Coastal Landscape Digital Oil Painting in Artset

1. Introduction: Hello, I'm Money at is from Toronto. And welcome to my class. This class is all about turning a scenic, close to landscape into a beautiful digital painting. Whether you are picking up a digital brush for the first time or you are an experienced painter looking to try something new, this class has something for you. You will learn about blending colors, creating daft, and making those purple blossoms and green valley slope just right. We will go through everything step by step from how to start your digital canvas to adding those final touches that really make your painting. Bob, we will explore various brushes and color palettes within the outset app. Discovering how to blend colors seamlessly and create realistic Pt and texture. You will learn about blending colors, creating apt, and making those purple blossoms and green valleys look just right. Our focus will be on capturing the essence of a beautiful landscape valley as it meets the sea. Complete with the lush screener and the vibrant blossoms that add life and color to our composition. By the end of our time together, you will have your very own digital painting to show off. Come and join me in unlocking the potential of digital painting, where the only limits are your imagination and the bounds of the screen. By the end of this course, you will have a stunning digital landscape that can share with the world, let's create something beautiful together. 2. Composition: First I select a canvas and outset that mimics the texture of a real canvas. To give our painting a traditional feel, I adjust the canvas size to fit the screen, ensuring it's just right for our painting. I set my brush load flow, opacity, and grain all to 100% I choose black from the color palette for the initial sketch. Then I go to the Brushes menu. Pick the pencil option and select the graphite pencil for our composition. I make sure the size is as large as possible. For now, adjusting the side bars for brush load, flow, opacity, and grain to suit our needs. I start by drawing a horizontal line across the top half of our canvas to set our horizon. From there, I sketch downwards to outline the waves coming toward the beach. Keeping the oceans section small to suggest distance on the right side of our canvas. I begin by drawing the middle mountain. After that, I sketch a mountain in the back, one in the front. To create a sense of death, I add another horizontal line on the lower half of the canvas for the ground, and sketch a cluster of greenery to bring nature into our scene. 3. Background Colors: I have chosen a light medium tune of blue gray. Blue gray is a versatile hue that brings a sense of calmness. And at our painting from the oil section, I select the flat brush to ensure our sky has a uniform and vibrant look. I adjust the sidebar settings with our brush and color ready. I carefully fill in the sky section of our canvas technique. Here is to use broad sweeping strokes, allowing the color to blend seamlessly across the canvas. This not only lays down the foundation of our sky, but also sets the tone for the entire landscape. The choice of a light, medium tone of blue gray for our sky is integral to the overall composition. It reflects the subtle interplay of light and shadow commonly observed in coastal skies, offering a realistic and emotionally resonant backdrop. This foundational layer is crucial as it influences the mood and depth of our entire scene. For the base layer of the ocean surface, I have chosen a medium tone of teal enriched with a hint of gray. The addition of gray to our teal base ensures a harmonious transition between the ocean and the sky. The medium tone provides a middle ground from which we can build both the darker depths and the shimmering light reflections on the water surface. For the area of landscape that nestles close to the ocean and beach, I have opted for a darker toon of grayish green. Since we are viewing this section of the landscape from above. The choice of a darker tone helps condapt and compactness, which is typical in top down perspective. Using a gray screen not only provides a natural contrast to the blues and teals of the ocean, but also harmonizes with the surrounding elements. I have chosen to use a darker toon of green from the same color palette we have been working with. For the green resection, specifically the two bunches of bushes or trees positioned within our landscape. I have carefully chosen a color from the orange shades leaning towards a lighter side of grayish brown. With the color selected, I gently apply it to the mountain and cheering, it fades softly into the background. I have chosen a medium dark tune of brown from the color palette when it comes to painting the middle mountain. Now I have chosen a darker shade of brown from our palette for the mountain that appears closest to the viewers. I have selected a slightly lighter tone of brown as a base for the greenery close to the mountain. A slightly lighter tone of brown for the green section enhances the sense of and dimension in the painting. It creates a subtle contrast with the darker tones of the nearby mountain. This contrast helps to separate the greenery from the mountain. For the bottom half of our canvas, a slightly lighter tone than the previous shades has been selected. This contrast between the lighter foreground and the darker elements further back adds to the three dimensional feel of the scene, guiding the viewers this through the composition. The application is smooth, ensuring that the color transitions gently into the surrounding area, enriching the scene without overpowering it. While adding this shade. Consider the direction and quality of the light in the overall scene. 4. Adding Texture: Using the color picker, I navigate to the sky section of our painting and select a lighter tune of blue. I choose a oil brush. I choose the size of the brush to be larger. Then I set the brush load flow, opacity and grains to 100% I begin making strokes on the sky, focusing on blending the new lighter tune of blue into the existing background. The goal is to create a gradient effect where the sky transitions smoothly from one shade to another. Adding darth and dimension as I apply the paint. I continuously blended integrating the new shade with the background colors. This blanding not only softens and harsh lines, but also allows the background color to mix with the new shade, creating a cohesive and dynamic sky. The continuous blanding, combined with the thick application of paint from the oil lambrush adds texture, simulating the natural variations seen in the sky. This technique is particularly useful for creating subtle variations in the sky. Adding to its realism and visual interest, the application of this gray, purple, bluish tone, especially if representing clouds or atmospheric effects at depth and volume to the sky. The variation in color and intensity can suggest the clouds density and height contributing to the scene's overall three dimensional appearance. Incorporate some of the colors and tones from the sky into the ocean surface to suggest reflection. This not only adds to the realism of the scene, but also creates harmony between the ocean and the sky, enhancing the paintings overall cohesion. Selecting the very lightest shade of blue gray to begin crafting clouds introduces the first level of highlights. These are the brightest parts of the cloud where sunlight is most directly reflected. Starting with these highlights over a darker base helps to map out where the lightest points in the sky will be. Utilizing the color picker tool, I select a lighter shade by referencing