Fantasy Maps in Photoshop Part IV: Colour and Details | Daniel Hasenbos | Skillshare

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Fantasy Maps in Photoshop Part IV: Colour and Details

teacher avatar Daniel Hasenbos, Freelance Illustrator

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Flat Colours


    • 3.



    • 4.



    • 5.

      Finishing Touches


    • 6.

      Final Thoughts


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About This Class

Learn to draw Fantasy Maps in Adobe Photoshop with Daniel Hasenbos from Daniels Maps.

Do you want to improve your Fantasy Cartography skills, or not sure how to get started? In this 56 minute class we are going to explore how to use the basic tools of Adobe Photoshop to add colour and some finishing touches to your Fantasy Map! Make sure you've also watched Part I, Part II and Part III of this series!

In this class we continue working on the map that we started in my first class of this series: Fantasy Maps in Photoshop Part I: Coastlines my second class: Fantasy Maps in Photoshop Part II: Terrain Features and my third class: Fantasy Maps in Photoshop Part III: Icons and Labels. I'll assume that you know your way around the basics of Adobe Photoshop and you can follow along with most of the tools without in depth explanations of how they work. Are you not comfortable enough with Adobe Photoshop yet? There's a lot of classes on Skillshare that'll help you familiarize yourself with the program!

What Will You Learn?

  • Flat Colours: In this lesson you'll learn how to lay out the flat colours for your map, step by step. We'll start with colouring the mountains, then the forests and finally the icons.
  • Shading: Next we'll add some rough shading to all these features and when the basic shading is done we'll go over everything to add more detailed shading.
  • Lighting: After the shading is done we'll start adding some light. We'll follow a similar process as before, but with some slight changes and shortcuts for a more efficient workflow.
  • Finishing Touches: In this final lesson we'll cover a variety of things. We'll start with manipulating our lines to make them blend in with the map more. Next we'll add some add some decorative rhumblines to the map. Finally we'll add a parchment texture to give your map a worn and authentic look.

Whether you are an illustrator or simply want to create a fantasy map out of personal interest, this class will get you ready to pick up your idea and turn it into something great!

