Painting Abstract Landscapes In Procreate

1. Welcome!: Welcome to painting abstract landscapes and procreate. After taking this class, you will be able to paint your own abstract landscape design to match your personal space. In this class, you'll learn how to develop a color palette from Arun, how to paint the background, and how to paint the horizon using my custom stamp brushes. You'll learn how to add clouds to give interests and drama to your sky. And you'll learn how to blend it all together for a cohesive look. You'll also learn how to finish out your painting with a cool texture. You'll learn about placing your horizon line, working from light to dark and dark to light and the differences. You'll learn about choosing various colors. Mark making with the brushes, reshaping the stamp brushes to get the look you want for your pain. But most of all, you'll experience letting go and having fun. You'll also learn how to paint a landscape on the fly using a few of your favorite colors. You'll learn about layering and moving your layers around about using layer modes and opacity to get the look you want. And about blending your marks in weld and make everything work together. You'll also enjoy a fun bonus lesson where I create a quick impressionistic paintings and matching room using only one brush. In order to complete this class, you'll need an iPad with procreate installed. You'll also need an Apple pencil. You will already need to have a basic understanding of using Procreate and installing your brushes. And you will need to understand how to transfer photos onto your iPad before starting this class. Provided with the class is my abstract landscape painting brush set, and a thick paint canvas texture to use as an overlay. Are you ready to paint an original abstract landscape design for your space? If so, then please join me. Your class project is to take a photo of your room, develop a color palette you'd like for the space and to create an expressive abstract landscape design. I'm Jay Johnson, your instructor, and I look forward to seeing your abstract landscape paintings. 2. Brush Tour: Hello everyone. In this video, I am going to go over the brushes and my abstract landscape set that I've included for you for this class. The first brush is the rough pencil brush, and I'm going to zoom in on this page here so you can see it. It is exactly what it says. It is a rough pencil and they can go a little bit bigger or really, really thin. If you would like. Great for mark making, great for sketching something in. If you have an idea that you would like to sketch in. That is all I use this brush for really, I don't necessarily paint with it. It's just specifically for making rough marks in a pencil like fashion. Then there's the smooth paint and blend. Now the ones that are in the set that will blend. I've tried to include the word blend there in the name of the brush. So you'll know that it can also be used as blending brush or a painting brush. So let's try this. This is the smooth paint one. This is one of my favorite ones. I've included it in a lot of my sets. It's got a really nice feathery look. Now, if I press real light, he does that and you press really hard, it goes quite a bit darker. Then we put down another color here. Sort of an orange color. Brighter orange. It's just got a real nice feathery look. And then using it as a blender. It does a very good job for, for blending two colors together. See that nice. Blend them getting there. And this is a great brush. It's not just, I use this all the time and everything I do, but some of my lessons where I do animals and birds, this is a great brush for doing fur and feathers because of the feathery tail end of the brush. You can hold down on it and scrub to do a nice solid blend. Get some interesting effects there. Or you can just swipe back-and-forth to get a different look. And it brings whatever color you're pulling from. It brings that over top. So that's a really nice, versatile brush that I include with everything. Then there's the canvas paint and blend. It. It has a nice canvas texture along with the still got the feathery end. But as a nice canvas texture. You see that nice canvas texture. And then when you blend with it, it also has a nice canvas texture, but stays with the blend. And you can scrub this one to blend the two colors. Or you can just pull down from one direction to the other. Once again, whatever color you're pulling from, pushing from, that's the color it's going to start with on the blend. So that's another very versatile brush that I include in a lot of my classes. I use it quite a bit. This is a rough edge paint and blend brush. And when you paint with this one has got a nice rough edge and just a general roughness to it. Overall. Lots of speckles in there. You can go light, very light touch, or you can press really hard and get a more solid look. Let's put another color on there. And this one blends out real well too. This is what I often use to mess up edges to give things a more abstract, fun, unpredictable, painterly look. It's a smooth brush, except for it does have the, the roughness to it. It's a smooth painting brush though. It doesn't have a Canvas texture as well, I'm trying to say. So let's go to my super thick paint and blend. Let me get a fun get a green color here. Super thick paint and blend is I had it set real big. It's got a nice thick go a little darker. A nice thick texture to it with some speckles in it. And it looks like you're painting on top of concrete. You can see how it leaves some of the other colors showing through when you paint a new color on top of it. And let's blend with it now. And I'm just doing short strokes back-and-forth to blend these or you can scrub. It should make a grayish tone, the green and the purple, slightly grayish tone. You could pull from the white. This is great for trimming up some little edges too, if you're erasing with this brush. All of these can be used as erasing brushes. But let's say you wanted to, you had to straight of an agile or something and you wanted to rough it up a little bit. You can use this brush to do so because it gives a real nice rough look to the edges. And the next one is my rough scatter paint and blend. And once again, too big. This has a Canvas texture. And it's kind of a funky brush. Makes lots of splatter and some solid. You press real hard, you get the more solid, look like that. You press real light, you get like more. I tend would this one. Let me back up a little here. With this one, I tend to do more short strokes like this rather than scrubbing like that. To me it just if I'm wanting to look like this, I tend to just do them more unpredictable. You can tap harder and it will appear darker than if you tap lighter. And it can blend as well. Let's put a little color down there to blend. Now let's blend. That. Scatter around. Short strokes or scrubbing motion. Either one just play with it and get it where it feels right. And this is another good one to come around and rough up the edges and pull on it and push on it. To create some really fun texture and unpredictable. Look. Let me get to a different color here. Back to my orange. I like my orange. The impressionist painting blend. And we'll get to this later on in the class. We're going to do a short little bonus lesson with this brush. But just to show you real quick, let me zoom out a little bit how this one works. It leaves, you can go different sizes, a variation of color from whatever color you're on, see the lighter ones. And then you want to throw some blue in there. It's a very fun brush to create an impressionist style book. And you can also blend with it. Blend them once you've already got down together. And it will take those colors and still blend them in a impressionist fashion. It's just a really fun loose brush for creating an impressionistic look. Like. So, oops. I meant I hit the layer clear. Then there's my fan brush. I haven't given this out yet. Anybody. I'm tired of playing with it myself, which is what I do when I make a new brush. This has got a rough texture as well because it picked up the paper from where I made the brush. And it's in the shape of a fan brush, which is kinda neat for doing sort of a grassy look or a rough look. The real big with it. Just a very abstract painting look, you can go across like this or up and down like this. Let's put some orange on there. See how when you lay it down on top of the other color, it shows the color beneath. Now if you press harder and enough times, it'll cover that. But I'm a light touch person and a short taps and short drags, that's what I tend to do. And you can also blend with the fan brush as well. Just slowly doing that there. And he can hold down real, real hard to get a really nice blend, but it still has some of that nice rough texture from the original paper showing up in there. So that's kind of a neat brush to play with. Also, it's a one you can work around the edges of things that are too sharp or you want to mess up the edges and soften them up. But not lose all of the color like you would with any eraser. Just blend blend the white into there. I know this looks like a big mess. And then there's my mop brush, which is one of my favorites for blending. If you want a really soft look, seeing paint with it, it makes it really nice, soft, cloudy look. It's pretty strong. You can reduce the opacity to do lighter. But I usually with the mop brush, I'm doing more blending than anything else. I don't paint with it a whole lot, but it is a good way if you want to paint some quick clouds or something like that, It's a good thing to use for that. So you can just blend very softly. You can go pretty big with it and kinda bring your edges out and make them real nice and soft. So that's a fun brush. And now we're gonna move into some of the stamp brushes I've included because a lot of what I do with my painting when I'm painting backgrounds and abstracts and abstract landscapes even is I've made a wide variety of brushes so that I can work fairly quickly to create a look. I want to create. I use stamp brushes quite a bit to set everything in place, get me going. So this is my splash stamp. Just makes a big splash and splatter, it's real fun to add later. I add these kind of things here later on in the painting. Now being that these are stamped brushes, you cannot blend with these, you can erase with them. However. Some on the Splash stamp right now, my eraser so I can tap loops and tap too much, too many times. I see that took part of that backoff. So they're fun to erase with if you want to create a little negative space and they're fun to paint with like that. And, but you cannot blend with these stamp brushes. I've got a variety of stamp brushes included. And let me get over here on the blue again. And the first group is the clouds. Now, the first few clouds in here are soft clouds and then I've got a couple of heavy clouds, then a couple of more detailed clouds, and then one more heavy one that I just finished making this morning. So I thought I would go ahead and include that. But the clouds are really nice for building the clouds in your landscapes. And I don't, usually, I'm just stamping with them now with the same color. I'm just going down in the group. Like so. I don't like that one there. But that little lower. I do not usually leave these as is. I usually end up coming back with a blender. Usually the smooth or the paint and blend sometimes the mop brush to soften up some of these little edges here. Like let's just try blending with the pain blend. On this little spot right here. It's sort of blends out that hard edge, keeps the color there, but you also brings little canvas texture in there. I'll just kinda go around the Cloud and do that. And then if you wanted to use the mop brush, you could also use that to soften everything up just by tapping and dragging. And you can do that around these edges here where it's a little bit hard. Brush, a little smaller, and just gently tap. The mop brush is good for it to just like it's good for painting clouds. But that brings some of the harsh edges down and gives a more painterly effect. And you can also use these clouds stamps as a way to get your cloud going. And then if you wanted to add color from a paintbrush, such as the super thick, Let's try one to add a little white in here. Like say we wanted to add a little bit more white right here. You could just add a little bit right there. Wherever you wanted. It. Just kinda going in circles very gently. You can go a little bigger here to bring a little texture into your Cloud. And then you can then blend that with the mop brush to tone it down if it's a little too much. And kind of work your clouds. Like with this mop brush or with the paint and blend to bring the canvas texture in. I do like that one for working in some canvas texture throughout as well. There we go. I just kinda worked on that upper right corner of that cloud a little bit. So those are the software clouds. And then let's go back down here. Here's the, here's one of the heavy ones. I'm going to show you the difference in the stamp. That one that's the last one has a much more heavy painterly effect. If you want a more, excuse me, heavy painterly looking cloud, the heavy ones would be what you want to use. And you can of course, re-size your clouds, make them different sizes. You can also reduce opacity. To lighten up the opacity. You can change color. That's the eye stamp that inside that. But let's say I wanted to blend that. Now I could get on the canvas paint and blend in and work it in. Or even the super thick can use that to work it in and maintain some good heavy texture or the mop brush to work it in with other cloud. And soften things up and go a little bigger and really bring that color out in wood. That other one, not at Cloud has a totally different look than it did. Of course, that's not necessarily good luck because you wouldn't have this bright spot of white in the middle of the cloud. Usually you'd have that at the top of the cloud. So, you know, kinda look at clouds when you're working with them. Go, you know, if you're not sure about the cloud, look on the Internet cloud pictures or go out, go outside and see whatever clouds you can see and take a look at the way the colors are layered. They're layered differently in the Cloud in the morning versus at night versus midday. So it's just there. There are a lot of fun. And you can get as heavy painterly look just by stamping or you could soften that up like I've done there on those. Okay, let me clear this layer because I'm getting a little crazy here. Would color. Alright, let's go to stamp eight is another, it's not a heavy stamp, but it's a more detailed Cloud. It's got more action going on inside this cloud and then stamp nine, same way. Really bubbly, stormy looking action, which is kinda cool. And you can take another color stamp right up on in there. And you can just keep on tapping and stamp and clouds until you get a look that you really like. So there are a lot of fun to play with. And then there's the final heavy stamp one that I've finished this morning, which is also very painterly. Get up close here where you can see it. Say all that good painterly detail in there. But let's say I wanted to make this bottom edge a little bit rougher. I could use that super thick paint and blend the scatter won the fan brush. Let's try the scatter one. Just on their kinda blend that up and scatter May 1 be a little bit too scattered, maybe a little bit too busy for clouds. So let's try the fan brush. Just kinda sweep on that bottom edge, pulling upward with the brush and it brings some of that roughness to the bottom edge and the super thick. Let's see what that does. Yeah, just bring some of that nice thick texture in there and you can even work the Cloud back out if you don't like the shape in my cloud from my stamp brush, feel free to change it. Feel free to add whatever color you want in there. I stamped at color on there. Got to make sure you're not on a stamp brush if you want to paint. All right, so that covers the clouds. And then very quickly I'm gonna go over the ground. Stamps. There are 12 of them. And these clouds are meant to be on the top of your abstract landscape and the ground stamps are meant to be on the bottom or wherever your horizon is. Sometimes you might want your horizon close to the top. Now, these brushes are 5 thousand by 5 thousand. That's the size of the brush. A Canvas I'm working on to 6 thousand by 6 thousand. So when I stamp this, it's smaller, the ground level. So what I will do is after I stamp the ground level, I want, click on the transform tool, pull it out to the edges where I want it, and move it to exactly where I want the horizon line. It may be down really low. It may be up really high. In some cases it may be just below the middle. But when you stamp them, they're going to own a 6 thousand by 6 thousand Canvas because they're 5 thousand by 5 thousand brushes, they're going to be smaller than your canvas size. If you can't, if your canvas size is 5 thousand by 5 thousand or less, less than 5 thousand in any direction. It will cover the whole thing from edge to edge when you stamp. And you can always resize. Your Ground stamp to fit more accurately on your campus. But I use the transform tool a lot with these ground once. And the clouds, they fit in the middle of the sky, so they're not that big a deal. But the ground ones you usually won't go into the edges. So that's one. Brighten up that green a little bit. Here's the ground stamp to, and these are called ground, but a lot of these are just simple mark, so I'm just going to stamp them right here in the middle. I lost my green. There we go. I'm just going to stamp them right here in the middle. So there's two. Once again, if I didn't like that there I could transform it. I could leave it right there on my abstract piece or I could bring it all the way across by transforming. Just depends on whatever the look you're going for is. But you can mix these ground stamps with each other as well. There's three. Here's four. You can mix them, you can put them on different layers and then maneuver those layers around, change your layer modes. This one here is a five, I believe. Yep. 56 are watercolor, splashy, drippy kind of stamps. Let's clear that and go to seven is a grassy stamp. If you want grass on your grand. Nine is just a mark, a good strong paint mark to make a good abstract horizon line. Ten, another mark 11, and another mark like that. Other one where you could doesn't have to extend all the way across. 