the existing color of the furthest mountain. I make the Pre smaller for more controls and precise strokes, especially important for detailing the mountain's edges and pet. Starting at the edges and gradually covering the entire mountain, I apply the selected lighter shade. This technique helps to soften the mountain's outline. Integrating it more naturally into the sky and suggesting distance. Blending is essential for soothing the transitions between colors. Eliminating harsh lines that can flatten the painting. By blending the applied lighter tones into the mountain, I introduce a sense of volume and three dimensionality. Selecting a medium tone of gray brown adds contrast and detail to the mountain, highlighting its features and textures. As I apply this medium tone continuous blending ensures that the color transitions smoothly into the lighter ways, preventing any abrupt shifts that could disrupt the landscapes harmony. This blending not only enriches the mountains appearance but also contributes to a more dynamic and realistic depiction. Carefully blend the edges of your strokes to ensure that the mountain retains a sense of being part of the distance landscape. This medium gray brown should blend into any lighter tones that suggest atmospheric light, enhancing the three dimensional form of the mountain without creating a flat appearance. The medium grash brown should be consistent with the areas of the mountain that would be lit by the ambient light while still being subdued NF to maintain the appearance of the distance, I select a lighter version of the mountains current color using the color picker tool. With a carefully adjusted brush, I start applying this lighter color to the mountain, focusing on a gradual blend with the existing Us. This adjustment is aimed at creating a sense of atmospheric perspective, where lighter colors suggests distance and adapt to the landscape. Applying this shade at the bottom of the mountains also helps to balance the composition of the painting. I choose a medium grayish green tone to apply to the parts of the mountain closest to the viewer. The application of this grayish green tone is concentrated on the side of the mountain facing the viewer. This strategic placement not only adds color variation but also suggests that this side of the mountain likely receiving more light. Continuous blending of the new lighter color into the mountains. Existing tones helps to soften the edges and enhances the three dimensional effect. It simulates how light interacts with natural landscape, giving the mountain a more realistic appearance. It provides a contrast to the rocky surfaces, inviting the viewer to explore the diversity of the landscapes natural elements. It creates a visual anchor that can ground the mountains within the scene. By selecting a lighter tone than previously used for the mountain top, we aim to enhance that mesopheric perspective. Lighter ones at the top of the mountain suggest that the peak is catching more light, possibly due to its height or the angle of the sun. This technique helps to create a more dynamic and three dimensional appearance, emphasizing the mountain's form and structure. Applying and blending a lighter tone at the top of the mountain adds visual interest to the composition. It draws the viewer's eye upward, guiding them through the landscapes and creating a focal point within the painting. The choice to apply a medium grayish green tone on the closer side of the mountain. Adding a gray green shade introduces additional depth and contrast to the painting. The application of green at the bottom of the mountain serves several purposes. Using the color picker tool, I select a slightly lighter tone than the current color of the valley area. This choice is aimed at highlighting the valley, bringing a sense of light and dimension. The lighter tone suggests that this area is perhaps catching more sunlight, enhancing the perception of depth and space within our painting. I begin to apply strokes across the valley, close to the tree section. The goal here is to gently integrate this new color into the valley, ensuring that it plants seamlessly with the surrounding area. Blending is key to this process as it helps to eliminate any harsh lines or abrupt color transitions, creating a smooth and natural appearance. To add more texture and da to the painting, I use a technique where I momentarily take the pencil off the screen and then dab it back on. This action allows for a thicker application of paint by making the tactile quality of traditional oil painting. This method is particularly effective for areas where you want to emphasize texture or create a focal point as I apply the thicker paint. Continuous blending remains crucial. By blending the newly applied paint with the existing colors, I ensure that the value retains a cohesive look. This technique allows the lighter tones to merge smoothly with the darker shades, creating a realistic interplay of light and shadow across the valley landscape. Like this transition is crucial for creating a sense of place. Applying a darker tone of green on top of a lighter base introduces daft and volume to the valley. This layering tells where shadows and light interact to create a dynamic and three dimensional appearance. The dull green shade resulting from this mixture is more representative of the natural colors. The contrast between light and dark tones enhances the perception of making the landscape more lifelike. The dull green shade resulting from this mixture is more representative of the natural colors seen in a real valley, providing a more authentic and immersive experience. Mixing and blending different shades of green help to achieve harmony and balance within the painting. First things first, let's use the color picker tool and take it to the tree section. We are looking for a medium light turn of green. Now with our chosen grain, we are going to do a bit of dabbing on those trees. Imagine you are tapping slightly lightly with your pencil, just like you are dabbing a bit of paint onto a real canvas. This isn't about making a perfect strokes, it's about adding character to our trees. As you da, you will notice the texture starting to form. Each staff adds a little more life and transforming a trees from flat green blobs into textured dimensional features of our landscape. With each staff, we are giving a trees their own unique look and feel. This technique is fantastic for creating texture because it adds variation in color. And a there's no right or wrong way to dab. Some daps might be bigger, some smaller, that's perfectly fine. It's all about building up the texture and making those trees your own. As you keep blending these shades, the lighter and darker green start mixing together, creating a medium dark tone that's rich and full of texture. We are giving our trees up, making them more than just flat view. With a rusty color picker tool in hand. Let's hover over the green reaction that's snuggling up to our trees. Look for a slightly lighter tone of brown. Now, with this warm, lighter brown, we will start dabbing onto our canvas. With each dab I blend, blending as if I'm softening each mark into the canvas. We will make our marks with vertical strokes. After laying down our vertical strokes, we will blend from the base of each mark. This technique is like blending seamlessly into the surrounding colors. This method of dabbing and blending vertical strokes isn't just about adding color, it's about creating texture. The slightly lighter browns against the greens create a death that suggests movement and vitality. Utilize the color picker tool to select a slightly lighter tone