Meet Your Teacher

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Daniel Hasenbos

Freelance Illustrator

Level: Intermediate

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1. Introduction: Hello. My name is Daniel, From Daniel's Maps and welcome to dis Classical Fantasy Maps in photo Shop bought four color and details in this class. We're going to continue working on the maps that we made important 12 and three. So if you haven't watched those I recommend you knew that first miss class we're going to add color to our starting with flat colors are following it up, shading and lighting. Finally, we're going to add some finishing touches to or not. We're going to add details to be lying art. They're going to add navigational lives. And we're going to add a parchment texture to make your math Luth really aged and hope I look forward to getting started finishing up our maps, so let's get into first best. 2. Flat Colours: welcome to this class in this class. We're going to lay out flat colors for a fantasy. We're basically going to color our mountains, our forests and our Aikens are. What we're going to do now is lay out basic colors, no shading or liking. Yet we're just going to lay out flat colors that will be base. So let's start with the mountains. And what I like to do for the mountains is pick a grayish brownish color, which I've got selected here. This makes the mountain blending with the drain nicely while still being recognizable as to create brown ish mountains that you expect this is the color that will be using for mountains. How we before before we do anything, really. We're going Teoh creatively new layer in our terrain folder under mountains, and we're going to call it cooler. And as I said, this is just going to be the flood core. I'm make sure you're brush is nice and big. I like to remove the labels for this. I start scoring in your mountains, and as you can see, some of the color will go outside of the mountains and will will take care of that in a second. This is just very rough. And as you concede, Haristeas just faded, anxious at the bottom at the heels of the mountain, where it blends nice with the dream underneath it. That's the basic coloring for our mountains. Done are razor to a heart round brush for Doc unless you raise all everything that we yet that we drew outside amounts is that we don't want. So basically any color that went over the peaks of the mountains. And again, this doesn't have to be perfect. You can do this very rough. We're also going to lower the capacity of this later, later on. So this is all going to be very subtle, and it's small errors that I left around the mountains will be visible in the final version of the map, and when this is all done, we've got the flat colors for a mountains in place. So that's our month and so done already, and let's now move on to our forests. What I like to do for forest is used to colors. Um, I like to use this car for the assiduous forests. It has a nice yellowish in fiber and feel to it and for coniferous forests. I like to use this one. It's a bit more screen, a bit more gray and a bit colder. And it goes. It doesn't nice when showing the difference between the two kinds of forests. So let's go to a forest layer. We've already got a core layer underneath. Mitt Andi played anywhere outside our forest. Expend our selection with one Think soul can't shift I to inverse that selection. Go to the color layer under the forests. Elias. I'm filled our victim or yellowish shade of green on. We use that for everything else. Sure, we'll also get all of the single trees. That's everything for the forest. Um, next step is to draw the Aikens, and that can be a bit more tedious. So let's go there. And we've already got the color layer, which is now filled with white. What? I like to start with these two look the transparency. That means that we can truly transparent pixels, so only the things that are already color that makes it easy. So we control over where I can without worrying that we're going outside the lines, Um, for dislike. That's big. Some colors. Start with, uh, villages. Take a nice brown color for the route. It's smaller. This could be a bit less vibrant. Maybe like this instance better. And then sort off a thing kind of color for the houses and our great color from Ginny's stonework. That's gonna be a bit more. Why it? Great. What you can now do is to select this Andi, drag it over to other villages so you don't have to court every Aiken individual. It can go around the map like that on this sexual lot of time. As you can see in this way, it's not very, very quickly. So that's all the villages stuff we're not going to do. We're going to use the space and move on to the cities so drunk this core over here to a city. So we've got that already in place. On that, we can pick those colors, continue working on it, other houses. But this and again, let's track these colors around to fit in the rest of the cities on the map. It must do the same for capitals, and what I like to do with the capitals as a little extra is this first troll this church. Um, let's pick a color. Let's make the colors of the nation's red, blue and green, and that's grow the capital roofs in those colors, so hair, everything is going to be read for the next capital. Everything is going to be blue. Track it over, raise some of direct that you don't want to see here on. Move on to Why don't finally castles, which are going to be playing great? Probably. Um, maybe make the doors brown. It's my that works for me on Just like that, we've laid out flat colors for our map. As you can see, this goes a long way of bringing our map to life on. The next step would be to start having some shading to the mouth. Um, also some lighting. So let's wrap this up and move on to the next lesson. 