um, take ideas from all kinds of imagery came from other artists and just put them in here. So of course I have a lot of video game influence. And, of course, I'm put in, like, fantastical things like fairy rings in my environments. So, um, put a couple mushrooms over here, just a very this environment of it and maybe some fines finds what also helped to very like , What's what's going on are also like texture, and you don't have to put in a bunch of leaves. You can if you want just putting in stuff to make it look interesting. You could even put more of these elements for the back to keep it consistent. So maybe, um, we'll just add this here is well, but make it skinnier because it's further away depth wise, and it'll at least appear to be skinnier. And so again, you can really choose any point, uh, to decide to, like, stop adding details. But as a rule that I would set up for this kind of thing, probably don't put too much detail, especially when things are further away from you depth wise because just knowing from looking away at four distances, things lose detail. Um, And if you add a lot of really fine detail, uh, with environment elements that are further away from you, it's gonna look really weird. I've done that before, and it was a result of overworking my painting and just just adding too much just cause I thought, I just need to work harder. But if you're going to add in a lot of work and detail into your painting in an environment like this, it's best to do it in the foreground, which I'm gonna demonstrate in the next part. 6. Foreground Details: Now I'm gonna add some detail to the foreground by defining the positive space inside of, uh, in the silhouettes. So to do that first, I'm going to add a little ear. Um, call it for details. This at this point, it's pretty arbitrary. Perhaps, too. Keep it simpler for now. I'm going to start with the soul. It's that I actually defined. I mean, you could keep them undefined and only just to find what's in the front. All in the front, over here. But, um, this is generally how I like to paint basically anything I usually started with, like a silhouette and then and then work on the inside. But, um, even with, uh, like human faces or animals, But in the case of like nature, you don't really need to draw it in so much because you have a pretty good idea of what a tree looks like to make it look like a tree. It's not, um, as strictly structured as, like human face. So, um, I want to start out with a tree trunk here, and I guess I could I could start with an actual like, tree bark color, and but I'm gonna work really, really softly. I'm gonna work my wing in, like, two words more orangish colors and work my way down over here and started to find you, uh, down at the roots over here. So I picked this color just cause I mean, it's definitely gonna contrast, But this cream, um, because it's it's a much warmer color, but also, it's a bit Pacific brighter than what we have over here. So actually, I'm gonna make a little bit brighter. And then, um, I'm gonna keep it dark when going up towards the leaves, but make it brighter. It'll be moral. Paige, when coming down to the roots, leave some room for those mushrooms. Me And I mean, at this point, it's I mean, you could have probably left this painting as it is at this point and just left it as finished. But if you started doing this, that maybe do it a little bit more in some other places to make it look consistent because nowhere else is there definition on the inner part of, like, the positive space? Um, as for the mushrooms in terms of color, I'm not even sure like what to do with that right now, Uh, maybe all just make some blue mushrooms zooming over here. And mostly, I think I wanted to find the top part. The lower part can already be. I could just remain dark. I'm gonna keep it flat. I think really flat and keep the lower parts like dark. And I Can I just come in here and, uh, fill in the dark parts even more should be fine. I want to stick the Saudi more just to marry the shape a little bit, but dark in it as it goes inwards under unease. Another don't even know if I could call these motions fungus, whatever it iss tree fungus. And remember not to make them, you know, uniform Just to keep looking natural again. Gonna try to put some more definition to to this tree over here. I'm gonna try to make this tree pop a little bit more by get a little bit brighter, appear more towards Reuters, like more little kind of color. And I'm gonna leave. This area appeared like roughly the the same color is the base color. And just try to make it look like it's more little towards the bottom I'm gonna put like these ridges for the greens, texture of tree trunk, some of them between others and some of them and different places. So, like, maybe one of them starts over here. This one ends over here. Other one begins over here, so I need to keep that base color so that it can for now, just fade into the base. The green, these color. Okay. I think I'm gonna Well, this is more of a matter of choice, but I'm just deciding to move downwards for more for ground. Um, now, I think I'm gonna add better dirt down here, So, um, to keep it looked like looking like it's still far away from you. Don't draw it like, you know, don't drop to circular like that. Keep it flat. More like flat elliptical. That has a lot more with more squished, height wise, and we can put some dirt around the stream. Um, I don't think I want to make it all dirt. Definitely. I knew I wanted to put dirt down here and make it look like there's a crash just hanging over this ledge. If you can call attack. And then I was gonna put be a bunch of rocks over here. So I like to work from lower contrast, higher contrast gradually and from low saturation to hire saturation. And so