than the existing greenery near the bottom half of the canvas. Begin applying this color by making strokes over the specified area. The intention here is to gradually build up the greenery, texture and color intensity, ensuring a natural transition between shades after each area lightly. This technique allows for the addition of texture to the painting, giving the greenery a more realistic appearance blend stroke, slightly focusing on integrating the new color with the underlying layers. Blending is essential for avoiding harsh lines and ensuring a seamless transition between the color variations within the greenery. When more texture is needed, lift the pencil from the screen and then touch it back down to apply more paint. This action results in a thicker application of paint which can then be selectively blended. This approach not only adds visual interest and up to the greenery, but also enhances the overall richness of the landscape. The use of a darker shade at the bottom of the canvas helps to establish a sense of P in the painting by introducing a darker tone at the bottom. Contrast is created within the painting. This gradient of light to dark adds complexity and interest, encouraging viewers to explore the painting more thoroughly through the dabbing motion and the thick application of paint afforded by the brush settings, you create texture that suggests the volume. This texture is vital for adding a tactile quality of the painting. The progression from dark to lighter tones creates a sense of volumes. 5. Building Of Valley And Florals: Selecting a slightly darker tone for the ocean surface near the horizon line. Applying a darker tone near the horizon line contributes to the depth of the scene. As the ocean stretches away from the viewer towards the horizon, it often appears darker due to the depth of water and the way light is absorbed and scattered lighter areas might reflect the sky or sunlight directly, while the darker tone suggests deeper water or shadowed areas, possibly due to clouds blocking direct light. The technique of blending the darker tone into the rest of the ocean ensures that there are no harsh lines between color changes. Blending makes the transition between the darker and medium tones smooth and natural. Selecting a light tone of blue green from the color palette and applying it to the ocean. By applying this lighter shade and blending it with each stroke, I'm simulating the interplay of light and shadow on the water surface. The blending process ensures that these light areas integrate smoothly with the darker tones. The variation between darker and lightly sections within the ocean suggests depth and movement. Darker tones can indicate deeper, less light penetrated water, while lighter tones suggests shallower areas or the effects of sunlight. By creating areas of light and dark within the ocean, I'm adding visual interest and complexity to the painting. Selecting a lighter tone from the color palette and applying it to the specific areas of a painting. Such as near the beach, behind the trees, and where the ocean meets the mountains. The key to integrating these lighter tones with the rest of the painting lies in the blending. Blending should be done carefully to ensure that the transition between the newly applied lighter tones and the surrounding colors is smooth and natural. Through this method, the lighter tones not only introduce areas of light, but also contribute to the overall daft of the painting. By wearing the light intensity across different sections, I'm creating a more dynamic and three dimensional space, enhancing the viewer sense of immersion. The strategic placement and blending of these lighter tones create highlights that can define shapes, textures, and elements within the painting. Initially, I select a medium tune of blue from the side of the color palette that leans towards blue shades. Applying this medium blue tune to the top of the horizon line begins to set the stage for creating that. From the palate, I choose a slightly darker, medium tone of the previously used blue. When applied on top of the initial blue and then blended, it results in a richer darker shade that enhances the perception of tap at the ocean's edge. The blending process is key to achieving a smooth transition between the different shades of blue. Carefully blending the darker medium tone with the base layer creates a gradient effect that visually recedes into the distance, enhancing the three dimensional feel of the ocean. The placement of lighter and darker tones, combined with blending, introduces texture to the ocean. Using the oil break brush with its size adjusted, ensuring that brush load, flow capacity and brush greens are all set to 100% Combined with selecting a dark green from the color palette for the valley section close to the trees. Applying this darker green over the previously applied lighter shades in the valley area introduces a natural contrast. This layering technique is key to building volume and dimension in the painting. The technique of softly layering the darker green shade over the lighter base utilizes the oil break brush texture capabilities to create a soft yet distinct texture. Selecting a medium light tone of green and applying it at the top of the previously added dark green tones in the painting effectively introduces a rich interplay of light and dark within the landscape. This lighter shade represents areas hit by the sunlight or the parts of the landscape that are naturally lighter in color. The contrast between the light and dark greens at and volume to the painting. The selection of a dark shade of brown from the color palette is deliberate, chosen to contrast with the lighter tones present in the surrounding greenery and valley sections. The use of dark tones, especially in areas adjacent to the lighter sections, creates a visual contrast that naturally suggests apt and volume. By layering the dark brown over the existing colors, you can achieve a textured effect that suggests variations in the landscape. Softly blending the edges of the dark brown into the surrounding lighter areas prevents harsh lines. Choose a slightly lighter brown shade from the color palette. This color should be lighter than the dark tones already present, but still in harmony with the overall color scheme of the area you're working on. The lighter brown is selected to simulate the effect of light touching certain sections of the landscape. These are simple areas that are naturally highlighted in the environment. Apply the lighter brown to areas that would naturally catch light. After placing the lighter brown on the canvas blended into the darker base. This blending should be done with care using soft sweeping brushstrokes to merge the colors without completely covering the darker tone. By applying a medium, lighter green to the outlines of the trees, you are defining their shapes against the valley background. This helps to separate the trees from the valley floor, making them stand out and adding clarity to the composition. Lighter tones trend to come forward in a painting. Selecting a lighter tone of brownish yellow and applying it to the medium tone valley area in your painting serves to create the illusion of fields illuminated by light ad just the size of the brush. Apply the brownish yellow tone in marks that follow the contours and natural lines of the valley. These marks can be distributed to represent areas where light is more likely to hit, such as the tops of ridges, open fields, or any raised ground. Using two shares in the valley. With the added lighter strokes gives the landscape greater depth and dimension, I use the color picker to