3. Shading: Now that we've laid our flatcars in place, it's time to start shading or map. And I like to start with doing the mountains first and done forests and finally, the Aiken's. So what role? So what we're gonna do now is create a new layer, um, both color for the mountains. But below delights are going to call this shade or shadow at Marie going to step this layer to multiply, and I'm going to show you what that does. I said it to north, back to normal first. So let's not now draw with the same color as the mountains. You can pick it here. I've already got selected. Um, let's call her overt amount unless you concede it doesn't really do anything because it's the same color, so you don't see a difference. When you started to multiply, you'll see that it actually darkens what's underneath but the on the mountains, but also on the clock grasslands where we've just drawn Um, and that's what the blending mode multiplied. Does it multiplies the underlying colors and there some method medical equations involved that I don't really understand. But what I do know is that it creates a nice shadow effect, and I would like to use this for my chefs. So let's get rid of what we've just drawn on, started to multiply. Another thing that I like to do is create a clipping mask, and this basically masks out everything that's not on the underlying layer. So we've now clipped the shade layer to our color layer and everything. That's not our color layer ISS mosque that so we won't draw outside the mountains. Now put, um, pressure sensitivity own for capacity and said it to about 50%. And let's start Hillary shut up side of a mountain. I think I'll have to light coming from the left top left side since the lives going from the left. You know, the left side is going to be getting sunlight on the other side of the mountain. It's is going to be dark and covered in shadow. So let's covert each right side of each mountain shadow on. Just we're going to do this at 50% capacity, because when the system oh, we're not actually don't shading our mountains, we're just letting the basic shadows in place. But in a moment we're going to add details as well. So just go along and I find this very relaxing time Some people will find this very boring . Tedious were at first it might not look like it's sexually paying all but in yet when everything comes together when shadows and light Botham Really great crazy great effect for or for you map and it really brings everything to life. So now let's be raised some bits that we don't want. We don't want toe shadow on the light side of the mountain. Um, so just go over it with your eraser senate. You've only got shadow in the shadow of side of the mountain, so we're going to go over everything a couple of times. As you can see, we're already making a second pass right now. First lady shadow in place with a soft around brush. Now we're raising every thing that we don't need because we had this soft round brush creating nice, subtle effect. But it's also part of a patrol. What delights? Because you don't have to heart lines that you wouldn't get with the heart. Right? Brush, Um, and now pick a heart round brush a bit smaller, this one to set five pixels on go across the edges of the Mount. This is where the mountains will will be the darkest make up. Follow some of the rich lines down as well to create a nice effect. Okay, I'll just be this up now for a second. And that's it. Um, I just noticed, and I miss dismount in the coloring process, So let's fix that on a shading as well. Uh, with that we've got our mountains finished. Seems a bit dark to me. So we might lower the capacity of the, um underlying mounting color to, say, 15 maybe 40% on. That's too much. That's a 50 50%. Sediments are a bit more so now what is to be a bit darker. 75% will do for dismount. Um, and there's also makes a show of it lighter. Now that's the mountain stone on. Let's do the same for our forests, so I create a new layer called shape between the color and forest layer. A soft round brush. Send it to for 40 pixels, 50% capacity with pressure sensitive deal journal. Robust E. Let's pick our forest color. Keep in mind that you're going to use different car for the coniferous forests on the the situation forests, but the blending mode to multiply. Uh oh, credit clipping mask and we're going Teoh shape the shut up side forests. I think I'm going to use a bigger brush for this se 70 big souls, no force a go to take a bit more attention. There's a bit more details, and I would like to at some lines of shadow around where the rivers are a swell. So the longest side light is coming from here. So is going to touch the right side of the rivers everywhere. So we're going to at shade to the left side of the river. It's the trees on the left side of the river. That's this line of creation here. So, like that, you're a swell. I know all trees on the right side are going to get some extra shading. That's an extra shadows of around the mountains, but deep in my mind that this is going up. I regret girl up the hill so they're going to be catching extra light, actually, So even though this is on the shadow side of the forest on the site where this son it is not shining from it's actually going to be lie, either that some other areas, this is what the hell. So that's good. A bit more shadow. There's hills here. A