12. Another, another mark. And you just kinda gotta tat and figure out what were you going to put it now, I often, I put the these are all on one layer here. But when I go to lay the groundwork in, as you will see, I will have that on a new layer. I will have the clouds. On a new layer. I will have the background on its own layer, and eventually I will merge those layers together and then continue on working the painting. But you can stack these ground levels on top of each other if you would like, and in different colors. And of course they only stamping the color I have. They do not blend. They can't erase though. And just like the clouds, you can also take these and blend out parts that you want blended out, blend it in with your background. It's just as a starting point to give you a cool mark that will work for your abstract that you want to build. That covers all the brushes in the set. And when we come back, we're gonna get started painting the canvas. We're going to use the canvas paint and blend brush, and then we will start our painting. So we'll be back shortly. 3. Canvas & Colors Setup: Alright, before we get into setting up the Canvas, I want to talk about whatever you're using for your inspiration room. This is a picture of my husband's favorite chair in our Dan. And I shot the picture with the phone. And just so I could get an idea of the look, the shape, the colors, et cetera. And this chair has blues, greens like a soft green brown and obviously the creamy white. My artwork that's hanging on the wall isn't older painting of a horse I did, which is in really rich red and really rich gold. And it looks good on the wall. The time with the chair we had there at the time. We have since changed out to this chair until I scary to do this class. I never really, it never really dawned on me that this artwork totally does not go with this chair. I need to create a new work of art that I can hang here on this wall in place of this, which will go better with the decor. There's two couches in the room that are also light-colored. So this artwork just does not go in the room. It's not a piece of art that I want to get rid of or cell. So I'm going to keep it. But it just doesn't need to be in this room. And I thought it would be fun to design an abstract piece that could fit in this location. And normally I work in square format just because that's what I prefer. But in this case, I think I'm going to work in a long skinny format. We're, the piece can hang vertically here over this chair. In that instead of this piece. And that the colors will be similar to what's in the chair. So everything will look like it's a little bit more cohesive. I'm not the world's greatest decorator. I can do pieces of art till my hair falls out, but decorating room, not my thing. And I also took a close up photo of the chair so that could grab the colors. So I'm gonna go set up a Canvas now. Let's click out of this and go back to Procreate. And now here I was in the 6 thousand by 6 thousand when I was showing you the brushes. So I'm thinking that's the size I normally work in, 6 thousand by 6 thousand. I'm thinking the vertical skinny piece. And I also work in 6 thousand by 4 thousand, but I don't think that's skinny enough. So I'm thinking 6 thousand by 3 thousand, which would print through my printer. As big as 60 by 30. I'm not going to have something that big printed. That would just be too huge, but at least I could have it printed that size if I wanted to. So I'm gonna go to hit the plus button up here and set up a new canvas and click the dark plus next to New Canvas, I always work at 300 DPI. And I'm going to type in my width to be 3 thousand. And I'm going to leave my height is 6 thousand. That gives me a maximum of 25 layers on my system. You don't have to work this big if you don't want to. But I like my work to be able to be printed big. So therefore, I worked on the largest size canvas that I can get away with, that I feel comfortable with. So this is the size I'm going to work on. You could do 1500 by 3 thousand or whatever, but I want you to look at your room. Okay, I'm creating the PCF, nice and long and skinny. And at this point on this first layer, I'm actually going to go grab those two room photos here, this one and this one. So I've got both photos in there. That one got in there twice. Let's delete that. They're on their own layer. My painting layer will be underneath these. I like to put it under, make a new layer and then drag it underneath so I can turn the color layers on and off. So I'm going to grab my little close-up here. I'm going to pull that down like so just out of the way. And then I'm gonna go on the layer for the room. And I'm going to pull that up and resize that down just a little bit. And actually I'm going to merge all of these onto these two photos under one layer. Like so. So they're both on the same layer. Now. I'm going to make a color palette. Now off here to the side on the white area. I'm going to pick colors and I'm not going to pick colors from my horse photo. I'm going to pick colors from the chair that are pleasing to me, obviously for the background, I would want this lighter color. So I'm just going to move, hold down my finger on here and move it around until I get to a really light color. So that's gonna be the light color. And I'm going to use the smooth paint and blend just to make a color swatch right there. So it's a light cream. I really liked that. And of course I always use black and white as well in any paintings I do, so don't need to put white down. I do want that light cream. And I really liked this green on this leaf. So I'm going to move my finger around, holding it down, move it around until I get to. I don't want the real dark shade of the green or the real light. That's a good one right there. And when you let go, it sets the color. Here on the top right corner. You can see it. It sets the color. So I'm going to make a swatch for that. That is still kind of on the dark side though. Let me go back. Zooming in a little closer and move this around. That's a little lighter there. Let me put that light lighter one down. It's almost a greenish gray. And if I wanted to adjust that, if I didn't want it that much to the gray side, I can click on the color and make sure I'm on the color wheel and I can pull that over to the right just a little bit. Like so. So there's a little bit more of the green shade. It's still when you zoom out, it's, it doesn't match what's in the picture though. So that might just be slight little accent color if I use it at all. Now, let's look at the blue. I'm going to hold my finger down there and get a nice medium blue and put that down there. I liked that. And then there's a light brown in here. I'm going to move in because this is a weaved pillow. It's got little areas than there that it'll appear darker. So that's why I'm moving it around. That's more toward the cream. How about that? That looks good. So there's a medium medium brown. Not sure I liked the medium brown. Let me go back and get a little darker on here. Well, that didn't do it. It helps if you zoom in a little closer and when you let go and set that color there, there's a little darker brown. So I've got both in there. And then there's this really this is actually a blue. If you hold, hold, hold down on there, that's a blue. So I'm going to put that in there. I can't even get darker, which is more like a almost a black, but that's actually in this blue family. It's not quite solid black. So there's a good range of colors that I can now use to create this landscape. And I'm going to make, I've already made the new layer underneath. So the very first thing I'm going to do is decide what color do I want my base canvas to be. And in this case, because I'm trying to go lighter in this room, I'm not creating a dark and moody work of art. I'm creating a lighter, moody work of art. I'm going to hold down on my color swatch for the light creamy color. And it makes sure I'm on Layer three there, which is actually going to be my canvas. And I'm gonna go to the paint and blend brush. And if you go real big, you're gonna get really big canvas marks. I don't want them that big. So I'm just going to kind of go with a medium size brush and just paint with that brush all over very fast. Just to get some color down. So we know where to get started with my new work of art. That'll go into my room. I've got a nice cream color down, and I'm gonna go to the blending tool and click that same paint blend brush, the medium size brush. I'm just gonna softly put it down and go in circles and up and down and I'm holding it down. I'm not letting up. Every so often I'll let up, but I'm just softly blending that in and it's really light so I know it's hard for you to see, but it's just creating a base to start with. Let me zoom in and see if he could see any of that texture and he could see a little bit of it. It's just so light. Now you don't have to. You can turn this back on and he can look like let's say, I want to bring in some of this lighter brown into the actual canvas color. So I'm going to turn my room photo op. Make sure I'm on the right layer and I'm going to put some of that light brown down here on the bottom part. I haven't really decided where I want my horizon, but I'm thinking like right in here. Now I'm going to use the blending brush and blend that in. So my canvas has a sort of a graduated color now, to work with. Just blending this in with that same canvas brush. And you can go a little bigger on the blending brush and kind of pull it up a little more side-to-side, just until you get a nice blend of color to start with on the base. So we have a nice graduated canvas color there to start the landscape on. And these are the colors I'm predominantly going to use in the landscape. Now have to decide, do I want maybe a coastal look? Do I want to stick with more? I don't have to use all of these colors that I've chosen. So do I want to stick more with the blues and the brown or the greens and the brown with the blues and the sky. Don't really know what I wanna do yet. So I'm going to take a few minutes break. And when I come back, I'm going to decide what I want to do next with color. 4. Coastal Landscape Ground: Okay, I think I've decided on what colors. I want to stick more with. The blues. In my piece. Like the dark blue down here, the purplish blue, this blue. And I may use the light color green on the left here, or the dark color green on the top right? Somewhere in there, I don't know. And the brown I'm thinking coastal mainly because this is my husband's favorite chair and he likes coastal things. So I'm thinking coastal. So I'm going to add a new layer above my canvas layer. And I need to either decide to start with the clouds on the horizon. I think I'm going to start with Horizon. And I think I will start. Let's start with this darker purplish color. Right there. Turn off the top layer, which is the room photo from my inspiration. And I think what I wanna do is have a very large sky and a low horizon. I'm thinking I'm on the pencil brush. The rough pencil. Don't know if that's too thick. Lower that size down a little and you can turn your butt two fingers on a turn your paper to make it where you can do it. Now if you wanted to draw at exact straight line, you can draw across the page and then hold it and it will snap in place to be totally straight. I don't need to have an exact line, but just to get the horizons set, I've put that there. And you can do some little scribbles here with your pencil to kinda decide what you're gonna do. I'm thinking coastal, so I'm thinking water. This may be the the water area and that the bottom area might be sand. So I'm thinking maybe water. At least part of it may be saying so I'm just kinda scribbling out. Where am I want the water versus the sand. He can just use your imagination here on this and think of how water flows up on sand, like so. All right, so that's the pencil marks. And now I'm going to go get an actual ground level mark here. Let's try this ground to, like I said, I put these on a new layer, each one so I can move them around. That's undoing. I'm just tapping. And hey, I got that in place where I wanted it. But if not, you can always click on your transform tool to move it around. And this will all be blended so you won't even probably see the pencil marks by the time I'm done. Let's put another layer on top and add something interesting there. Um, what about splashy one number five loops? Now if it's too big, you can lower the size down and get it where you want. And then Transform and pull it in place and stretch it out exactly where you want it. It looks kinda interesting. It could be a little darker. And one way to do that would be to duplicate this layer right there and it becomes a little bit darker. And you can also take the duplicate layer and shifted around if you wish to change up the look of it. However I liked it, where it was. I'm going to leave it there. So I've got the two dark layers over my little pencil guideline. Now, the part on the left will be the water, and the part on the right will be the sand area. So let me go. Sandisk kinda rough. So let's go with the super thick paint and blend. Turn on that top layer here so I can grab this brown. The darker brown first. Then turn off the top layer and make a new layer for the sand. Actually, I'm quite pleased with layers three through five with the drawing. We'll sketch in the horizon line and a splash marks. So I'm going to go ahead at this point, squeeze these altogether. I don't like a big mess with my layers. I like to condense them as I can. When I start blending of, I'll blend, I'll squeeze them all together to merge them all with that canvas layer. But right now, I'm still working on top. I've got the super thick paint and blend in this brown. I'm just going to gently fill this in and it's not supposed to look exact because it is supposed to be an abstract. So I'm not worried about it looking perfect. Just trying to get some color down right now. So there's the little sandy area and it's got some variation of color. To add more variation of color. Let's turn the top layer back on and let's get this lighter brown in there. Turn the top layer back off. Once I get to color and turn it off. And it's got a little light variation, but I'm going to make the brush a little bigger and gently tap in