select a dark green tone. Using a darker green enhances the perception of it, creates a contrast against any lighter colors used for areas hit by light. Making these shadow areas recede into the background and giving the scene a more three dimensional feel. I carefully apply this dark green tone to the top of the selected bottom. I use the combination of breast strokes to lay down the color and sharing it blends nicely with adjacent colors but still retains its. The goal here is not to completely cover the dark base, but to add highlights and texture. With the color picker tool, I choose a light gray green shade from the trees. I adjust my brush to a smaller size for precision. This particular hue is indicative of the way light interacts with tree leaves, often giving them a lighter tone. I consider the direction and quality of the light source in the painting. The highlights should be consistent with this reinforcing the three dimensional form of the trees and the overall lightening of the scene. The gray green highlights add not only light but also texture to the trees. Navigate to the farthest mountain with the color picker and choose a medium tone of grayish brown. The oil break brush is selected for its ability to give a texture. This color is often ideal for distant elements in a landscape. Because it's muted, I begin to apply this lighter green gray tone to the top areas of the mountain where the light foot naturally hit. These are typically the peaks and ridges that are most exposed to the light source. Navigate to the farthest mountain with the color picker and choose a medium tone of grayish brown. Carefully blend the edges off your strokes to ensure that the mountains retains a sense of being part of the distance landscape. The medium range brown should blend into any lighter tones that suggest atmospheric light enhancing the three dimensional form of the mountain. Where the color picker, I identify a light green gray tone from the existing greenery on the mountain. This specific shade will be lighter than the main hues of green, suggesting the play of light over the mountains surface. Utilizing a big oil brush with all settings, brush load flow capacity, and the brush grains maximized to 100% And selecting a lighter gray orange stone from an orange yellow palette. This color is bright enough to stand out against the darkest sections of the valley, suggesting sunlight catching the petals. Yet its muted quality prevents it from overpowering the scene. Maintaining a naturalistic tone within the painting. Apply the color to the brightest sections of the valley, close to the darker areas. By dapping the brushed and pop circle motions. This dapping techniques creates the base shape of the flowers representing a cluster of blooms. The proximity to the darkest sections help these floral elements pop visually enhancing their impact through the dabbing motion and the thick application of paint afforded by the brush setting. Ucde texture de suggests the volume and density of floral clusters. By choosing a lighter yellow orange tone, you are preparing to introduce highlights that mimic the way light interacts with the natural world. This lighter shade represents the areas of the florals that are most directly hit by the light. Using a daving motion to apply this lighter tone on top of the base shade allows for precise placement of highlights. Each dap can be seen as a spot where light catches the floral. The darker base shade serves as the shadowed parts of the florals, while the lighter daves as the highlights together. The contrast between the light and dark tones not only adds app, but also brings out the texture of the florals. The highlights can emphasize certain details like the petals edges or the center of the florals. Drawing attention to the unique characteristics of each floral coster. Selecting a dark purple shade from the color palette to create blossoms around the orange floral areas. Dark purple is an excellent choice for blossoms adjacent to orange florals. Purple and orange are contrasting colors on the color wheel, which means they can create a vibrant visual tension when placed next to each other. This contrast can make both colors pop and add vibrancy to the scene. Dabbing the screen with the dark purple shade to form blossoms allows for a tactured organic appearance. This technique mimics the natural variation found in blossoms, where petals and the colors blend seamlessly. Placing the dark purple blossom at the back and on both sides of the orange florals help create apt in the painting. This arrangement suggests that the landscape is layered with different types of florals occupying distinct spaces within the scene. It can also imply that the purple blossoms are slightly shadowed or further away from the light source. Adding to the three dimensional effect, the addition of dark purple blossoms introduces a new element of visual interest. Selecting a slightly lighter tone of purple and dabbing it on one side of each dark purple blossom is a deliberate technique to add dimension, high light and vigil interest to the florals. This highlight suggests that the blossoms are not flat, but have form and structure catching light on one side while the other remains in shadow. By consistently applying the lighter tone on the same side of each blossom, I'm reinforcing the presence and direction of a light source within the painting. 6. Creating Highlights On Sky And Florals: This consistency is key to creating a believable space where light naturally eliminates parts of the scene. The contrast between the darker base color of the blossoms and the lighter highlights adds to the painting. It draws the viewer's eyes, making the floral elements more engaging and visually appealing. The technique of dabbing to apply the highlights can also contribute to the texture of the blossoms. The variation in tone and the slight overlap of colors can suggest the delicate texture of petals. Selecting a grayish, purple, bluish tone from the color palette. And adjusting the size of your brush to make marks on the top left of the sky. Choice of a grayish purple, bluish tone is strategic for depicting the sky. This color can suggest the presence of clouds, a transition turning dusk or dawn or atmospheric conditions that add moved to the scene. The blend of gray, purple, and blue captures the complexity of the sky's color. Beyond simple blue, adding realism and p, adjusting the brush size is crucial for the task at hand. A larger brush can be used for broad sweeping cloud formations, while a smaller brush is ideal for finer details or any kind of subtle atmospheric effects. The right brush size helps in creating the tanded impact without overpowering the sky. These marks should be applied with a focus on mimicking natural atmospheric philomena. Whether it that's the soft edges of clouds or the blended hues of the sky at different times of day. After making the initial marks, blending plays a key role in achieving a natural look. The edges of the marks should be softly blended into the surrounding sky to avoid harsh lines, creating a seamless transition that suggests the diffuse nature of light and color in the sky. Selecting a lighter tone of purple blue shade and applying it to the top of the sky on both the left side and the right topmost part of the canvas. A lighter purple blue shade captures the beautiful qualities of the sky, especially at times of day when the light is soft and diffused. This color wise, suggests a gentle illumination from the sun just out of view, casting a serene glow across the sky. Applying this lighter tone to both the top, left, and right topmost parts of the canvas creates a sense