again, I'm also carving out this area to try to very link the terrain over here. Make a look interesting. I think all just people darker over here, But just wait up a little. Maybe it's a pass, maybe. And I'm gonna try Teoh, keep it looking natural again. So, you know, I'm not gonna not gonna line up thes sort of horizontal lines that I'm making over here. Otherwise it'll look it won't look very natural. So very the length of these rows of dirt. So that's to make, like, a base to help, like, planet into a basic dirt to blend it into the old based green tone that I had. And I'm gonna make it look warmer by moving in my like brown triangle or orange triangle towards the more saturated. Um and then just bring it up in here. I'm still gonna work pretty gradually. I just called her, picked what I mixed and just keep it nice and soft. And then for these Cliff Wedge, whatever this is I'm gonna make a brighter towards the ground because as you come up here than the grass or this curve coming up is going to castle with more of a shadow over this this little dirt wall over here. So I am just taking my research, just finding a bit more graphs and then again, training to add some more pop to this terrain over here. I'm just gonna just allow for a few areas to be really highlighted. Um, it's I mean, I don't have to, like, put all this detail into every single tree over here like this can be a way to just put in some staging or even like this. This tree looks kind of like it's been pulled towards you because I just added, um, all this color and light to it, um, versus these look like they're they're further away and less detailed. I think I'm gonna add a bit of grass. I like to gradually work from the bass tone. Okay, In the case of grass and leaves, I'd like to start more towards the blue, but I need to work off some basic I mean, my silhouettes of grass or appear But I would like some of the grass lake inside of these areas. So I'm going to try doing something a little bit brighter than the beast home and then later on top of it, make something that's a little bit more green to contrast with, the more bluish screen. So I'm going in like, really soft and again you do grass or anything like grass or leaves or the grains of would or tree bark. You wanna again try to make it look incidental? Um, come up here. Go with the definition of So what's that you already made? And you don't have to fill in every part, just kind of whatever you feel like. But again, if you only did this tree like this, then it'll look like an accident like it wasn't intentional. I think as long as we have a little bit of consistency, then it can still look finished. But you can detail these if you want. I'm just gonna basically demonstrate that it can still look finished or not necessarily unfinished. If he don't put in detail to these for the same reason that you don't put more detail into things that are further in the background, and this it still looks fine. So again, I'm trying to vary the directions and keep them or bunched up at the roots and more separate and distinct at the ends in thinner at the ends. I'm gonna add some more over here just to keep it seamless, like a love them to kind of fade out as you have a border over or around other objects. - Well , you could do a time budget on this. I'm I kind of have a time budget, but I am definitely know Bob Ross. I don't use a palette knife or anything fancy like that. I just literally, all I'm using is just this one brush and just varying my brush. Lang's on my my pressure on my brush size. Um oh, of course. You know, color. And, uh, guess where I've been putting putting all this comes again. I'm trying to make this look natural or not not to quarterly and another layer over the grass just to pop it out more because this is still would still consider this like a base home. Put this over the tree roots just to make it look like it's really sitting there in the grass. All right, well, before I get too carried away, I'm gonna move my color. More tours, curvature green, but still, I mean, I think it's to my taste, but generally, I like to keep my brain leaves and green grass more towards the aqua colors. Um, but when it gets really bright, I like to add in. Some yellows are like it lose. So with this, uh, much more saturated, Not too great. Um, I would avoid covering too much area, but, like, try to stay like cortical like on top of the grass. Um, to try to really still make it look like, um, you know, you're highlighting upper parts of the grass instead of, um, you know, the lower parts which wouldn't make when really make sense. I should probably still make thes a little bit more bunched up. Um, but be careful not to cover too much area. That's the thing I tend to see is if you're trying to highlight stuff covering lead to much area, it ruins the effect. Um, so notice how when I move up in values and saturation, I tend to cover less area. As I added a new layer of, um, like more definition with stuff like highlights. So all this is again, just like trying to make it look incidental, but arbitrarily just choosing it, choosing the areas you like highlighting but don't highlight to too much. But again, it's kind of all up to your taste. Might make it even darker in another layer. And for so you don't necessarily have to make everything consistently like brighter, brighter one direction or another you can keep You can take, like, one lier depths and light it up more than all the other layers. Steps like everything really far away, like the back drum and the foreground. You can keep that dark, um, and then, like the mid ground really bright or something like that. Um, so but yeah, I just kind of like tried to subtly light up this, like this area. I was, like, kind of selective about it. Looks like it's come a