here. In a few spots. Break some of that texture in there. Okay, now, let's go grab, let's grab the same purplish blue tone for the watercolor. No, change my mind. Artists prerogative, Let's grab this blue, the software blue. Put a new layer then for the water and decide what brush to use for that. Water is going to be smoother. I may try the smooth one right now. Turn off my room photo and then get down in here with the Smooth paintbrush. I'm just kinda guide that in there where I had those lines strong. You don't have to even keep the lines. You can, if you did a sketch, you can get rid of them. Lower the opacity of them. I'm going right over the splashy area too. And I go in the direction that the water is flowing. Water right over into the sand, covering up those lines. Just good to get a general impression of where the water might be. Now, I like that blue color. I might like a little bit of that blue color behind this dark, purplish blue. Splashy. But I'm not sure. I might go with the darker blue behind this purplish. I'm gonna get on the bottom layer is make a new layer because I want to go underneath all of this. And I'm going to turn my top layer and get this really dark. Make sure my color wheel picked it up. Turn off the top layer. And I'm going to go pick a stamp. Should go behind that other stamp. Wonder what the drip on would look like. That might look pretty cool as to be lower that size down now it's too small. Make it a little bigger. Right? I'll have to re-size it as much because it's on its own layer. Transform it now watch, it's gonna go down behind everything. I painted already. Don't want it down this low or, uh, I kinda like it up about right there. But the top edge of that dark, dark layer is a little harsh right there. On that layer. I'm going to blend that. And I'm going to use, let's do the scatter one. Let's see if I can blend it with that one. Get a small brush and just kinda work on this corner right here. Just alone that real hard edge. Maybe go a little bigger. Maybe not. Sure, it's getting rid of that hard edge enough. I might have to press a little harder. There I go. Press a little harder on that. And it's kind of blending in that harsh edge. I'm working underneath what's already there, so I'm not messing up what's on top. Just don't want that mind showing from that stamp. So you can manipulate the stamps. Anyway. You want there. That's a little better. It's starting to look like a fun piece. I really liked the drips. Okay, I'm happy with all of these at this 0.5736 layers. I still want to leave the canvas layer on its own layer and paint these things on top. So I'm going to squeeze these layers together. So there I have the base. If I wanted to really strengthen the color a little bit more, I could duplicate it. You can even play with layer modes and really enrich that color a little bit right there. But I think I'm going to leave it alone. Delete that, just keep working with it as a habit. I don't want it to be super strong. I do want a little bit more dark on that horizon line. So let's put another layer on top and grab one of these other stamps. Which one do I want? What's this one? Number three, Let's take a look at what that looks like. Oof, that's pretty strong. But it's got some really cool texture. Let me grab that. Stretch it out or it'll fit kinda pull it down. Like so. That gives some really dark contrasts there, which is very interesting. Now if it's too dark, you can lower the opacity, which is a little dark, so I'm going to lower it down to about 63. And on that layer I may even blend some of the edges a little bit. So once again, let's go back to that scatter brush and kind of press real hard. Let's see here I didn't quite go off the edge of the paper when I resize that. So I'm just going to blend that off the edge. See what happens if I go with a bigger scatter brush. And you can even go the opposite way and pull down against it, which will reveal the colors behind it. Can even paint with the scatter brush. Let's do a little of that. Let's grab that light blue and go to the scatter brush. Scatter. Let's just try a couple of marks with that. In, in through there. Kinda dress it up a little. Make it look like the waters a little bit rougher in there. Also trimmed down that darkness there. Just tapping it just the size a little bit and even bring it up a little there. Oh, that's starting to look. Starting to look a little bit interesting. I'm thinking I want to bring some of that lighter color down into the sand with some marks there too. So let me make a new layer and go to my inspiration photo loops. Rabbit, and hold down on this lightest color, which is that creamy color. Then turn that layer off and decide if I want to put some marks on the sand. Now these horizon marks, you don't need to just use them for a horizon if they have a unique mark or texture. You can bring it in and use it like number ten. Let's just see. That's kind of interesting, but it's a little big. You can bring it in and kind of blend out the edges a little bit. So that it looks kinda stupid with that block there. But when we go to blend it, and let's blend with the super thick on this one. Let's blend that out. Blend it right out. When you push against it, it'll blend it right out to reveal what's underneath. And blend it right over this edge. If you don't want it right there, come down a little bit from the top downward with that super thick. So that's that one. That little areas blended in pretty good. Zoom out too, when you're doing this blending to look at your picture as a whole. So you can see what it's going to look like. Now this one here is much too straight. So we want to mess that edge up a little bit. Pull it inward. Alright, I think we still need a little bit more of the light in here. Whoops. I have my paper turned skewed up just a little bit. I didn't do this on a separate layer, so I'm just keep executing my pencil up there. That's a little better. Now blend right over into that water. And then blend up and down with this one too. So we've got some dimension now that's created in the sand. Now the sand back here toward the back would tend to be a little bit darker because that's a little more in the distance. It wouldn't be as bright as this. So we can get, get this brown, which is the same brown I use for the sand. But you don't have to stick with those colors. You can pull down that color on the color wheel to a darker shade. Turn off that layer. I'm gonna put a little bit of darkness in here. And I'm going to use that same super thick on, but a lower size just to see what that looks like. And this is all undoable. Stroke that darker color in there. And i'm, I'm going to blend what I've done here. I've put a little bit of that darker color right in there where the water meets. Now let's blend that same brush. Alright. I think we've got a little bit too much of the light blue here. So I'm going to go grab that dark color again. Let me look to see if I've got a stamp that could stamp in there nicely about this one, number 11. And I'm going to put that on a new layer so I can resize it and put it right in position. So that's a little big. Let's lower the size. There we go. Bring it down. Stretch it out a little. Now let's see if I can blend that a little. So this is all just personal choice at this point, what do you want? What look do you want? And I noticed that I'm trying to not be so realistic, but yet here I am almost really realistically forcing this shore. I'm getting a neat look there. I think I need to add some clouds that. So I'm going to come back and work on the clouds next. Then after that, we'll move on to the final touches and see what's going to make this all tied together nicely. 5. Coastal Landscape Ground & Sky: Alright, as I'm looking at this, I'm thinking about something because of the way I have done the sand and the water, there would be shoreline would continue on right in here. One of the marks, I'm going to get this super dark color. One of the stamp marks. This one. Number one has a, whoops, let's get on. A new layer here. Has ground level stuff like So. I don't want it over here on the left, but I would like some of that on the right. So it doesn't need to be on top of the splash either. But I have no choice because I've already merged those layers. Let's see. I can bring this down. No, I can bring it down under it right there. So now it's under it. So when I moved this down, it will appear under it. But I don't need what's on the left. So you can mask that out or you could just simply erase it. I'm just going to I'm on the splashy stamp brushes and eraser. I'm just going to tap right on there, on that side and erase that side. On that layer. You still have a little bit right in there. And I'm working on that very, very bottom layer. There we go. Now. He could stand to be a little darker. So I'm going to duplicate it. Okay, there we go. Now it looks like there's maybe some trees or something there on the shoreline in that little section. And now I'm pretty happy with the ground, but I've lost all my pencil lines. I'm going to squeeze all the ground layers I've just done together. So they are now on top of the canvas. But I want to scribble in with the same dark color, some pencil lines that I've lost. Just a little bit. I'm going to lower the size of it pretty small. And right about in here. Maybe even go a little darker down here toward black, a little bit bigger. Right about in here. I'm going to scribble in some of these lines. Maybe even go a little darker right now that's too high. So you, when you zoom out, you can see these things. Where does it need to be? Somewhere right in there. And I just want to scribble in some of these like so. And then I'll blend them. Let's use the paint blend, which is a nice soft Canvas look. I want to blend some of that down a little bit. I'm going to zoom in close. Test this out. With what size. Just to soften that. Soften that up a little. Maybe too big. This is all just play. Just leave a little hint. Those pencil lines so that they're still there. Not totally gone. I don't know why I did the shoreline like this. Just what came to mind. I had another idea. May actually do two lessons for this room. And then have two paintings to choose from. Depends on how well this one comes out. That's a little dark. I did them on that layer. So I have no choice now but to leave him there and blend them in a little more than because they're a little bit dark. See, this is why you're supposed to do new layer for all this stuff so you don't make these mistakes. Let me get my super thick and blend some of that. Just to give a little more texture in there. So it helped darken things up a little bit around where that water is entering, where the sand is just fussing with it now. But I should have done that on a new layer. And this is a little bit dark right here. So with that super thick, I'm just going to blend that in. Now, let's do another new layer. Let's do the pencil lines again. Just kinda scribble. Scribble in there where I had them to begin with. Very gently. That's a little too dark. Bring the opacity down 30%, maybe even 20%. That just gives a little bit of line work in there, which I feel is kinda interesting. I still feel like I need some little, a little bit more darkness with my trees there. Let me do a new layer and go to the splash stamp. That's big, dark. That is, it's got a lot of variation in color in there. I was thinking about using that on its own layer. Moving it somehow in here if you're trying to adjust it and you want to stretch it out and it's not going make sure to click free form. And you can maneuver it just the way you want. For the look you're after. I liked some of that but I don't like all of them. Let's just go to the erase and I think I was already on that stamp. Let's go to the rough scatter and see how it does as an eraser on this left side of that mark. I want to try to remove some of that which softens that up so you can turn it off and on and see what you want gone. I kinda liked that look. Maybe a little bit more removed there. Even a little bit of that bottom part removed there. That's looking a little better. What else do I want to do? All right, Let's squeeze all these together. So I wasn't gonna do clouds, right? So let's turn on our photo again. And let's go. I really liked the soft blue and the dark blue. I think the dark blue would be a little bit too much contrast up there. At some point you've got to decide where you want the eye to go. I really want the eye to go to the horizon line and everything else to be accents. So I've chosen the soft blue. And I do want to use the really soft clouds on this. I believe the heavier clouds, I'm not so sure about this. May 1 be interesting. Ten. You could put that in there as we want. Low clouds are high clouds. That looks interesting as a low cloud needs to be a little bigger in there. If you don't like, Hey, we're doing something wrong here. We need to get on our new layer. There we go. Okay, If you don't like your cloud where it's at, click on the transform so you can move it around, resize it because it's on free form. I can stretch it any which way I want to change the actual shape of the cloud. I really do like that. Now let's put a little dark on top of that. Um, let's go get the dark color. How about this dark, light, dark, purplish, blue. Let's pick one of these. Let's pick number eight. Turn off the room photo. Let's just stamp number eight on here. Well, that's kinda interesting. I can move it around. And if you want to flip it, you can flip horizontal, which I want to do. Let's kinda interesting. Numlist K with a little bit lighter shade of the blue right there. Grab the blue, excuse it up to be a little lighter. Let's go find one of these other clouds. How about this one? A little big. B. It's not dark enough. With this. A little more color and a little bit too intense back to the gray side. And play with size. You do a lot of stamping undo, stamping undo. And of course I didn't put it on its own layer. There we go. Then you can move it around. I'm not really sure I like that on top. But because it's on its own layer, how about we do this? Let's bring it under the dark. I'm putting in a group by accident. Bring it down under that one. Maybe even under this one. So just peeks out of the top. There we go just a little bit. And then I can skewed it around right where I want it to look in a little stormy there. I want to work on blending these clouds, but I'm going to merge them. First. Merge all those clouds together. And now I can move the whole thing around. I wanted to backup topic, put it on top. I think I had it just a little close. Put it right there. Go with the blending brush. And let's do, let's do a little bit of the super thick and maybe a little bit of the mop brush. So we'll get in here and do the super thick and some of these areas where it's just a little bit too much. Cloud pictures division. Make it a little more painterly. Yes. Make cloud photos are made from real I mean, cloud brushes made from real cloud photos. You gotta get away from the photo look. So we're actually painting that out a little bit. Just blending that softly. Now it's just the mop brush. And you can take it away a little too much detail there. Soften those, some of those edges a little bit more. Even in the center there, a little bit underneath there. Just to you think it looks good with the bigger mop brush and sweep around the edges and it'll bring the background in a little bit better. That's kinda interesting looking, I think the background is a little bit too bright. I mean, I know it needs to be light. I'm thinking about darkening it, so let's get on it and duplicate it. And let's change the layer mode. Multiply. Think that's what we're going to have to use too dark in it. That changed to a dark stormy seen. I don't want a dark stormy seen. But I do want a little bit darker background. Multiply, but maybe at about 40%, has a little bit more color to it there. And then I can put some more clouds on on top of these. And let's just pick the lightest color we can find their fill even a little bit lighter. Let's pick some of these other clouds to play with. The light. That's not gonna work. Alright, let's go with the blue, but a little lighter. You can put a little bit more cloud up there in the sky. I'm just kinda stack these on top of each other. Maybe even one of these. Off to the side. Oh, that's kinda interesting looking. Now it's gone. I did all that on