of balance in the composition. Addition of a lighter tone at the top areas of the sky adds daft to the scene, making the sky appear more expansive and atmospheric. It suggests a layering of colors that can occur in the sky due to scattering light, contributing to the overall daft of the painting. When applying the lighter purple, bluish tone, blanding it softly into the surrounding colors ensures a smooth transition. This technique avoids harsh lines between the colors, mimicing the natural radiance scene in the sky. As colors blend seamlessly from one to another, the specific hues of purple and blue slack. It can significantly affect the painting. Smoke, light purple blue stones can evoke feelings of calmness, wonder, and the tranquility of earning morning or late evening. Applying an even lighter tone of purple blue to both sides of the sky. Adding a lighter tone of the color over the darker base layers increases the sky illumination, suggesting the interplay of light and shadow that naturally occurs in the atmosphere. The contrast between the darker tones and the neat and the lighter tones on top add stuff to the sky. It stimulates the wave. Light diffuses through the atmosphere with the darker tones suggesting dancer further away layers of air or cloud. And the lighter tones indicating areas where the light is more direct or where the atmosphere is clear. The technique of using a lighter tune of yellow with an oil umbrush to define the shades of florals over medium and dark tunes of yellowish orange captures the essence of creating depth, dimension, and detail. Choose a lighter tune of yellow for the petal signifies areas where light most directly hits the florals. This brighter shade stands out against the medium and dark yellowish orange base, highlighting the form and texture of each petal. The oil um, brush is selected for its ability to mimic the texture and the movement found in natural brush strokes, which is ideal for painting florals. Adjusting the brush size to be a bit smaller allows for more controlled and detailed work necessary for defining the shapes of petals and adding fine details. With the lighter yellow, you start making petal shapes on the florals. This involves carefully placing strokes where the petals curve outward or are angled towards the light. So this technique is not just about outlining, but using light to define form and volume within each floral cluster. The application of the lighter yellow over darker tones create a layered effect that adds dap to the painting. By placing lighter tones on the top of darker ones, I can achieve a sense of dimensionality as the paddles appear to emerge from the shadow area becoming more pronounced and visually engaging. While defining the shapes of the florals. Blending is key to ensure that the transitions between the lightest highlights and the darker based tones are smooth and natural. This blending helps to maintain the integrity of each petal shape while ensuring they are part of a cohesive whole. The oil lumb brush tacture, combined with the lighter yellow tone contributes to the overall tactile quality of the florals. This tacture can suggest the delicate surface of petals, enhancing the paintings realism. These highlighted petals become points of visual interest, drawing the viewer's attention to the intricates of the florals. The careful shaping and highlighting of petals guide the viewer through the painting, creating a dynamic visual experience. The technique of applying multiple shades of the same color spectrum, such as transitioning from medium to lighter tones of yellow and orange on florals, serves to enhance Pt and volume by using a medium tone of yellow orange to define the shapes of florals. You are adding another layer of D to the flowers. This medium tone acts as a transitional shade between the darker base and the lightest areas. Applying these varying shades and layer mimics the way light naturally falls on, wraps around objects. Darker shades recede visually pushing elements into the background. While lighter shades advance, bringing elements forward. This layering effect creates dapt within the painting, making the florals pop out from the canvas Carefully. Blending of these shades ensures that the transitions between light and dark areas are smooth. And natural blending helps to avoid harsh lines that can flatten the image instead of allowing each paddle and floral element to seamlessly integrate with its surroundings. Enhancing the overall realism using an old flat oil brush, with all parameters like brush flow, lowpacity brush plans set to 100% and selecting the lightest stone of orange from the color palette to dab onto the florals. Dabbing the paint onto the florals. Rather than using swepping strokes allows for precise placement of highlights. This method helps to define the petals, edges, and the centers, contributing to a more detailed and the fuller appearance of each floral. The texture achieved with the old flat oil brush, combined with the lightest orange, adds volume to the flowers. The texture can suggest the variations in petal surfaces from smooth to ruffled, enhancing the three dimensional quality of the florals. Now on blossoms using an oil am brush, adjusting it to create a slightly lighter tone from the darker side of the purple blossoms establishes the base for creating a range of values. Values in the context of art refer to the different levels of lightness or darkness within the painting, which are crucial for depicting foam and depth. The oil lamp brush is particularly effective for this cost due to its ability to mimic the texture and variation of traditional oil paint. Dabbing this brush with the selected purple tunes under the blossoms allows for a very tax sat and a nice natural softness of floral petals. By selecting a dark shade of purple and dabbing it onto the blossoms, I'm introducing shadows, and a, these darker areas suggest parts of the floral that are either turned away from the light source or by any kind of, any other elements. These darker areas suggest parts of the floral that are either turned away from the light source or might be hidden by any other elements, providing a sense of volume and three dimensionality. The application of the lightest tune of purple serves to highlight the most illuminated parts of the blossoms. These highlights are critical for defining the shape of the florals, indicating where the light hits directly and enhancing the overall perception of depth and form. Switching to a flat old oil brush for the final application of the lightest purple shade allows for more precise control over the placement of highlights. This brush can create sharp defined marks that bring attention to specific details of the blossoms, such as the edges of petals or the texture within the flow. The layering of different shades of purple from dark to light effectively creates a range of values within the blossoms. This range is essential for conveying the complexity of natural forms highlights, particularly those applied with the lighter shade. Add a final touch of realism by simulating the glossy or reflective quality of paddle surfaces. Either because they are farther away in shadow or because the light source is not directly hitting them. Gradually, layering lighter tones on top of the darker piece adds dimension. Each successive layer of lighter tones suggests an area that is closer to the light source or more directly impacted by light. This technique mimics the wa, light naturally fades and diffuses across surfaces and through the atmosphere. Starting with the light tone of teal blue. And minimize the size brush allows for precise outlining of the waves