result of a bit of staging. I'm just gonna choose not to light up these areas to make it look kind of cinematic. Now I feel like the only place that really has any personality tree is the tree. Still haven't told Leaves, I think I'll duly is in a second Is that there are there on Lee mushrooms over here. That's like the Onley saying in like the foreground that I, um added and that doesn't look like so ordinary, such as, like dirt on grass and tree trunk. So maybe I can add some more mushrooms. Um, but also, to make it more interesting, you could pick a different color. I don't even know what color I would choose. Um, most creative color it could come up with right now is purple. So again, I like to do things with a dark bass tone from silhouette. I'm gonna if you stick him over here, we just a few of them. Usually, I think, like an odd number of something. I feel like that just makes it more natural because even number of things, I think tends to just make it look again to orderly like, um, so I I didn't even like, think about counting. How many things of fungus or mushrooms there are over here? Just happened to have need five. And then I decided, like, three is a good a number of these little things over here So I'm gonna go with Yeah, bluish purple again on some pop to these mushrooms. This one in front of this one. Maybe it should blending in some grass. I think I I just feel like talking in the darker parts with so burgundy, red, magenta, whatever this is just to add a little bit more pop to that purple color. Come again. Funding. You press, um, add some more rocks, actually. Didn't add a rocks. I'm gonna add some rocks down here. Pick a bluish tone, get started now. No, too great. And having the same approach. Just mix it in, then highlighted the basic shape. You know, rock over here. Press down harder, Teoh definition to distinct facet. I'm gonna have this be darker because it goes further away. It will be darker. Um, and again, I got a very vary the shape and size. So now I think almost thing I'm gonna dio getting too carried away was just adding in random stuff at my whim is the tree leaves I'm gonna do is the same approach as they did with the grass. Pick one of these things color that it's just one step brighter than the bass tone. I'm gonna come in here and again. You don't have to go over this whole area up here. I would choose. I'm just gonna choose only the lower part of this tree to do the leaves. And I'm gonna leave the areas around these leaves, like still dark and again try to very orientation and size, like directions they're facing on this case. I guess you can also get a sense of, like, where they're growing from, so so they can just fall face outwards still, but some of them looking a little bit more flat, some of them looking were facing you head on. Some of them tilted a certain way. So without doing too many of these, I'm gonna go, um, the next step up again. Richard Rhenish colored some kind of turquoise. But now I want to make sure I cover the outer edges because I want to make it look like as you go in tow. Words, Uh, like the underside of the other leaves that are above it gets darker, so it's like the leaves that are above this leave. We're casting a shadow over leaves underneath. Um, so I do harder edge on the outside and then softening it as it goes on the inside. So I'm gonna do a color picking to just pick that differ. Mixed color does it goes, tours the inside or underneath, under the leave. That is above that leaf. No, I mean, at this point, I could stop. Um perhaps the lighting hit a certain way that only thes leaves got highlighted, but and still, I like some motherly use, and you can kind of get carried away. And just to do more of these leaves or as many as you want. But I would avoid, like, covering each and every bit of area like that, you know, like up here with Unless, you know, you could maintain this sense of just, like, fading out, um, causal, or is it might look, I might look too busy. Come, but I mean again that that I would say, is a matter of taste in this image that I'm trying to show you how to have a draw or illustrate, um, I'm allowing you the freedom to decide to, like, stop a little earlier and leave a lot of these silhouettes just less defined or less detailed and more impressionistic or just leaving the impression of allowing your mind to to see that you know, you really know what it is. You have more of a sense of depth. And if I were to stop here like it wouldn't, I wouldn't necessarily look that finished. Come. So is it I mentioned before? I think I also mentioned Why me alone or just yellow even and putting it on the edges to further pop out just everything like the greens based tone based on pushing everything but And these bits of yellow or lime pulling these leaves out even further, actually, to meet these color color's pop even more, what I like to do is tuck in another color that would helped contrast, huh? My try Purple. More like a room way. See if this works over here. Yeah, something that's not too saturated, I put it like I took it into, like, the dark parts. You don't have to put it everywhere, but it further just, you know, even just a touch of it. I think just adds more pop to your colors cause there's more colors that air contrast ing with what's what's already there. It's It's different. So it makes the darker parts cooler and the warmer, uh, warmer, highlighted parts. Brennan. I don't even do that too. Tree trunk as well. Yeah. At this point, I could say this is this is finished. It just looks kind of like I just staged and, like, highlighted this tree to make it look more important than, like everything else or possibly this pathway over here. But, yeah, that is my forced environment painting tutorial. Thank you so much for watching.