one layer. So let's blend that a little bit. And let's use the mop brush on that to get that super soft. Because I want the focus down more on the lower cloud, but I'm adding this cloud to get some color. Like so. I'm just going to really soften that up. Let's just add some color in there. And because it's on its own layer, you can stretch it out, make it a little bigger. We can also move the whole thing around my wanted underneath that cloud layer. Like so. So the other cloud is over top of it, but that just gives a little bit a neat color to the sky. A little bit more. Let's see. Go under that layer, make a new layer. Grab this super dark color here. Let me pop into a really dark cloud and see what that looks like. Oh, that's that's interesting. You can tap off with a stamp. You can tap off the edge just to give a little bit of it, or you can just move it off the edge. There it is right in the middle. So let me just move it around and I'm under the other one. That's kinda neat looking in it. It's kinda stormy looking beneath looking. I'm going to keep that as he lives under the other two cloud layers. Now I'm going to blend this a little bit. This one, I'm going to use super thick. Again, get some real painterly texture marks in there. Since this is the Cloud, I want to be pretty much in focus and just kinda go around the edges that are kind of harsh and get some of those paint strokes in there. That texture on it gets him the white, the darker shades. It is so much fun playing with these clouds. I just really like them. Really loved to work with the clouds. Let's go with a little bigger brush. Let's see if I can do some gentle swoops really quickly with the color or something darker layer going upward toward it. Now my cloud looks a little bit too funky. I'm going to undo some of what I just did. Just double-tap and keep double tapping to get back to something you like. I'm double-tap and real fast. I think I've lost. Well, let me go back and re blend this corner right here. I think I need a little something over here in this shade. So once again, I'm gonna go under it and make a new layer. And I'm going to use that same Cloud, but I'm going to tap in a different spot. And I'm going to re-size this by using the free form method to get that under there. And then say I got a little edge right here, I don't want, so I'm going to blend this out with some of these stamps. You gotta be careful of your edges and make sure you don't have a harsh edge. But there's so much fun. Still think. On this particular layer, we need to get more division between the clouds and the trees, or at least a little more color harmony. So I'm going to blend, work on blending that little corner by the trees. And then I'm gonna get this blue. Once again, I'm gonna get under all of those papillae are in there. And different cloud. How about this little bitty one right here? I'm going to tap that. Somewhere right around in there. But because it's on its own layer and move it exactly where I want it. If it's not dark enough, duplicate it and it'll darken it. You can even duplicate it again. And you can duplicate any of these. Swipe to the left. Hit Duplicate. Now I didn't want to duplicate that one. Let's go to this one. Now. How about this one? I like to have it. It's a little too dark, so I'm going to lower the opacity down to about 50%. I got some blue in my sky. Now. I kinda like that. I'm going to merge all the sky layers together. When they tap on the top one, grab it, hold down on it in the bottom. Wait. Hold on it. And the bottom one? No, it's moving in on me. Probably because I've got my pencil in my hand. Hit both of them with two fingers at the same time in squeeze, there it is. Now my clouds are all on their own layer and I can make adjustments to the whole thing. If I wanted to really lighten it up, I could, if I wanted to duplicate that. And then change layer modes, play with different layer modes. I could soft lights always pretty good. It's one of my favorites. Gives a little bit more intensity. Maybe a little too intense though. So let's lower the opacity. Let's kinda neat. Zoom way out so you can look at it from a distance. Yeah, I like that. That's soft light duplicate layer at thirty-seven percent. I like that, so I'm going to squeeze those two layers together. Now I'm going to blend a little bit with that same super thick brush on this top Cloud right here. Right over the edge of it. It's just a little bit to photo like get a little texture in this clouds more. I just go in little circles very gently. When I'm doing this, I don't do any, I don't push down hard, I don't do anything really harsh. See it's got that nice texture in there in those clouds. Now. Not too sure about this one little bit here hanging down toward the horizon line. So I'll just get underneath it and blend upward. Like so. I'll zoom out. They didn't go a little bit bigger on that brush. Zoom out. So I can make sure I don't take too much of it away. There. We've got a nice little Bt horizon with clouds now. So when I come, I'm going to blend. I'm actually going to merge all of this together now. So there's my picture at this point. When I come back, I'm gonna look at some final touches here on this particular one. 6. Coastal Landscape Finishing Up: Well, I think it's a pretty cool landscape at this point. It just needs a little texture. I'm going to add a new layer top. And I'm going to go to Insert a photo. And you will have this texture in your resources. And there it is. It's a really thick painterly texture now it's square. So it's going to have to be transformed. So click on the transform button, get on free form. You can drag it out if you want to keep it uniform. Stay on uniform and you can drag it out and be super big, but I don't need it to be super big. This will stretch out pretty good as a high-quality texture. Like all of my textures are that I make. They are very high-quality scans, okay, now that's on top, and I'm going to put that in multiply mode. Now you can see, if I turn it off, you can see how much it's darkened it. That's a little too much. I'm going to bring the opacity down. Usually between 30, 60%. I want to keep that lightness my, my panel wall and that Dan is just dark and so I don't want anything like super dark, but that's a little too bright. Let's go about merry-go-round, 5049. Let's zoom in. Now it's got that real fun, thick paint texture, which as much as you try with the procreate brushes, you just can't get super thick paint. I've tried. I mean, you can get some that are very close. So that's why I still continue to use textures in my work to really get a Super cool thick paint look when I want it, and that's what I want for this piece. So if you turn it off and on, you can see how that looks. And you can even paint more on top of this, which will give the look of paint sitting on top. So let's do that. Let's add another layer. And let's check our colors again here. And of course I have everything underneath turned on. I didn't put that bright green in there anywhere. There. The chair has a little bit of the greens. It's got the more softer green, not the bright green. And it's pretty, but I was really trying to get away from green in this room because we used to have a lot of green in the room. So I really don't want to add any more green, but what I do want to add some white. I'll get him this really bright color from the palette. Turn that off. And since I'm on a new layer, Let's go get a cloud and let's get a heavy, heavy cloud. Just to see what this will look like. Let's just stamp it there. Of course that's not full size, but full-size is too much. It's gonna go off the edge and you want to maintain the shape, but you can transform it, stretch it out however you want it, move it, tilt it. And that's a little a little bright. But let's do a little blending on it. You see this on top of the thick paint texture. So we're still on that super thick, which I really liked from London, the edges of the clouds. I'm just gonna go around the edges here where it's a little bit strong. And blend that in with the background that I've already painted. Just tones. You can even go with a real big brush and kind of sweep over it. And it will bring some of that painted texture in it. But it'll have some of the cloud there. Just to add a little bit of white and zoom out. And you can kinda work it around a little bit more now pretty much lost the shape of that cloud. That's okay. I'm going to put another cloud on there. So let's go to this one. Let's do a new layer just to be safe. Let's just wait to be, turn that down. That's too small. So a stamps you got to adjust the size a little bit more. Now let's go back to the blending brush and blend the edges just a little bit. This time I'm not going to blend it as much. I'm going to actually tap and blend in the middle a little bit. Actually, I'm going to go to the race and the super sick and tap and blend in the middle to give it a little bit more dimension in the Cloud and bring some of that color and texture from underneath through it. You could match this or erase it. It's up to you. I don't like the shape of that because it's on its own layer. I can fiddle with it and transform it and move it around. I may even put it up over top, that other one that I sort of blended all the way out and click off of it and zoom out. Let's kinda neat. I think I still need a little bit more white up here at the top, another white cloud. This time. I'm going to go with one of these strong ones here, like maybe this one. And I'm just going to tap around, I get it where I want. That looks pretty cool. I don't even think I need to blend much of that. One. Can adjust the opacity. If you want to. Like a pretty strong, I may blend it a little bit. It's hard to see because it's so white. There's a couple of spots that are standing out, so I'll blend those. It's rough, subtle. It's just real subtle, but it gives a little bit more dimension. Up there. I'd actually like to grab this grayish blue, maybe even that one there, it's sort of a greenish gray. And let me add yet another cloud. Can you tell I had fun with the clouds? Add just a little bitty one here. And let's put that, um, get it on its own layer and stretch it and move it just over top of that other white one a little bit. I know this is real subtle. May not have been able to see it as good. If I want to darken it, duplicate it. There, gives a little bit more dimension in there. So I'm just working that sky. I think it would be nice to have a little bit of brightness down in here. Oops, oh, that was a happy accident. Actually, I kind of liked that. I just accidentally touched my finger there with that cloud. So let me go ahead and blend that in. Just soften those edges a little bit. Like so. Oh yeah, I like that. I'm thinking right here above the horizon line, there needs to be a little bit of brightness. So let's go back to our color. Before I do that, I'm going to squeeze everything together I've done so far. So it's all on one layer. Alright, now we're back to the colors. And you know, I could pick the same white again. Or I could go here and see if there's another shade. That might be more interesting to pull that's really super bright, but needs to be brighter. That's what I had before. Okay, I'll try working with that new layer, whoops, new layer above the base painting. And I need to get some brightness in here just a little bit. So we'll paint brush do I have in here that's going to accomplish what I want the best. I don't really need a lot of texture in there because there's already texture from the splatter rough edge. That'd be a little bit too much texture. How about just the canvas paint blend and just gently add some white in there. And this is all happening on top of that textured background. I added. That's a little too much. It looks pretty good, but let me blend that now with the same pain blend. Just to soften it a little bit, it's a little strong. When did in on the edges a little bit. I'm nitpicking now. You know, if you've watched my other classes, I nitpick things. But nitpicking is what makes good work. Hey, that's, that's actually looking better than I thought this was going to look, let me merge that down. Merge down. Now I want to actually look at the painting on top of the rim. If I put this layer on top, there's going to be some bleed through. So at this point I will save the image and import it as a new photo on top. So let me turn this one off, turn this on, import or insert the actual picture. And now I'm going to re-size this here and move it. See how that might look. If it was hanging above my chair, it actually might look pretty darn good. Move it over a little bit more. I wouldn't want it that big. I'm trying to cover up the horse art just to not distract. But that actually looks pretty good. It goes with the chair. Because of the light color on top of that painting, it will brighten up the room. It's abstract. The only color I didn't really add in is the green. These two green or three grains. Because I decided to go water instead of grass. I'm thinking there needs to be in the water. Some little streaks or something. Let me turn that off that off and turn the painting back on. And I've already saved it as is. So if I screw something up, that's okay. We'll still use the same light color. Let me go find a stamp brush. Well, we could do, and I do this a lot because they usually don't have this with the ocean because the ocean moving. But we don't know if this is a notion. This could be a lake or whatever. I mean, it's abstract. It's kinda leaves it up to the imagination. What it is, it's what it is to the person viewing it. But I'm in a lake or something still were there Stillwater, those these clouds would be reflecting in this water underneath. So how about on this new layer? We add a cloud. How about number three? Number four. Number four. Okay, we're going to stamp it on here. Now that's obviously too big. Now if you wanted to create a nice foggy look, you could actually do that, blend that in and it would look all nice and foggy. I'm this right there. Now if it's reflecting, it's not gonna be in this position, is going to be upside down. That's only if the same cloud is in the sky. I'm just using this Cloud to add a little lightness down here. So I'm gonna go free form. Scooted around, make it quite a bit smaller just to add a little bit of lightness in there. And play with opacity a little bit. There we go. Yeah, see that's added a little bit of brightness there, but I want to blend that in. So we're gonna go with that super thick again, which works really well on these. I'm just kinda blend around those edges so we don't see any photographic cloud-like materials. And you can turn the layer off and on. You see where you are. You can adjust the opacity. Even more. 41% gives a little lightness there. You can zoom out and blend a little bit more. That's kinda fun. What else can I do? Makes a difference in the picture. Just that little bit of white right there gives it that dimension that I'm after. So it doesn't look so flat. But this new layer on and let's go to pencil. Even make that pencil really small. Just do some pencil lines in here that can also be blended. And we'll go with the paint and blend Canvas. Press that kinda hard. Kinda go over those and soften them up. This is just fun. I like making marks on my final pieces. Pencil type marks. I don't know why. I just like it. A little bigger brush, Sarah, as we get toward the front, smooth this out a little more. Just leave a little bit of those marks showing. And then once again, adjust opacity down and we're just barely showing off on, gives a little dimension there. I could sit here and fuss with this all day long. But I, I like this. Blend those together. Let me look at the difference between the two. Yeah, I like the second version better. I'm going to save it as a JPEG. And let me pull in, Add, insert a photo, insert the second version with the brighter. And let's resize it to fit in our room. Where I want it. Scoot it over just a little bit. So there's version too. There's version one that a little bit of brightness in that water. To me is what it needed. It's adding that little bit of dimension in there. So now I'm happier with it. I think that would look really good. Hanging above that chair, not quite that big. I will have it printed smaller than this and take the place of that other, our work behind it. But I think it'd be a nice little accent piece right there. I have