crest and forms. This initial outline serves as a guide for where the waves are and how they interact with the peach and the distant mounting. After out, applying a medium tone of teal blue near these outlines and blending it into the surroundings water creates a gradient effect. This blending process is crucial for conveying the water step and the transition from the shallower, brighter edges of the waves to the deeper, common sections of the ocean. The contrast between the light outlines and the medium til blue shades establishes the water's values. From the highlights on the wave crest to the darker tones of the deeper water. Highlights are essential for suggesting the texture and movement of the water, indicating where the waves are most pronounced and where the light is most directly reflected. The use of varying shades of tail blue to create these highlights and shadows adds visual interest and a sense of motion to the ocean. The lighter tones not only suggest the wave's movement towards the beach, but also enhance the water's luminosity, making it appear more vibrant and dynamic. Creating waves far from the viewer. With the same technique, but perhaps with the subtle application, emphasizes the ocean's vastness and the perspective within the painting. The differences in tone and the careful blending of colors help to stimulate the way light and atmosphere effect how we perceive distant objects, making the ocean scene more realistic. The interaction between the land and the water, highlighted by the waves and their movement, contributes to cohesive and immersive. Scene values are created through the contrast between the lighter and medium, teal blue shades. The darker areas represent deeper or less illuminated parts of the water, while the lighter areas significantly shallower parts or sections that the lights directly hit. This controls creates a sense of volume and dimensionality in the ocean. Highlights on the water are achieved by strategically placing the lightest steel blutones where the waves are most likely to reflect light. This often includes the tips of the waves, the areas closest to the viewer or parts of the water that are uninterrupted by the shadows from the landscape to create the sense of p and distance in the ocean. Lighter highlights can be concentrated on waves closer to the viewer, with fewer and more muted highlights on waves further away. This gradient of highlights helps convey the vastness of the ocean and its gradual receding into the horizon. 7. Creating Values: Choosing a lighter tone of brown orange from the color palette is very strategic for stimulating the effect of light hitting the base of the mountains. The colors can suggest the warmth of sunlight at sunrise or sunset. Eliminating the lower section by adjusting the breast size for precision and applying the shade at the bottom of the mountains. I'm actually creating a gradient effect. Blending the lighter tone into the existing colors of the mountain and its surrounding is very crucial for a natural transition. This blending helps to soften any harsh lines, making the light appear as though it's naturally diffusing across the landscape. The application of a lighter shade at the base of the mountains contributes to the overall depth of the scene. It visually pulls the mountain forward, enhancing its three dimensional appearance against the back drop. This effect is particularly pronounced when the lighter tones contrast with the darker shades higher the mountain. Simulating the interplay of light and shadow, blending the green into the surrounding area is key to achieving a realistic and harmonious transition. Proper blending techniques ensure that there are no harsh lines between the mountain base and adjacent landscape, which could disrupt the viewer sense of immersion. The blended transition creates a softer, more cohesive look that enhances the painting's overall realism. Lighter shades of green can indicate areas hit by sunlight, while darker shades indicate shadowed areas, adding volume and form to the landscape. Strategic placement of different values of green can highlight specific environmental features, such as meadows, forest edges, or any kind of elements in a painting. This lighter brown orange can also be used to highlight specific features of the terrain like such as foothills, valleys, or rock outcrops. The strategic placement of highlights can draw attention to these features, adding complexity and interest to the mountain landscape. Real world landscapes are defined by a wide range of values. From the dark shadows of dense forests to the bright highlights of sunlit rock faces. The use of lighter tones to create values ensures that the landscape resonates with the viewer's experiences and expectations of natural stainery. Real world landscapes are full of value. Contrast from the dark shadows in dense forests to the light apple clearings. By incorporating a range of green values at the mountain base, I am replicating this natural diversity, adding realism and that to my painting. Applying a green tone to the bottom surface of a mountain and blending it into the scene is a technique that involves carefully manipulating values to enhance the depth, realism, and harmony of the landscape in my painting. Like selecting a green tone from the color palette to apply at the mountain's base immediately introduces the concept of life and natural growth typically found at lower mountain elevations, such as grass trees or any kind of green saction. Applying a medium tone of olive green as highlights on and around these darker green areas simulates the fact of light filtering through leaves or resting on the top of bushes. This medium tone, when dapp under the closer darker surfaces, introduces a sense of volume and dimensionality, highlighting the texture and the form of the green section. The contrast between the dark and medium green tones creates visual interest and suggests the varied density and depth of a landscape. Darker tones recede in the viewer's perception, making the spacer appear deeper, while lighter tones come forward, enhancing the three dimensional feel of the scene. Dabbing with different tones allows for the creation of the texture within this green section on the ground. This technique can simulate the intricate details of leaves, branches, and grass, making the landscape appear more lifelike and tactile. The concept of values in art refers to the range of lightness to the darkness. By using light and dark tones of greens and browns, I'm creating a spectrum of values that enhance the perception of light within the painting. This range is crucial for conveying the texture of the landscape and the atmosphere of the scene. Using an old flat brush to apply an olive green shade in the valley section of a painting is a liibrate. Twice. That significantly contributes to creating apt in a painting. Olive green is a versatile shade that can represent the lushness of a landscape. Its naturalistic hue is perfect for integrating into landscape to suggest and distance. An old flat is chosen for its ability to lay down even strokes of color by applying olive green within the valley section. I'm starting to define the area as general tune. And the key is to vary the pressure and angle of the brush to create different texture and effects, suggesting variations in the landscape surface is achieved by layering darker and lighter tones of olive green and other complementary colors. Darker tones are used to depict shadowed areas and the parts of the valley further away from the light source, making them appear more deeper and further away. Lighter ones, on the other hand, are applied to surfaces catching