swell east side of these hands were going to be shaded on DNO. Let's pick a color for our coniferous forests and saying, Oh, like, ah, bit bigger, darker. So that's the basic shadow for our forest. Um, let's now be a hard round brush again and let's shake the right side of every single tree top that we've grown. Keep in mind that the light is going to shine on the top and the left side, so we're going to shade right side, but not all the way to the top of the trees. So and I'll speed this up because does. It's probably going to take a while, and this is probably one of those times where you're thinking, man, this takes forever. This is how this is going to add up to the Final two. The result. You know how it is going to pay off, um, difficulties use forests. There's going to be hundreds and hundreds of treetops that you're going to have to shape on . Well, I totally period, It's not always fun doing this. And sometimes it doesn't feel like we're going to even see this in the final version of the map. But let me tell you, you're going. You're going to see this. This is going to pay off. This creates so much that through your forest makes all the street up stand out and gets it so much touch texture without all these treetops shaded, there's going to look very flat. Very boring, very dull. Um, but with this extra touch of shading all the streets, Officer coming to life and really poking through kind of p of the forest. So that's all the treetops done. Um, a couple of things that I see now is that, for example, in this area here, um, kinda stubborn forest a soft brush again said it to 50% capacity pressure, sensitivity for opacity on what I noticed to start, it's hardly shaded, so we're going to shake the bottom off it a bit more. Turn pressure, sensitivity for size of so a bit more like this, This looks better already say one for dis first to the north of that area. So, like, not so. This next look better. Um, And that's basically the shooting for a forest of what I like to do is a finishing touch for this is, um, small oval shape details to it. So, like, this is kind of the shape of it treat that we've got on and sized gender on angle jitter to 5% go to scattering and turn it all the way up to both access and said spacing to 1000% on down. What we're going to do is we're going to go over this couple times. That's increased. Decisive, actually, Muchas size of our trees A bit smaller than that, uh, capacity on to 50%. Now we've got way to big. Oh, yeah. Um, so this takes the bills toying around with to see what works. This is a bit on the small side, actually. So say 10 pixels, I think works. Yeah, 10 picks is just fine. Andi, just go over it like this. So this creates just a extra bit of texture to each or to forests on, uh, with that, our forests are done. So, like, not finally we're going to assign shading to our Aikens. Let's move to our icons and again create a new layer called shape between the color and the icons. Layer um, on. Well, we're going to go do dissecting again. Pick a soft, round brush. What I'd like to do for this is because we're where we're dealing with a lot of different colors, like gray the roofs, red roofs, brown, blue, green and and stones. So we're dealing with a couple of different colors. And instead of picking each color for shading and shaving every area individually, I like to take a middle gray color, which is this color Andi used up for shading the Arkan's. Because it's a middle gray color, it works good for every color. Um, I don't think it is as good as picking each color individually, Um, and especially when you're dealing with forests on mountains, I think it's just gives a nicer clutch to actually pick. The underlying color looks just a bit better, a bit less dull and gray, but for this, you know when you're working with different colors that you'll have to shape the middle gray color just as well. Most of keep in mind that some of the buildings are behind other buildings, so shadows of the buildings in front of them are going to be cast on them as well. So so buildings in the back, my V a bit darker. So it's a basic shadow for or organs done. I believe that if we missed any, no, don't stuff. So again, let's big a heart round brush five pictures and have some final touches of shading. Mostly right, the edges. You know where you're getting things are going to be darker. So it is area under the upper floors going to be darker, and all the sides are going to be the darker than everything else. There's going to be the darkest areas. I just go over everything like that, like this one final time before um calling this finished and when this is all done, were actually done shading on. We can move on to lighting in the next lesson. So I'm going to speed this up now on false to you in the next message. Something that I forgot to explain is shading the hills on how I like to do that is, you know, we can draw on the shake layer of the mountain speakers that clips, too, everything that we've already colored. So if we would want to shake the hills, it wouldn't show because we're not drawing one in any area. That's color for our mountains. So what I like to do is pick the underlying color, make it a bit darker, and then just draw on the correlate like this may be slipping darker. Still, some elected us. Yes, Mrs Burton, and just shade every hell like this. I use a very but basic. I always shake my hills very, very basic without a lot of detail. Your small features did generally so they don't need a lot of details are just doing what we're doing now is actually enough, and we won't have