something else hanging off on the, hanging over here on the left so I can't go long ways and go really wide. So this long skinny picture is a good choice. But I think I'm gonna do one more picture based on these colors, one more image to go with this chair in this spot. And something a little bit simpler than this. A little bit faster, a little bit simpler. And then we're going to compare and see which one we would choose. And then I'll ask my husband who this is his chair. Which one he likes the best. Because as you know, his chair, he's the one there most of the time. So, um, the next part of this class, we're going to do another image and the same size to go above the same chair. We've got the same colors already picked. So we won't have to pick the colors again. But we're going to do something a little bit simpler than a scene like this. This is an abstract landscape scene. But you can do an abstract landscape without it looking quite as realistic as this does. So we're going to attempt that next. 7. Painting 2 Background & Ground: Okay, We have finished this first painting that goes with this room. As you could tell him that picture there. And now we're going to work on a second painting that isn't quite as realistic is this, or just has a little bit different look, a little bit more abstract mark making. So we're going to use the same canvas size. I'm going to leave these two up there. This is a room with our color palette here. So I'm going to get under the room because I like to turn the room one on and off to grab the colors real quick. It's a lot easier when that layer is on top. I'm going to put a new layer here. And this time we're going to work a little differently. We're going to work from a little bit darker color to a lighter color. So I'm going to start with this blue right here, bluish green. That's what I'm going to paint the canvas width to start. And let's go with let's go with the, Let's see what the super thick would do. Let's try that. Just paint the whole canvas has got some good texture in there. Just go over it. Many times as you want to get the shade he would like for the background. Make the brush a little bigger. Of course, each, each time you go over it, it gets a little bit darker. I'm going to work from dark to light on this one. The last one we worked from light to dark or dark to light to me as much. I don't know, it's a little easier, a little more satisfying. Alright, let's see what we got here. That's a pretty good texture. So let's go back to our colors. And let's get the super dark. Yeah, Let's try that one and draw a little line as to where we want. The Verizon. Once again, I think I want it down fairly on the low side, not right in the middle. Like that. Brushing my own. Wanted to be on that pencil. Not right in the middle, but down here on the bottom. Third, just kinda scribble in a horizon there. Now let's give a little bit of something to the horizon. Let's go with some fun ground marks here. Start with ground three. And we're going put this on a new layer. And it put it kinda low. So I'm going to move it up and I'm going to extend it, stretch it out a bit. There we go. Let's add another new layer and give a little bit of dimension. That color that I'm on. I'm going to pull the color up a little bit. I'm gonna go over a little bit to get a little bit of a lighter shade more to the gray side. See what that looks like. And let's go with number nine. Make sure I'm on a new layer. Made that mistake the last time. There we go. That's it. Cool mark, but it needs to be smaller. There. Let's bring that in. Stretch it out, move it down, some like that. Now let's go. Let me go back to the dark shade. Put another new layer. Let me turn off the rim. Make sure I'm on the new layer. And let's go with number ten. Stamp that in there, dragging it out. So that's kinda fun. Let's blend these a little bit. I'm actually going to merge those three together. And I'm going to use, what am I going to use super thick. Let's do rough edge. I've got this set opacity at the, around the middle. So it's not so strong. There's a harsh line right here from that mark. I'm just going to blend that in. Really need to be down where I can blend that pencil line too. So let me just merge that layer with the canvas layer. There we go. That's better than I can blend. Pencil line out as well a little bit. This is a nice fun brush for adding texture when you're blending. Move it up just a little bit. Just got some fun texture that pops in there. Can even blend this edge out a little bit. It looks a little bit too structured. See much the same size as this side. I'm wanting the left side to be a little bit skinnier. Make that brush a little bigger and pull up from the bottom to kinda trim that sudden down a little bit. And then even do that at the top to that brush, get some really neat marks in there. Zoom out to take a look and do a little bit more. Blending upward, go a little bigger on the brush. Make that one side a little bit trimmer. Okay, That's kinda fun. Now I'm going to take the same dark brush down here underneath on the right. I'm going to try to put some marks to make like a reflection. Actually want to bring a little bit lighter shade into there. Let me pull this color and see where I'm at. This would be more of a turquoise, which I really like, but it's a little bit on the gray side to match the chair, but you don't have to match exactly. So I'm going to pull it over to the right just a little to get some fun turquoise color. And I'm going to make, I'm just going to add some of that color down here on the bottom right with a brush rather than a stamp. So let's go with that same rough edge one. And it's not super bright. And just kinda, There we go. Now, I'm going back to the dark. I'm going to do new layer on top. And I'm going to shut that off and I'm going to pick another mark to go down here on the bottom, on top of what I just did. So let's see what would be fun to go there. What about number 12? A little big. Let's make it smaller and pull it down. Trying to get some of that mark in there. Now let's see what happens if we rotate that Mark. Don't have to leave it the way I have it. Okay, That's kinda cool. Now back to that rough edge paint and blend brush. And I'm thinking, I want to blend out this middle part right here. And blend in a little bit of this part. I don't want it to look. I don't want it to look so structured. Maybe even make it a little smaller, come from both sides, blend inward. Like that, shows a little bit of a almost a reflective thing. But I'm going to add another new layer using that same. Well, I'm going to move with the dark color up a little, get a little bit lighter and toward the gray side. See what this does. I'm gonna get this stamp here on the new layer stamp. Okay, I love the drips. I don't want to turn, turn it round, transform, flip horizontal, and move it around where I want it. And it's a little bit dark. So I'm going to lower the opacity of that. Like so. And I'm going to blend this left edge where it's got a hard edge using that same brush. Even blend over some of that. Okay, Now, I want something this lighter blue in there, which is this color. I want something right in here when that lighter blue to tie this together. So another new layer. Let me look at my marks again. What about the rough scatter brush? Let's see if that would do like a little mark in there. Make it a little bigger. I'm just kinda, this is not a stamp brush. You can actually paint with this. Lay some of that lighter blue color in there, tie that together. Maybe even bring it up here a little bit over that darkest part. Let's look in kinda interesting. Now I want to bring some of the other colors in here. I'm going to blend these layers together. I mean, where it says together and make a new layer on top. Turn on this. And let's bring some of this tan color in there with a paintbrush. And let's this time ago with the paint and blend. We're gonna do this. A fairly large size across the sky. Bring some color into that sky. Leaving some of the blue showing. Then let's bring some of it down here as well. Maybe even a little bit right there. All right. See if we can brighten this little bit. On the tan. Let's go move. I'm going to move the color wheel more toward the golden in kinda come over to a goal. And using that same brush, I'm going to add some of that color in as well. Who I liked that mark. Some of that down here. Just a little bit here and there. Right now. Making decisions as I'm going here. Let's go back to this color. Let's get some of this dark brown new layer. And with the super thing, Let's come in with some of the dark brown and a couple of spots. Maybe over here on this right side. I need a bigger brush than that. And over here on the left, here on the top right. I might have to go bigger on that brush down here a little bit. So there we've got a little more color in there. Okay. There was a color I didn't use. The other painting. I'm going to put a new layer on top, turn this color back on. And it's these greens. And now I'm sitting here looking at the bright green and I'm thinking that might be a fun one to incorporate Somewhere in here. With a really cool Mark. Let me see. Let me go. Have a huge number ten. Let's click number ten. Alright, that is an interesting mark. I'm going to click on free form. And I'm going to reshape this mark and bring it. I'm thinking I want this splash of fun color noun here at the bottom. A little bit like that. But I'm going to blend it. And let's do the rough edge painted to blend this green mark in a little bit and that's too big. That top edge where it's a little harsh edge. And over here on the side too, just kinda one, some of that out. That incorporates a little bit of that green there. And you can play with layer modes to, to see if a mark might create a more unique look on a different layer mode. And you can also duplicate the layer, which will make it a little bit stronger. And you can also click on adjustments. Alright, let me unduplicated that. Go back to the original layer and click on adjustments. Let's play with this hue saturation brightness click Layer. Let's pull the saturation of that green up more. That's kinda fun. At about 80%. It gives that nice little splashing green in there, which is kinda fun. Like to bring a little bit of green mark up here into this horizon as well. So let me do another layer and see. Let's go with I think the fan brush, maybe a little too much, but we'll try. I'm trying to decide where I want it. I'm going to get the brush size right like that. And then once again, Hue Saturation, Brightness layer, bring the saturation of that one up around 80%. Now that's kind of interesting. But I think it's covering up the dark a little too much. I want some dark marks in there. I've got two choices. I can either pick the dark colors and add the marks, or I can mask away some of this with a couple of fun marks. And that's fun to do with the pencil. Somebody get onto pencil. Make sure I'm on that layer where I just added that top tap the layer click Mask. Now, as I paint with this pencil, it will erase basically some of that, but I can bring it back if I want to just put a couple of marks in through there. So it's not so structured. And even do a couple of these scribble marks. That's kinda fun. A couple of more marks. I like the scribble marks there. That's kinda fun. If I do that on the other layer, layer seven, mask do the same thing, but not as many marks, maybe just a few. Just to get some broken this there's some interest in there. Let's see. I don't like that one Mark, I just did so on a mask, I'm on black, which takes it away. You can go to white on your color wheel and go back over that and bring it back. Tone that marked down there. It's kinda fun. Alright, so I've got the green and this one. The next step would be to start bringing in some lighter color. I do want to add some clouds, some type of cloud in the sky. And I want to add a little bit of light down here on this bottom with some marks as well. So in the next segment, we will go on to the second part of this painting. 8. Painting 2 More Color and Sky: All right, Now it's time to bring a little lightness into this because I am going for a lighter piece. I've lost some of my blue in the sky though. Here's all my layers so far. And to avoid clutter, I'm going to squeeze all of those together and add a new layer. So I'm gonna go back to grab that blue. Actually might pull it a little bit toward the center to get a little more rich color there. And turn that off. Let's bring some blue in. Let's try the super thick. And it's not a whole lot brighter, but it's enough or there's some blue in there. Just quickly making some fun March through there. And I'm not worried about it being messy. Even down here. Well, that's a little too much. Let's back that off. Just a little bit right there. And let's go with the rough edge and add a bit of that blue somewhere over here. Hello right there. That's a little strong mark. So I'm going to blend that with the same brush. Blend that out a little bit to tone that down. So there's a little bit in there. Okay, let's make a new layer to go with a lighter shade. The lighter shade I've chosen this, this one. Turn that off. Let's put some clouds in first. And I already know. I'm gonna do a couple of these heavy clouds. I go a little bigger than that. I'm just going to stamp one there and go to the other one. Let's see. We're not want that. Trying to decide where I want the cloud. You tapped undo a lot. Lower that size a little. Alright, that's good. Let me bring in this one. And this is a totally different looking cloud. I just want to add some fluff in here. Here's another heavy stamp. Let's see what this one looks like. These are all going to be blended. That's kinda interesting. Alright, let's blend these clouds. Let's begin with this. Oops. When the super thick, we'll start with the top one. And just kind of go around those edges to blend that in. This brush has some really cool texture. I really like it and come right on down over the painterly one. A little bit bigger brush. Blend that in. Leaving some of the heavy painterly marks of this one. Go back up here, soften that up a little bit more. Pull this one out a little more. Down here to this bottom one. Just going all around the edges, softly blending with the super thick brush. Pulling it down toward the horizon a little more, pull that white down. Spread that out a little more. Bring this part up a little. So those clouds are pretty bright. Let me pull the opacity down. 70%. Let me add a new layer, and let's put a cloud down here in this bottom left corner. Go with Cloud one and just put it in there and then transform it, move it around, Let's flip it upside down. We can actually reshape this particular one. And then using that same blending brush. When this one in a little bit, just going to add some dimension to this area. Brightness. Alright, now, I don't really like the dark around the clouds on the top. So underneath the clouds on top of that blue layer I did. I'm going to add a new layer, and I'm just going to paint with one of these paint brushes. Let's see the paint and blend. Whoops, that's a little big. And just bring some of that lighter color and all around the clouds. And this color is appearing underneath them to help brighten this upper part. And you can do your brush strokes in any way that you want. And even down here. And a little bit of that white. Even down here at the very bottom where the green is. Let's add a little touch of it. So it's getting a little lighter now it needs a little blending on that layer. So let's blend with the super thick. Since I've been having good luck with that. Go with a larger brush and just kinda gently soften all that up just a little. Leaving some of the marks showing not doing every little bit. Like those Canvas marks. I really liked the Canvas marks over the dark blue there. I'm going to, I'm not really going to blend that over the green. That's a little harsh song. I am going to blend that. Hey, we're getting somewhere. Yeah, I'm actually liking that. I think I need a little more white though, just to make sure I'm gonna do that on its own layer. I'm actually going to go make sure it's on solid white. If you double tap on your color wheel there, on the edge where it's white, it should go to straight white. Male. Remember how I used the ground marks but I turned them around. I think I'm gonna do that with a couple of