the light, such as hilltops or slopes facing the sun, bringing them forward in the viewer's perception. The smooth transition between dark and light areas are very important. Like blending these transitions with the old flat helps eliminate horse lines, making the dup in the valley appear more natural and believable. The technique of blending also helps in suggesting the curvature of the land and density of the landscape. Strategic placement of dark and light tones enhances the volume and form of the valley by emphasizing the contours and features of the landscape. Through contrast, I'm giving the impression of a three dimensional space on a flat canvas. The cumulative effect of using dark and light tones of olive green applied with an old flat brush is a visually rich, deep valley that draws the viewer's eyes into the painting. This matter creates a sense of immersion, making the viewer feel as if they could step into the landscape. Blending browns and green shades in the valley section of a painting, and then adding grass with the various dark tones of olive green. Blending involves a soft transition between colors and tones, crucial for creating a cohesive and realistic landscape. Proper blending helps to eliminate harsh lines, making the value appear as continuous, undulating surface rather than a disjoint collection of colors. The concept of transitioning from flat to textured elements within a painting involves using color and tone to suggest depth and material differences. Flat areas achieved through smooth landing can suggest distant or smooth surfaces. While tactured elements created by wearing brush strokes or adding detail imply closer, more complex features like grass or any kind of landscape element. Using dark tones of olicrine to depict grass serves several purposes. Firstly, it adds a sense of depth to the landscape by creating shadows or suggesting dancer lush areas of green. Dark tones can imply variation in the such as depths and rises where light is direct, making the grass appear more natural and realistic. The application of grass in dark, olive tones introduces visual texture to the valley. Unlike the smoother, blended background, the detailed strokes used to represent grass create a contrast. This texture is essential for conveying the tactile qualities of the landscape. Such as the roughness of natural grass compared to the smoothness of distant hills or the valley floor. Applying the grass involves using targeted brush strokes that mimic the growth patterns of natural grass. This might include short upward strokes to represent individual blades or clusters. The strategic placement of darker tones, particularly at the base of the grass or in areas meant to be shadowed, enhances the painting's overall depth. It creates a layer defect with the grass standing out against the blended background and contributes to the scenes three dimensional illusion. While the grass adds structure and detail, it must also integrate seamlessly with the rest of the landscape. This require careful attention to how the grass transitions into the surrounding areas, ensuring it complements rather than competes with other elements of the painting. Light blending at the edges where the grass meets the blended valley floor can help achieve this harmony. These darker tones can suggest the density of the grass and the areas where light is less direct. Contributing to the overall realism of the painting, employ upward flicking motions with your brush to mimic the growth patterns of grass. Start each stroke at the base and flick upwards, releasing pressure towards the end of the stroke to create a tapered effect that resembles the tip of a blade of a grass. Wearing the direction and curvature of your strokes can add dynamism and naturalism as gross really grows in a uniform direction. Apply multiple layers of strokes, with some areas receiving denser applications of grass than others. Layering in this way helps to create a lesion of a with denser darker areas receding into the background. And parser areas coming forward ensure that the grass blends seamlessly with its surroundings. This may involve softening the base of the grass where it meets the soil or other landscape elements. Using lighter or blended strokes to integrate it with the rest of the scene. Begin by softly blending the base of the grass where it meets the valley floor. Using a brush with the lower opacity or floor to gently mers the colors of the grass with those of the ground. This softening effect helps to eliminate any horse lines that might suggest the grass is floating above or not part of the valley. Pick colors from the valley floor using the color picker tool and apply them sprangly at the base of the grass. This technique helps the grass to visually emerge from the ground. Reinforcing the idea that it is rooted in the soil of the valley, create a gradual transition from the detailed texture of the grass to the smoother texture of the valley floor. This can be achieved by reducing the density and detail of the grass as it meets the valley. Using broader, less detailed strokes that mimic the blending technique used on the valley floor start by choosing a range of blues, teals and greens from the color palette to represent the ocean's depth and movement. Darker tones can indicate deeper waters or shadowed areas, while the lighter tones suggest surfaces hit by the sunlight or shallower waters. Apply the darker tones as base layers to establish the ocean's overall apt. These layers serve as the foundation for adding highlights and further detailing slk lighter shades of blue, teal or even white for highlights. Use a fine brush to apply these highlights, Where the sun rays would naturally hit the water surface, such as the crest of waves or ripples. The placement and intensity of these highlights are crucial for depicting the ocean's fracture and the lights direction. Carefully blend the edges of the highlights into the base layers to create a seamless transition between light and dark areas. This blending mimics the fluid nature of water and how it interferes light. Pay attention to maintaining some sharp contrast, However, as they can represent the sparkle of sunlight on water. Utilized varied breast strokes to add texture to the ocean. Horizontal strokes can suggest calm waters, while more dynamic curve strokes can depict waves and the movement. The texture is essential for conveying the water's physical properties and its interaction with the wind and light. Clearing different shades of blue from light to dark as tap to the ocean suction. Darker shades should be used for deeper or shadowed areas gradually transitioning to lighter shades for areas closer to the light source or the viewer. Creating highlights and apps in the mountain section of a painting involves a combination of color selection, strategic brush stroke, and layering techniques. Choose a range of colors that represent the mountains, base color shadows and highlights. Typically, this involves collecting darker shades for areas in shadow. Medium tones for the general mountain color. And the lighter tones for highlights where the sun or the light source directly hits the mountain. Begin with the darker tones to establish the areas of the mountains that are in shadow. Often the sides facing away from the light source layer, medium ones over this base, leaving some of the darker tones visible. To create the illusion of depth and form, use the light tones sparingly to add highlights to the peaks and ridges that would naturally catch the most light. Softly blending the transitions between shadows, mid tones, and highlights to avoid harsh lines, unless a stark contrasts its desired to emphasize rugged terrain. Blending should be done in a way that mimics the natural radiation of light over the mountain surface. 