to go back to our heels and at more details. So I quickly speed this up. Now, as I go across the map and shade every help and then we can wrap up this lesson for really start 4. Lighting: Now that we've got a shadows in place, it's time to do the light. Onda actually follows the stain method a shading except that we won't be using multiply layer blending mode but will be using the screen Blanding and that doesn t accept prophecy . I start by creating a new layer called Lie Yeah, created clipping mask. It doesn't take the underlying color and make it darker. It takes the underlying color. Images it lighter according to what color your drone over it with. So let's set it to scream and show how this looks. As you can see, we're taking the underlie line color by picking the mountain color, and it makes it lighter. So that's how will be adding light to our mountains now set the brush to 50% of passivity with pressure sensitivity turned on for opacity on. They play in the basic lighting for a mountains, just like we did with shaving, and this is just very rough again. Not going to be very exact with this, just so you get a basic sense of one side is lighter and the other side is darker and what we can do now we don't have to manually erase all the all the areas where we went across the center lines across the rich lines. We can just select the shape for our mountains on to lead the selection off on the light layer. So that Safe says have been a time on that's already got the basic for a light in place. I speak a hard brush again can go across those rich lines where the light will be touching and again, keep in mind, Um, obviously seems to shadow is on one side lights going to be on the other side. So the lights going. It's coming from this direction to top left, so it will be touching the mountains from that direction. So the top of the mountains and the left side of the mountains those are going to be extra light. So we'll need to highlight dose master light for our mountains. Let's not forgot. Forget about the hills this time, so let's pick a color the underlying color for the hills and select a lighter one. They are soft round brush again, said 20 pixels. Capacity No. 100. Can I add something to the light to the hilltops? So that's our hills Done. Let's now do our forests have big a soft around brush again said it to 70 pixels. Pressure sensitivity turned on for capacity instead of dusty to 50%. Create a new layer called the light created clipping mask on. Let's start having spoke set of blending motor destry, uh, as an allied to our forests fished just around the edges. Very subtle. We don't want this to be too obvious on my lower your capacity. Later, um, seems a bit broads right now on make sure we're using the right color for the coniferous forest like this. Um uh, what I like to do now, As I said, we might lower the capacity to make it a bit less bright. But I want to be treetops to be shaded very brightly to stand out. Very nice. So what I want to do now, instead of lowering the capacity for the entire layer and speak to your agent to make a super big on set to your pastie without 25% I will just bring that light back any bit by going over it. And now we've still got that light, um, practically set to 75% capacity without having lowered the opacity for the entire layer. It's not Pick a hard round brush and pressure sensitive Dion for rapacity. Make sure we've got the right color selected, uh, blessed role in the life for the treetops. And just like before, we'll be going overall our forests and create apps, and this is going to take a while, so I'm going to speed this up. You can follow. All right, that's a lot Treetops done Mr Couple here on. That's now just like we did something shading at a couple of at a bit of texture. But this time would light, um, discovering he was 21%. So you used these settings just like we did before. Um, on this to 1000 said just then the miracle correctly, I go over it minus that 50% of capacity. We don't want this to be too strong, especially around liner areas. For a cooler here that's done. That's our forests shaded and light it. Let's now move on to the Aiken's on for the Aiken's. We're going to skip this step off. Very basic shading, actually on what we're going to do is move straits two highlights should create a new layer and call it light said it do screen big A heart round brush and five pixels. Um, we're going to do. We're going to pick the underlying color each time. So what we're doing this is that especially we've lighting. If you're using the the middle gray color, it's going to use very washed time, colorless. So for highlights. I like to use the underlying color and not just dear the middle gray. So a nisi way to do this if you're not familiar with it. Yeah, it's your big to brush tool. You press the old key, and that turns the breast to into the eyedropper. Then you can pick the underlying color, released you all turkey and draw the lines that you need to draw and a press. The old key. It's lefty underlying color. You want on a draw the highlights and select the underlying color and draw the highlights. So, just like that, that makes it very easy and quick to get the right colors. So we're just going to go with crossed on that on draw all these highlights. I just like where the forests are going to be on the top side of everything on the left side, so that's kind of speaks for itself. You know, lighting. It's coming from from one direction. There's one sort of source of light, and that's the sun. In this case, uh, it's tries everything the same way. So