these. So let's try Number nine. Stamp it. Transform, right? Or not flip, rotate. There we go. Let's pull this markup and let's make it like super big. Whoo. That's kind of interesting. Not really want that under the clouds. So let me pull that layer down underneath everything. And you can adjust opacity. But I really liked the bright white. I wonder if I should bring the opacity of the clouds backup. Know. What I need to do on the bright white layer is do a little blending. But first I really liked the way that made it cool mark on that right edge. So I'm going to duplicate that. And I'm going to transform that and flip it horizontal and pull it over to the left side and pull it down. I think I'm going to pull it down over the whole thing. Like so. I didn't pull it down enough there. Okay, so we got some cool marks there. And I'm going to squeeze those two layers together so that it made a really fun texture layer on top. And it's on top of all these, but it's a little strong. Now, you can reduce the opacity and drop it down. But I liked some of the bright white being there. So instead, I think I'm going to do a mask on here. Mask. Now. On the mask, make sure you're on black. Double-tap near the black and it should go to straight black. And let's put let's put ground two on there and just stamp it. Okay. You can barely see it. Let me stamp a little bit bigger. It put it right here in the middle. But what I'm gonna do, um, do the same thing. I'm going to transform. Oh, no, I'm not. Okay, that's not working the way I intended. Alright, forget that. Let's bring in a color. Sometimes if something doesn't work, I just go about it another way. Let's pick the light color off, but let's go more. Now let's pick them. I'm sorry. I'm thinking as I go, Let's pick the blue color on a new layer there. Turn the top layer off. Alright, now we're going to stamp mark with the blue to tone down the white, but we're on top of the white. So let's do that. First of all to try bringing layer five up, overlay or none. Okay, that worked a little bit to tone it down because it brought the blue painted layer up over top of that. Alright, now let's add some more blue with a mark. Back to that same mark. Alright, there's that mark. Then we're going to rotate it. We're going to pull pull it down and just let's pull it all the way across to add some cool texture. In there. It's a little strong. Let's reduce it. Play with opacity. What happens if we change layer mode? Ask yourself, when you're doing these lots of what-ifs, what if I do this? What if I do that? And that's some pretty cool texture there. It's a little dark. Let's go to one of these other layer modes. Overlay, soft, light, hard light, multiplies a little dark. Let's mess with it. Go to your adjustments, hue saturation and brightness on that layer. And let's raise the brightness of the layer up. That's a little better. I've got some fun texture in there because we're still on that layer. We can still re-size it, stretch it out even more. Can even rotate it around. Even more. It's just getting some cool fun texture in there. But we have a harsh line at the bottom, so we need to get rid of that. So back to the super thick. And let's just blend that. Well, I thought I was blending it out. Maybe I'm not something right here. This layer, this white layer where it's making that harsh line that needs to be blended out. So I had to get on the right layer. Now I can blend this out. There we go. Bring some of that. There we go. Got rid of the harsh line. Okay, back to the top layer, the blue one. This one. We just toning things down. We can adjust opacity, which I think I'll do, make it about 50%. There's McLeod's. Let me raise my opacity of my clouds back up. Make them more white. Closer to white. So about 90, 91%. I think I want a little more cloud or something in there. Alright, I'm going to to declutter, squeeze everything together, and make a new layer. And I'm going to go to the light color, turn that off, and go back to the clouds. Let's go back to number seven, which is a heavy one and stamp it in there. That's kinda neat. Might need to resize it or reshape it a little bit. I don't want to lose all that blue. I just wanted to bring weld dimension in there. Let's go to the other cloud, the other heavy one. Stamp it somewhere in there. There we go. I see now that thick paint Luke is on there and I actually like that and I don't want to blend that too much. But this bottom part of this one I am going to blend. But I think I'm going to blend with this canvas paint and blend brush and just pull down on that bottom part of that one a little bit all the way across the bottom. Pretty cool, pretty cool. I want a little bright white, just like are in that same color of the clouds. Down here on this bottom portion. Let's make a new layer. Pick a brush. I'm thinking. I don't know if I want to use a stamp brush or if I want to use the paintbrush, let's try the rough pencil and a larger size. And just kinda scrape a little little marks in here. I'm just kinda making marks wherever. All right, Now that I've made those marks, let's blend them and I'm going to use that rough edge one to blend this. Let me get it down small enough. I don't want to blend it out too hard. I want some of that bright little marks to show. I'm going in the same direction with the blending that I did with the painting. Zoom out to see, see a little better. Maybe make it a little bigger down here because these are a little bigger strokes. Maybe a little bigger. I'm not sure I like that part, so I'm going to blend that noun and blend, come down over top of it. To soften those up just a little. Do the same up here, come over top by this edge. Zoom out to see what you're doing. It's kinda fun. Just sitting here thinking now, studying. You know, there's no rule that says you can't go super bright with a color in here. And I'm sitting here thinking, dang, I'd like a little bright turquoise in there somewhere as a mark just to bring some interest into it. So let's go turn this on. Get this blue, make a new layer. Take that blue, drag it over and up to the brighter side. Now this may not work, but that's why you do new layers and you can always delete them or change them. And I'm thinking down here on the bottom in the area where I put the green, I'd like to damp some turquoise right there. And maybe even up here in this blue area. So let's go with a stamp brush and I'll reshape it like I did before. Let's pick one. Number three has some pretty good texture. Let me stamp that down. Trying to get it lined up so it doesn't go off the edge. Make it a little smaller. There we go. Now, we're going to reshape it. I'm going to turn it around. It's on free form, which will allow me to reshape it anywhere I want. It's kinda fun. Make it a little smaller. That's some fun color. I think I want it even a little brighter. So on that layer, go to saturation. Let me brighten it a little human saturated, a little, brighten it a little. I'm just wanting that little pop of color in there. Okay. Now, you see how the bottom edge is too harsh. I need to blend that out. So blending brush, stick with that rough edge and I'm just going to get on that bottom edge. And I'm going to pull that down, scrub that around to get rid of that hard edge. And here at the top, there's a little bit of a hard edge, but I don't mind at all. I just want to pull down in the middle of it to break it up a little. Now how fun is that? How that bright color in there. But I think it needs to be there needs to be a little bit more of that color up here near the horizon line. And maybe even out here to the edge, but not quite as strong as that. So let's make a new layer. And I love the idea of the splatter and the drips. Let me try number five. Stamp. This has got some nice splatter. Okay, I've stamped it, transform, rotate, and bring it over here. I'm going to have to zoom out to see where I am. There we go. I'm going to re-size it is on free form so I can squish and pull and just kinda move it around. I don't want to put it right at the horizon line. That's pretty cool. It's over top of the bright marks. So I have to decide whether I want it over under. I'm just going to pull it down under and see what it looks like. I like it under, but I do need to blend that mark out and there's a hard edge here at the horizon. So make sure you're on that layer. Rough edge still. And just get on that top line where it's real harsh and scrub that out to blend it in. Make sure I don't have any harsh line down here at the bottom. I do a little bit. There we go. Check your edges. That's starting to look kinda fun. Thinking about a little more white lines maybe in that makeshift treeline there. Let me just try to do a little scribble. Get on top. New layer, turn this on and get back to that white color. Or off-white. Go to the what if we use this stamp? Stamp it and a small size and then rotate it. No, it's too light. Clear that layer. Try again. Let's skip the stamp and just go straight for the pencil brush. The pencil is great for just adding in little scribbling marks where you might want them. I'm thinking right in here, right in here, right in here, just to add a little interest. And I'm thinking even maybe add some more scribble right there. I like this some kind of line coming from the left to the right here on the bottom. Bringing so that's a little strong. Bring a sweep mark over there. Okay, That's fun. Now I got to blend them. So once again, the rough edge and I need to be on a pretty small one just to kinda break those up so they're not so strong. Same with this one did. Then this one here at the bottom. And go a little bigger brush to blend that. Just to break it up a little. But yet let us still be there. That star, that's fun. That is fun. I really liked this one. I'm looking at it to decide if I need anything else. I'm wondering if I need a little bit at tiny gold on that. How that tree line somewhere, maybe right there where there's some little brown. Add another layer. Turn on this and grab the brown. See where that takes me. Let's bring that over here. More towards the orange and change it to go. Just to add a little pop of color right there. So turn that back off and pick a paintbrush. Haven't used the smooth one at all. Let's try that. Fun, but a little strong. The rough edge to blend it. Just pulled down. I just want a hint of that little golden color in there. Zoom out to see if it's too strong. It's just a hint, see, just a little hint. Pulled down a little more just to leave a hint of it. And maybe even add that into the bottom. Maybe over here with this green is just make a little mark right there. Still on the rough edge. Swiping sideways to make that blend in spring, a little hint of color in there that wasn't there before. Thinking, here, I need something. Alright, I'm happy with all of this so far. So I'm going to squeeze those layers together, make a new layer. And I'm thinking this blue here, maybe even a darker blue right there. I'm just going to get on it and grab it right from there. Thinking a few paint strokes there. I don't know which one. How about pain blend? Go back to my old favorite. I'm thinking here I need to have a little little bit of something coming out right there. Then even going down over that is not bright enough. Grabbed the cream color now or the off-white and kinda dot that and bring some of that, tone it down a little. I'm nitpicking now, my favorite thing to do. Let's pick the rough edge and just make a mark and see what happens here. Big, strong, gently tap. Just add a little bit more white right there. How about if we even grab some of that turquoise? Just make a slight little mark right through there. The marks too strong now, losing my voice. Well, there we go. That's kinda interesting. And if that layer too strong, lower the opacity and you turn it all the way down and see what you had to scoot over here. All the way up. Come on now. All the way down. All the way up. I do like it all the way up, so I'm going to leave it there. I've lost a little bit of my green down here where I put the blue, which I knew I would do. So I'm gonna go back and grab the green, that bright greens. Turn that off. I'm going to bring in a little bit of that with a stamp of some sort. How about the splash? Making it different size? Oh, that's too much. Different sizes. Sure. I like it. Pull the green out and make it a little more saturated. Well, no. Grab a green from up here. Maybe this is not going to work. It's not coming out right on top of that color. So let's not use that brush. Let me go grab the green again. Make sure I'm on the right shade. Let's pick a different brush. That one's just a little bit too strong and I can adjust opacity and all that business. What about the impressionist brush? Just a few little flex in there. If you press really lightly, it does it real soft. Spreads this brush out quite a bit. So still not pleased with that color. For some reason it's not coming out. Probably because it's on top of the blue. How about if we pick the yellow? Let's kinda fun. Might be a little strong. Pull down that opacity. Just kinda breaks up the blue just a little bit. And if a mark there isn't what you want, you can just click mask and go in there with the paintbrush. Like the paint blend. And just softly paint with the black on the mask layer and it'll blend some of that out. Just adds a little. Look at those neat marks. How well or how well that's gone. I'm saying here, looking at it, thinking, do I need anything else? So I'm going to take a quick break and come back and finish this on up. 9. Painting 2 Final Touches: Okay, I'm ready to finish this one up. I'm gonna do the same thing to this one that I did to the other 1. First we're going to merge the layers. I'm going to add a new layer on top, and I'm going to go grab that canvas texture that I've given you. This zoom out so I can transform this to fit. Well, it's on uniform. I wanted on free form. There we go. Whoops. I can stretch it exactly where I want it. There we go. Now I'm going to set it to multiply. And of course it darkened, did quite a bit. You can play with opacity, 40%, 39 percent. And you can now see that texture in the clouds. How fun is that? You don't have to leave this layer. As is, you can flip it horizontal or vertical, and you just flip it around until it gets the look that you like. I kind of like that. I'm going to duplicate that layer and put it on overlay soft light to brighten it up just a little bit more. Maybe a little much. So we'll play with opacity on that layer. About 20%. Turn it off on, just brightens it just a little bit. Go back to the multiply, play with opacity. Just play with this until it gets like you want. But it really gives that a dimension to those clouds when you add this texture layer. And it shows that real Paint Texture. Alright, I like that. Squeeze those together. How fun. Now I haven't signed these pieces yet. But normally I would add a new layer here and pick a color that I want to sign with. Let's just go with the creamy white. And I would go with the pencil and make sure I have a new layer. Make the pencil pretty small. Down here on the bottom, like that. And then you can re-size your signature to fit. You can move it around. Yeah. Let's cleaves that together. Now, sign that one. Now I'm going to save this as a j pain to get a solid image. When you paint these, if you put the room photo underneath, you'll see the room photo through it. It's not solid. I can't describe it. It's not really solid until you save it. So i'm, I'm going to import the saved photo just so I can show you, you, you don't have to do this. But so there's the saved photo and turn that one off. And I have this one. That's the other one, that's this one. See the difference? It's funny because on this version, we started with a light background and worked our way to dark colors. On this version, I started with a dark background and worked my way to lighter colors and this one actually turned out brighter. And that's how I usually do my paintings in my studio. I do start with a dark background and then keep adding the lighter colors. So depending on the look you want, you got two choices here. Let's see what it looks like on the rim. So this is just for me showing you what it looks like. Zoomed in here where I can mess with it. So we can see. This wants to be difficult and actually reverse me out of there. Alright. So there's that one over the chair. Let's pull the other one up to the top. There's the other one. So which one looks best in the room? Don't know. It's my husband's chair. It's his favorite spot. So I'll probably ask him which one he likes better before I ordered the print. I like this one better just because I like that pop a turquoise color in there. But he may like the more muted, softer, darker tones. That's two ways to make a landscape abstract landscape. Both of them are kinda abstract. This one's a little bit more on the realistic side. And then on this one I tried to get looser with the marks and more abstract. So it's just personal preference for you and your room that you're working on and which one you like. And we're going to do another room in the next video and see how that one goes. So I hope you guys have enjoyed these two. And then we're going to have fun with another room in the next video. 