8. Finishing: Ad just the contrast and saturation of colors to reinforce the sense of damp elements in the foreground are closer to the light source can have higher saturation and contrast, while distant elements might appear more desaturated. And with the lower contrast, consider how the surrounding environment reflects on the mountains. For example, a sunset might cause warm hues on the peaks, while a forest at the mountain base could result in greenish reflections on lower slopes. Start by establishing a base layer with the darker tones to define the deepest parts of the valley. Gradually build up layers with progressively lighter tones to represent areas that are closer to the light source or elevated. This layering technique creates a sense of P, making the valley appear more three dimensional, incorporate a wide range of values by using various shades within the color palette. Darker values suggest shadowed areas, while the lighter values indicate parts of the landscape that are illuminated. Careful manipulation of these values helps to create a realistic depiction of terrain and texture within the valley. Apply highlights to areas where the light naturally hits, such as the tops of ridges or the edges of pot. These highlights should be consistent with the overall light source in the painting. Enhancing the form and volume of the valley's feature. Use a gradient of purples from dark to light to add volume to the blossoms. Dark shades at the base or shadowed areas of the flowers provide a while. Lighter shades on the petal edges or areas facing the light source create highlights and enhance the flowers texture. Add finer details with a small brush to define petal edges are the texture within the blossom. The details contribute significantly to the realism of the flowers, making them stand out against the broader landscape. High contrast between the blossoms and their background can draw the viewer's eye. Making the flowers a focal point. Using the contrast in values effectively to make the blossoms pop, ensuring they are visually distinct from the surrounding valley. Go over the painting to refine details that may have been overlooked. This could involve sharpening edges, adding small highlights, or correcting colors to ensure consistency and realism throughout the piece. Incorporate atmospheric effects such as mist or light rays, to unify the scene and add mood. These effects can also help to soften transitions between elements, enhancing the painting's overall cohesion. Group strokes closer together to form clones of grass which are commonly found in natural settings. This clustering also helps in breaking up the monotony of the grass area and adds texture to the landscape. Use layering to add dap around the base of the grass. Apply darker shades beneath the grass to suggest shadows and anchor the grass to the ground. Lighter shades can be used to highlight the tips and tops of the grass, suggesting sunlight filtering through and adding to the three dimensional effect while the grass is getting more textured, Harmonizing the tacture with the smoother valley floor is a key. Achieve this by ensuring that the transition between the grass and the floor is not abrupt. Techniques such as dry brushing or using a stifle effect near the edges of the grass can blend the textures effectively. Sure that the blending respects the overall lightning scheme of the painting. The way shadows fall and highlights appear should be consistent across both the grass and the valley floor. Helping to unify the scene under the same light source. Highlighting texture differences in a painting, especially through the contrast between smoothly blended areas of the valley and the texture detailed grass. The smooth blend of browns and green sets a foundation that contrasts with the detailed texture of the grass. The smoothness can represent the vast open spaces of the valley floor or distant hill. Slight serving as a backdrop that makes the textured elements like grass stand out. By creating a clear contrast between the smooth areas of the valley and the textured gross, I'm guiding the viewer's case through the painting. This not only draws attention to the detailed areas, but also adds depth as the eye perceives the textured areas as closer and the smoother areas as further away. Texture differences contribute to the perception of depth and volume. The detailed texture of the gross suggests a closer, more immediate plane, while the smooth landing of the valley indicates a receding landscape. This layering of textures enhances the three dimensional quality of the painting. Make final adjustments to colors and values to ensure they accurately reflect the paintings intended mood and time of a date. This may involve turning down overlay, bright areas or brightening sections that are too dark. Take a step back and review your painting from a distance. This perspective can help you see the overall effect of your work and identify any areas that may need a final touch. 9. Thankyou: That's a wrap. Look at what you have created, a stunning digital landscape painting that captures the beauty of our coastal valley. I hope you enjoyed every swipe, tap, and brush stroke that brought your art to life as much as I enjoyed guiding you through the process. Remember, every piece you create is a step forward in your artistic journey. And I can't wait to see where your new skills take you. Don't forget to share your masterpiece with the class. Keep practicing, keep experimenting. And most importantly, keep having fun with your art. 10. Project Of A Class: This class, we have created a vibrant digital painting of a floral filled valley with distant mountains using the art st app. Here's a step by step breakdown of how we brought this digital landscape to the life. I encourage you to either replicate this project or put your own unique spin on it. We began by setting the scene with a base layer of colors for the mountains and the valley floor for the sky. We used a blend of soft blues and purples, creating a backdrop of wispy clouds. The mountains were sketched with muted greens and blues to give them depth and distance. Using a range of yellows and oranges, we painted the valley floor to resemble a field bought in sunlight. This warm palette serves as a contrast to the cool tones of the sky and mountains, bringing the valley to the forefront. With our vibrant foundation in place, I introduced the main attraction, the florals. Starting with darker shades of reds, purples and blues, I adapt in the flower shapes and focusing on creating clusters and wearing the sizes to mimic the randomness of nature. Once the flowers were mapped out, I then built up their texture and detail. I added lighter shades on the petals where the light naturally hits, giving the florals dimension and fullness for the lease and stamps. I use different shades of green and sharing the peek through the floral array. To finish, I brought the scene to life with highlights. I carefully added the lightest stones where the sun would naturally eliminate the tops of the flowers and the ridges of the mountains. This not only adds dup, but also guides the viewer's eyes through the painting. Now it's ton. You can follow these steps to recreate these lush floral valley, or you can experiment with your colors and textures. Maybe you want to change the time of day at different types of florals or at just the landscape layout. Whatever you choose, let your creativity flow and make this digital painting your own. Share your final piece with the.