everything is affected by light in the same way. It would be weird if, for example, the houses after the light coming from the right side and mountains from the other, they would look very odd and on the mouth, Uh, and wouldn't make any sense. If you're working with artificial life, obviously that can be different. You can have multiple light sources, and different objects can be affected by differently. But that's not Katie. All right, so that's all the highlights Emily, And that's old lighting done now. Next, I want to do some finishing touches to really give your map. That extra bunch that makes makes it stand out just a little bit more. But recovering process is now. It's finished, so you could really leave them up at this. Obviously, I would turn on the labels right now, Um, but apart from that, you can leave them up at this and you could call it finished. Let's add a couple of finishing touches and next lesson, and I'll see you there. 5. Finishing Touches: to. So now that scoring is done, we can start to think about some finishing touches that we'd like to add to our mouth. So resume in, Um, one thing that will see is that all the lines or pitch black We've worked for black lines so far on That's okay. Um, what I like to do is actually give them some color. So there's two things that you can actually do with it on. I'll show you what you can do, what those things are. So the 1st 1 is to go to each each layer, each lying layer sort of coastlines, the coastal waves there, but also the forest layered amounted layer, etcetera, etcetera and press command you to open the US saturation menu and at lightness put it up to them. It's an amazing, very, very, very, very dark great instead of black. Next, you go to the blending modes, and you said it to luminosity on what it does, um, again with multiply noti except must behind it. But what does it take? Some of the underlying color and it's soaked it up. So instead of a pitch black ghost line, we've now got a very dark brown coastline on. We can do the same for coastal waishwell. Only I'll leave Does like that because we've got some of the blue shining through that already. Uh, and with the forest layer sinking again, go to, um, do you own saturation menu by pressing? Come on, you on setting the lightness up to 10 changing their blending motor luminosity, and now you've got a very dark green outline instead of pitch black. And it's really adds a lot to him up in the mountains of rigor. Do you do the same thing again? Is going to be a brownish outline on if you build up your mount like this, Um, this is just really isn't noise effect, I should ask. You can see you can do it for everything the shores for the rivers And again you're going to see some of the underlying greenish yellowish tones from the terrain. Same thing. So that's two luminosity on. It will be a bit greenish brownish finally for the Aikens, and that's going to feel some problems with this is while that said, it is up to 10 blending mode to luminosity on. If we assume in you, you might see it in this video. Maybe you don't. And you have to try it out yourself to see you. Exactly. But this is the first stop of these roofs. Have a brownish outline or bluish Ukrainians, depending on which one you're looking at. But as you may see that, see, there is a good example. Yeah, right here. The top of this, um, red roof under the right side isn't fully cola colored in red on. Normally you wouldn't see it because there's a line work over it. So you don't see that it's not color all the way up to the yet. But in this more this method, the line work does take the underlying color. And as you can see, there's no red underneath it. So you actually have to make sure that if you're using this technique at all, the line is all the colors go all the way up to the edge of the line work, and that's a very important thing to keep in mind. Now let's bring everything back to Black. Another thing that I like to do that I personally prefer is to make all the lines very dark brown. How you do that is by going to color overlay and at a very dark brown color overnight to it . And you just do that for all the line layers. So pretty much for all the layers that we just adjusted. So we copied this layer start but right clicking under the layer and a copy layer style on . We go to terrain refer sures, mountains, forests and lichens, and we based this layer style. No, everything has a noise. Brown outline. It's very subtle. A two first sign. If you don't compare it to anything, you might not even notice it. But what? It doesn't make them not look a bit softer a bit mawr hand drawn mike it strong parchment, for example, and what I like to do a distance well and others also in Next thing. So let's say that we've now concluded the finishing touches for a live work, and what I like to do to complement this is to go to all our labels I make. That was brown as well. That's open. All these groups on we're only going to leave to one side are white right now. We're going to leave. Does what dress You're all going to be black. So that's two countries. The oceans, Um, all the cities, Andi castles and capitals, etcetera go to our type tool on. We're going to make that whole brown. I only got as you can see, it's very close to black First Subtle. But it does make a difference on another thing that I like to do here is, huh, inner glow to this. So now it's just plain, very dark brown. But if we go to ground on an inner glow of white inner glow or four pixels, you will have darker outlines and a lighter inside of the label. And as a very nice effect, in