10. Painting 3 Planning It Out: In this third lesson, we're going to design the landscape to go inside this frame, in this room. And I want to talk about some tips that I've kind of already gone over here and there throughout the other lessons. But I just wanted to do a little recap. When designing a landscape for the room. Look at your space that you're designing for and pick which orientation would go get best in that space. In this space, I square woodwork. But there's already a rectangle frame here, which was a piece of art in that I removed. And the vertical orientation works very well in this room between these two long vertical windows. So I'm going to keep the orientation vertical for this piece, but measure your space. See how big you need to go that will determine the file size them. If you're going to go real big on a wall, you would need a larger file size than if you're doing a small piece for say, just a small accent piece for say, a bathroom or something like that. Where you don't have a lot of space, then you could use this smaller file size. So keep that in mind when you're designing. I'm also, let me get on a brush here. There we go. Determine in your landscape, where do you want your horizon line? I rarely put a horizon line in the center like this, but it can be done. That is, that is a spot to put it if you want to divide it in the center. But it's a little more interesting if you put your horizon line on the lower third or on the upper third. And I think we've done a couple on the lower third already. So in this lesson, I think I'm going to do on the upper third. Um, another tip I have are a thing I want to go over is you can paint. If you don't like the stamp brushes, you can paint whatever you want to with the brushes that are there. So if something is or you can add to the stamp brush. So let's say a horizon line isn't working and you want to add to it using one of the paint brushes and add some marks to it. Marks is what makes us stamp brushes. The stamp brushes make it super easy and super fast to do a landscape. I am obsessed with stamp brushes. I use them all the time for mark-making, for not only for landscapes, but for integrating interesting marks and texture into my paintings. I designed my own stamp brushes, and I collect stamp brushes, I buy them all. I have a whole host of brushes here in my files that I have purchased and stamp brushes, you just can't go wrong with them. There is always a use for stamp brushes. You can make your own stamp brushes. So for instance, here's a, here's a cloud stamp I made from a black and white image. In order to make your own, you would need a black and white image. I often make mine from paint, such as this one was made from paint. I painted the Cloud in black on a white piece of paper. And a there took a photo or scan it. And then all you have to do is duplicate a current stamp brush that works the way you wish. And then when you go into the duplicate brush, click on Shape, click on Edit above the shape, and it'll ask you to insert the new photo. And so you insert the new photo and click Done and then you will have a new stamp brush with a new shape and you can give it a name. So don't be afraid to try making your own stamp brushes. Don't be afraid to alter a stamp brush. For instance. Let's put the stamp down here. Like I've shown in several videos. Of course, this is on the wrong layer. I need it. You need it on its own layer to be able to alter it. I'm gonna get those strokes off of there for that room. Okay. So make a new layer, put your stamp down. Just tap somewhere and it'll appear and use the transform tool. Don't be afraid to alter these. Don't be afraid to. Once you lay it down, add some paint marks to it. But you can alter it by stretching it out. If you have it on uniform, it will stretch out uniformly. Trying to get that undone. There we go. If you want to really alter it, you can distort War. I use free form. And that way I can pull the sides. Make it look like I want. I can even make it a square mark by altering the size. So it's a totally different mark than what we just laid down. So don't be afraid to do that. And like I said, don't be afraid to add paint to that brush if there's something you don't like about it or you want it to be more interesting. Just take one of the other brushes and add some paint to it. And that way you have a different look than the actual stamp. Don't be afraid to change the look of the stamp. Make a stamp work for your piece of art. Alright, when it comes to color, I like to pick just a few colors from the room I'm working on. And don't be afraid to use a bold color like we did in the last lesson with the turquoise color. Don't be afraid to put that little pop of color in there is that accident. It really brings a piece to life. You don't have to do that, but don't be afraid to do that. Experiment with it. Just see what feels good to you and then save your image and then put it in your room like we've done in the other lessons, like I'll do in this one. Put it in your room and actually look at it and see if you need to make adjustments. If you do go back to the main image and continue on and then save it again and look at it again. And then when it gets to the point where you really like it to save it again. And then you can have it printed. And then you've created your own work of art for your space. So let's see what else was I going to talk about here? Don't be afraid to go. I wanted to mention something else about the stamp brushes. Don't be afraid to go big with a stamp brush. These are high-quality stamp brushes. So you can, I mean, they go a certain size, like so. And I'm just putting this over top of this image. I turn that off, but don't be afraid to get on the brush and really stretch it out. Like so the quality will still be good. You can also, Let's say let's put another one on there. As a new layer. Remember, New Layer, New Layer, New Layer. If you want to alter that brush mark you just made and not alter the ones underneath it. New layer. That's something I tend to forget and I have to correct myself. But don't be afraid to mix layer modes. So here I've put two brushes damage, you can get a whole new look for your piece just from playing with the layer modes, like so. And just go through them all and see what, what looks cool to you, what you like. And don't be afraid to add more layers, like duplicate a layer and add additives another layer mode. So we've got a totally different look there than we had there. Remember, on your colors, on your color wheel. If you want to change the color, if you want to neutralize it, pull it more to the left. On the color wheel. Brighten up, darken down. If you go over here, you're going to get really bright, really saturated color. So let's say I wanted to add more neutral, lighter color to this. With another mark. I put that on a new layer. There we haven't another mark. You can flip the layers. Vertical, horizontal. You can rotate them. You don't have to use a stamp in the same way it is presented. So experiment with that to get the look that you're after. You can also adjust the layers here and your adjustments, you can adjust hue saturation and brightness. Let's say I want to know a little bit brighter. Like that. You can adjust color, bowel, color balance, curves, et cetera. You can even blur that particular layer. And notice up top it says Gaussian blur slide to adjust, just pull to the left and it will soften that. Like so. So that's kind of a fun thing to do. Let's talk about the clouds. Just because of cloud. Is presented as a Cloud. Doesn't mean you have to use a cloud as a Cloud. So there I've stamped to Cloud. But let's say I want to smooth that out a little. I can use the mop brush loops. I'm on the paintbrush, go to blending brush and use the mop brush. You can smooth that out. Like so. To create a different look, you don't have to stick with the same look. And of course that's kinda light so you can't see it real well. Let me duplicate it. Every time you duplicate a layer, it'll get darker. Like that. Um, but clouds don't have to be used as clouds. They can be used to add light somewhere where you want to, and if you blend it out, you can change layer modes. You can maneuver that cloud into a shape that you want to add a streak of light or stretch it out real big just to add some interests. These clouds also make good fog. So just because you're using a Cloud as a cloud when you stamp, it, doesn't mean it has to stay that way. It can make a good foggy look to it. If you wanted to add fog over a horizon. Now the first lesson, I stayed pretty realistic. The second lesson, I got a little more abstract. So in this lesson for this piece, I'm going to get even more abstract and very simple. And this is gonna be a very fast pace. So there probably won't be multiple videos for this particular lesson. I want to go ahead and pick my colors now that I wish to use, I'm going to start by picking the neutral color from the wall. And I'm going to go into my Smooth paintbrush and I'm going to add and that color right there. And then I'm going to pick a little darker shade of that neutral color and add that. And then I'm going to pick a real light shade from the couch. Well, that's two gray C. I don't really want the gray. So let me see if I can move this around and get a little warmer tone. Well, it's okay. That's a light gray. That'll work. Won't keep it. Okay. Now I need to get some blue. And I'm thinking, I don't know how bright I want to go and I'm thinking I'll get maybe this blue from the pillow. And I love this turquoise blue from there. And then for a really interesting addition and pop of color just a tiny bit in this image, I'm thinking I would like to get one of these shades of green, so I'm just sliding it around to determine there's a good one. I think that might be a little too. It's not saturated enough. Let me pull up makes sure I'm on. There we go. I think that's a little better shade. That's right. So I want to add a little bit of pop of that green color in this other, in with these other colors, but it'll be very, very small as an accent. So these are the colors I'm going to work with for this room photo. And we will continue on with that in the next video. 11. Painting 3 Start To Finish: Okay, I have saved the room photo along with my swatches up here in the top left, right there. But I need a vertical image. So I'm going to add a new canvas. And I'm going to use my traditional size that I have used for years, which is 4 thousand by 6 thousand. Because I think that will fit in there in that frame. It might be a little bit lengthy. For that frame. I'm going to input the photo, insert the photo. So I can have that as my reference point on its own layer. And then I'm going to add a new layer to start painting on. I'm going to put that underneath. So I like to keep my room photo layer on top. And I'm going to start with a background color. And I think I'm going to start with the darker shade of this tan here for color. So I've chosen that. I'm going to turn off the room photo and I'm going to paint this canvas. Let me look back at Durham photo. I want to mention one other thing that there's a lot of texture in here with the n table texture, the base textures, the pillow textures. So I'm thinking the only place I want a lot of texture showing is probably where I put the horizon line. So I'm going to not do a ton of visible texture in the background. It's gonna be very light. So let's paint some texture. Um, let's just start with the paint and blend brush. And fairly decent sized brush to get a canvas texture in there. No work on this one very fast. And then I'm going to blend that with the paint and blend as well, because that'll give it a smoother little bit smoother texture. I'm not blending every little bit. I want some of the little canvas bits to show through. I'm going to add another new layer on top of that. Pull up the moon photo. I'm gonna go with a lighter shade. And I'm going to add more on top of this with a different brush. Let's try the super thick. And it's, it's very light. Let's go a little bigger. It's very light. I'm just doing it here and there. Just add some color variation. Now let's go with the gray that's even lighter. And another new layer for that. And on this one, turn off the room photo. I'm actually going to use a stamp brush to stamp a little bit of texture on here. So let me pick a cool stamp. Well, how about that one we tried minute ago, the ground stamp say that's got some good texture, but obviously that shape is not going to cover this whole Canvas. So this is where the tip I gave about don't be afraid to alter your Canvas or your stamp brushes comes in because I'm going to pull this out. Super big, super big. To add some fun texture in there. A little smaller than that. Benefits a little too bright, which I think it is. I'm going to pull down the opacity. But now we've got some fun texture in that background. Might add a little more. So let me do another new layer and pick another stamp. Let's try this one. Have to go a little bigger than that. Trying to stamp it right in the middle. I'm going to rotate this one. Like so. Whoops. I grabbed it wrong. Good grief. Let me unselect it and re-select it. There we go, trying to move it around a little. So I'm putting it on one side there, which is kinda fun. But, um, I liked that on that side, but I want some on the other side, so I'm gonna do it again. Make another mark. And this one I'm going to rotate and flip and pull around. Like so. Just trying to get it looking like I want. And on both of these layers they're a little bright, so I'm going to lower the opacity on those as well. Now on that last one, I have a hard edge right there. I don't want that. I'm gonna get on that layer with the blending brush and just get the rough edge brush and blend that out. So now I don't have a hard edge there anymore. Look around and make sure I don't have any anywhere else. So that's just done. That background is just done by altering some textures. I do think I want to add one more little bit of texture, so I'm going to grab this color from there, add one more layer, and pick another stamp. I'm not sure which one. Let's try number nine. Let's not got enough. It's got too much solid color. What about if we just use the fan brush there? Just to add a little bit of that color right there. In there. I want it a little darker at the bottom, the horizon on this, I'm going to blend, merge all these together. The horizon is going to be grab a pencil so I can show you right up here on this one. That's what I've decided would look cool in this room. So back to the room photo. On my horizon, I'm going to start with the darker blue. Turn off the room photo. I'm going to grab that number three stamp. I really got some fun texture. And I'll put that right there, but it's not where I want it, so I'm gonna move it up where I want it. And I'm going to maneuver it by using free form, pulling it out where I want it. All right, I'm going to add a new layer on top of that. And I'm going to pick this turquoise blue. And I'm going to add another stamp on top with the turquoise blue. Let's try number five, which is a splash. Put that let me put it down here so I can see it and then I'll move it trying to get it stamped just right. I'm not being very successful and grab it, move it, reshape it the way I want it. That's kinda fun. I'm going to add another new layer. And I'm going to get this drip stamp with the fun drips. Me undo that. That's kinda fun. Now do I want that under these layers are over these layers? That's the question. If I pull it over, It's a little too solid. So how about