my opinion, makes it look a bit more like its length. So that's copy this layer style again on basted them all. The owner les labels. I'm just here. Make sure that you don't paste it on the layer groups because they've already got the road . Um, outer glow effects you don't want to override does, uh, he reduced capacity for these back to 50. I think it waas and later started for Dallas as well. Uh, there we've got her brown labels now. You might also want to just the outer clothes off the regions with currently, God, that's set to black, but made that very dark around just like the the rest of the long leg. And I get very subtle. Probably no one will notice it Just for this. People that pay very close attention. What? They're looking up. You know, you don't want to support something like answers. Everything is brown. At the moment, such a thing would stand out a lot more. So that's everything for coloring that we're going to do next. I would like to add rub lines to the ocean. A navigational might. You know, maybe if you have looked at old maps, you see orders, lines going all directions. Um, they used to serve a functional purpose on maps, conf, entity maps. I like to use the mass and a static. I've got something like prepared here when we zoom in. This is a very big document, 20,000 by 20,000 pixels, so it can be useful maps of any size, actually, but it's got a little lines spreading out from the center, and I'm going to bring this into my found two seam up. Make sure that It's interesting, right? Place to go to the land and sea group on. Place it between sea and coastal waves on. What you can now do is printed in any place on do you know on a nice effective it also duplicated to add a second room blood. What I like to do is, instead of placing it in between lines, place it on top of another line. So, for example, right here, where you have maybe this inner see one over hangar anywhere looks good and I'm one or both in place lower your capacity to say 25%. This doesn't have to be very prominent coming in the back. Maybe even lower said 15% like this. Uh, so that's something that you can do. Another thing that I like to do bring this back to 100% for a second is first make it smaller. So the lines are so thick when I make sure this is in the middle of the comforts. So come on A To select the entire conference and press B, it's like moved to a in the top. Here, you've got these little buttons and with these blocks on the center lines. You can make sure that what we've just got, so the rumba lines are actually in the center off our selection, but horizontally and vertically. So now it's in the exact center of the muck, and what I want to do now is track it to the left and right, anxious so you can hold shift to make sure it doesn't go up Now. Now it's a very edge. Press so old and drag it to the other side. Now we've got to run lines, select both of them and make it to pick it by pressing. Come on, Jake. On rotate goes duplicates 90 degrees past like older up lines again making duplicate again as they grow day to duplicate 45 degrees. And now we've got a nice circle of run lines going. We convergent altogether said it to 25% capacity, and that's a noise effect to the background of all map. One less thing that we need to do here is well, because everything else is brown. Um, we had a brown core overlay to this to our own clients, so long as you mean we can see that there's it's now slightly Brown instead of pitch black . Finally, what we're going to do, that's the last thing we're going to do before we're going to call. This Finished is at a paper texture to our map. So until everything else created new group and called it Dexter, and it needs needs to be on a couple everything else, then I've got some paper textures open. Um, and I've got a folder on my computer where I stored a couple that I like. You can go online and Google for parchment texture and paper texture and old paper or anything like that, Um, you'll find another light. Nice textures that you can use on most of them are free, so make sure you're using Brie textures or you're actually paying for them. If they're not free, you don't want to steal them from anybody. And then we're going to bring these textures to arm up. Make sure that our compass, this one's a bit on the small side but doesn't really matter. Grant to skate it up and down. So this election it and make sure there are on top of everything else. So when you turn them on under visibility on nothing else is showing. I was setting both to multiply. Andi. I like to put it at around 35% of capacity show. It's not that happy, but if you want to great and really all looking up, you can increase this come even up to 100%. You've got this really old warm texture doing, but this is I would like to lower it into a bit, too. That 35. And that's it for the finishing touches. We've now concluded this lesson, Uh, let's head over to the final votes. 6. Final Thoughts: we're now done having colors and adding some finishing touches to arm up on with that. With concluded this Siri's we've created fantasy natural scratch, starting with ghost lines and landless. Finally adding terrain features mountains, forests, rivers. Next week added labels, keeping in mind various rules that we've got for that. And we've learned a lot about how to position those labels on the map. Finally, we went to coloring, shading. Lighting amount finally gave it some finishing touches to really at the fading of fantasy German. I very much look forward to seeing what you came up with, and I hope to see you in my next class.