if I move this layer down under the dark blue and then move it around. There we go. That's kind of interesting. How fun is that? Do I want the opacity that dark? No, I don't. So let's adjust it. Do I want a little more dark blue in there? Maybe? Say a lot of this is what IF and what do you want? Or do I want to bring some of that darker brown in there? Let's try that. Turn off the room photo. Now, how do I want to bring the dark brown in? Is the next question. Do I want to use a stamp brush or do I want to use it? I mean, I could use a cloud brush and create a little fog or it could use. How about the scatter brush? Let's just see how that does. Tried to paint with it here off on this side. Well, that's kinda neat. And I'm painting real light just to bring some of that brown color in there. And then just go around and add some of that with this brush and the rest of the painting. Now how about getting this lighter color in there too, in some way. What if we do a splash with that on another new layer? See what that comes out to be. That's too big. Let's move it around. Let me rotate it. Kinda interesting with this taking away. Once I have on the left side. So I got a couple of choices. I can put it under these other layers or I can just using brush to mask off the left side here. Let's do that. Mask. Your color changes to black. You need a paintbrush now to be able to mask that off. So how about we try the scatter one? In this area. I'm just gently pressing on this and doing circular motions to get it off that horizon line area. I mean, you can press really hard to get it off a little bit more. You can even use the super thick brush to get it off even more. And you can see the layer right there. So that got some of it off. But I still feel it's a little strong. You can adjust the opacity of the whole thing right here, even with the layer mask on there. So let's do about 50% on that. It's just very subtle. I still think I need a little more dark blue on that left edge. Let's add another layer. And let's get the dark blue color back from the room photo. And let's add something there. What about the rough edge? Just paint it in. Just paint. Now that's a little too strong. How about the fan brush? There? Just a little touch of the fan brush. Maybe even bring a little touching that fan brush over here. That's a little too tall. Keep it down lower. There we go. Maybe even over this a little bit there. Alright, now remember I said I was going to bring that green and let me go ahead and merge all these together and find that green. Now I want to bring a pop of green in on a new layer. Turn off the room photo. Now how do I want to do that? I want it to just be a tiny little bit. To do tiny little bits. I like to use the pencil and just make some marks. As far as what kind of marks? Have no idea. Let's just do some pencil needs to be a little thicker. I'm just making some marks here. Whatever mark you want to make let's do. He can do something like this. Squiggles circle. I like to zoom out so I can see where the green is going to be. Just move things around. Let's kinda interesting, it's definitely abstract. Um, now that I've put the mark in there, I don't want all of the marks showing. So I'm going to add a mask. And I'm going to go on with the rough edge. Let's see how that works. I'm just going to tap on certain areas of the green to tone it down. Just a little bit. It's showing if you take away too much, just undo. So there's a little green in there. Very subtle. I like that. Let's merge that altogether. Nate can adjust once you've merged everything, duplicate it. You can if you duplicate it, it's automatically going to get darker already. If you turn off the bottom layer to go back the way it was. But you can play with layer modes. If you really wanted to change up the look and get a more rich color, a brighter look. Soft light is one of my favorites. So I can turn off, on, off, on. I kinda like soft light. It may be a little strong. So I'm going to slide my opacity around until it starts looking like I like it. Maybe close to 70%. Now I really like that. So at this point, I'm going to save this image. The reason I do this is because the image is going to show through what's underneath it. So I've saved it. So now I can turn my room photo back on, again on my room photo layer. And let's blow this up so we can see it Good. Well, then you can't see the green. So I'm, I'll leave it like this. I'm going to input the new layer and insert what I just saved. And obviously it's full size, so I'm going to resize it down to fit in. Let me zoom out. Now. I gotta get that unselected before I can zoom out. There we go. I'm trying to resize this where it'll fit in the frame. In the frame just to see how this piece would look. Having trouble selecting, only de-select and re-select again. Sometimes you gotta get in a little close. Oh good Lord. I've accidentally hit the Undo. All right. I'm just trying to get it selected. Good, where it'll go in the frame. That's the general idea. So there we have a fun piece that kinda looks like a landscape from a distance. But when you zoom in, it's got more of an abstract look. I know it's not fitting in the frame, but you get the general idea just to see how it looks. I'm only using the room photo to see how it looks in the room. Obviously won't be printed that way. But I really liked the way these colors turned out. I think that looks really cool in that room. I like them bright burst of the turquoise color. If I wanted a little bit more dark color in the image, I could grab. If I could quit painting, I could grab the dark blue and add some more of that in there, but I really liked that turquoise pop. And I liked the addition of the green that I've added in there. So there we go. That is a fun abstract landscape. We squeeze those together. That goes in that room now. And it picks up on that a little bit of green, which is fun. Um, I also want to mention some other tips, or one other tip. You don't have to use a rim photo. If you have a certain colors you'd like, you can just swatch out to your colors like this of the colors that are your favorites. If you have a regular photo of something else that you like, that inspired you color wise, like you saw something like a pillow or a blanket or something and he said, Oh, I just loved the colors in that. You can take a picture of that and swatch out colors from that to go in your room as well. You don't have to use a room photo to make a piece of art. I'm started this project on thinking of room photos. So that's why I did room photos. But I hope you have enjoyed this and be sure to watch the bonus lesson to that. In that lesson, I create a really fun piece. So we'll see you in the next lesson. 12. Bonus 1 Abstract Landscape: In this bonus lesson, I am just going to quickly paint and abstract landscape using this brush set. I'm going to try to do it very fast. And I'm not using a room for inspiration this time or any colors for inspiration. I'm just picking some of my favorite colors and they're in the blues and the Brown's family. So the first thing I'm gonna do is cover this canvas with some color. And I'm thinking a light, sort of light blue. So I'm just picking it from the color wheel. And I'm going to pick a brush. I think I'm going to use my super thick paint and blend and that's not light, that's not dark enough. So I'm going to pull it down a little bit. This makes, this brush and a big size makes some great texture. Let's pull it down a little more. You can do various shades just to get some color on this canvas just very quickly. This bus brush kind of tapers out and picks up other colors and blends. It's really fun to lay down some base color and go up and get some different shade in here. Because I don't want everything to look flat and then some dimension. And now let me switch to the paint and blend brush and get a little bit of a Canvas texture in here in some places. And all of this will be covered up. I'm just very quickly working to get some color noun and was shift that color a little more. And then go back to the super thick and go over that again. Sort of tone some of that canvas down, it's a little strong. Alright, there's a good base color. I don't want to go ahead and put my horizon line in. I want my horizon line to be close to black. I'm going to add a new layer. And I'm going to still stay in the blue family though and pull it down close to the black, but not totally black. And I wanted to pick this one, ground one. And I'm just going to put it on this lower third. Well, that's down too far wherever you touch it, it may just appear somewhere. But that's why you have the transform tool. And I'm gonna go to free form and pull it up. And then I'm going to move it up where I want. It shall be about right there. Alright, now I'm going to add some more stamp on top of this. I'm gonna go to the Brown family. I'm going to click over here and the oranges. And there's a really rich terracotta color that I like. So I'm going to try to add some of that in here. And actually let me put that on its own layer. And I'm going to put it underneath this layer. And I think I'm going to paint this in this particular color with the fan brush. And I'm just going to say I'm under the darker layer now. You try to get some of that color in there just underneath. And now I'm going to go to, let's see, How about the scatter brush. And I'm gonna go to a goal, more of the gold color. And sort of go over top of that terracotta. Maybe a little bit bigger on the brush. And bring some of that down here as well. And over here. And right there. Now I'm going to do something fun with my black layer that I did. I'm going to duplicate that, which is going to make it a little darker. And then I'm gonna duplicate it again. And this time on the third one, I'm going to flip it vertically and pull it down and kinda line it up there. So it looks like a reflection. I'm going to squeeze these layers together and that all becomes one layer now. And I can adjust the opacity if I wanted or do whatever I want it to it. I'm going to work on top with another new layer. I'm gonna get some clouds in here. And for the clouds, want to go pretty light. Still stay some in this creamy family more toward the gray a little bit. Somewhere in there. And let's grab heavy stamp. This one. Let's make it as big as I can. And let's grab the other heavy stamp one. Let's do low amount up here. And I'm just going to stamp this in multiple places. And I'm also going to stamp one down here towards the bottom, but smaller just to get some of that color in there. I'm gonna go back to let me get this heavy stamp number ten. Let me stick that in there too. Let me stick that. It's not as heavy as the others, but it gets it in there. Now I'm going to do a little blending on this. So I'm gonna go to the blending brush and I'm going to blend with, um, let me try the super thick first in a big size and just go around the edges of these clouds. If you pull outward towards the clouds, you're going to blend in that white into the blue. And if you pull, I mean, if you pull from the blue, you're going to blend the blue in there into the white cloud. It gives us sky some dimension. And then I'm gonna do the same thing down here and blend this out. Well, I blend, blended that too far out. So let's go with a little smaller brush down here. There we go. So we have a little light there. Now let me get new layer going. I'm gonna go a little bit more toward this golden side here. See what that looks like. On the new layer. I'm going to use some of the splash stamp. And I'm just going to put some marks in here. Maybe a little strong. So let me go a little lighter with that. Maybe a little more of the golden side. That's kinda fun. I'm just going to put a couple of splotches of this in here. And then I'm going to blend that out. I think I'm gonna do it using the scatter this time. Just kinda blend that color down in there. And now I'm going to adjust the opacity of that. Maybe around 70%. Supposed to see what a different layer mode looks like. Overlay, soft, light, Multiply, multiplies, kinda fun. Linear burn is kind of interesting. Maybe a little strong. I kinda like the linear burn will leave it at 62%. Let me duplicate this. And let me try another layer mode. Hard Light has some nice really bright yellow color in there. I don't want it that much. Soft light. Soft lights pretty good. Brightens it up a little bit. Now in the horizon line, I want to get some more, the brown and I'll put another new layer on this time. I'm going to pull down here in this medium brown. Let me see what other stamps I could stamp on there. That would be fun. This is one of my favorites right here. Oops, I've done it twice. Let me stamp it up here so you can see it. And let me alter the stamp. And I pull it actually, I want it flipped. I want the bigger side of the stamp on this side. I'm going to pull this out and just rearrange it. The way I like. That's kinda fun. Now I think I want some rich blue in this blue family, but a little bit more saturated and darker in there. And I think I'm gonna go with that same stamp. And wait a minute, I did it on its own. I got to put on new layer. New layer. Alright, same stamp and flip it horizontal. Again. This time I'm going to change the shape of it a little bit. Position it a little bit differently. So it doesn't look the same as the other one. And now on that layer, I'm going to take the super thick and sort of blend some of these edges. Like so. I got that blue color in there. That's kind of interesting. I think I'd need a little bit more of the brown. I'm gonna go back to the brown shade but go a little darker, maybe like that. And get a brown stamp going in there. And I like this one a lot because it's got a lot of texture. So let me, when did I do it on new layer? New layer. Now let me stamp it once, stamp at once. And let me rearrange this one to how I want it and where I want it. Now it's a little strong over the blue. But because it's on a different layer, we can move it under the blue. And we can even move it under this other splash. There we go. And we can even move it all the way down under everything, but then you won't see any of it. Oops, I didn't mean to do that. Let me move it back up to under the other brown. We've got some pretty color going on in there. The yellow is a little bit saturated. That'll be that layer. And that layer. So those layers, I'm going to go to hue saturation and brightness. Click on Layer and then pull down that saturation on each of those layers. So it's not quite so bright. Orange layers, a little bit bright too, but We're gonna come back over that with some of this blue. At this point, I'm going to merge all of these, make another new layer. And I've already got the blue selected. And I'm going to use, let's see. Let me use a super thick and sort of gently see it's a very light blue is just tamping that tone down a little bit. And I got a little too much down there on the bottom. So I'm gonna go a little bit more gentle on the bottom. Undo if you don't like it. And then I'm gonna go a little bit lighter all the way up there and go to the scatter and let me do some scatter brush in there. Just toning down that color a little bit. And this is on its own layer. So if it's too strong, tones it down too much, you just reduce the opacity. Let's kinda interesting. I think I want another layer and input some of the rich orangey brown onto this horizon lines more. So how about we go with a stamp like this? And then once again, reshape it. How I want it and where I want it. A little strong. I actually think I want that under the horizon. Let's kinda interesting, it's over it, but under the other one, That's not what I intended. I wanted to bring it all the way down and then it's kinda disappeared, but let me stretch it out a little bit. There we go. Now let me add another new layer on top. Let me go a little bit lighter on that shade and add. Say here. Can actually just use clouds to add interesting texture. It doesn't have to be. For clouds. So I'm going to stamp one of these clouds in here to get some of that orange texture in there. Stamp it. I'm trying to move it down low. Stamp on up high. Well, that's not going to work. Alright, let me resize this. And you can turn this too. If you want to turn it. There we go. Let me duplicate it. I want it up here at the top. Two hoops. Select it and move it up here at the top. And I'm going to flip it, maybe rotate it. And then I'm going to blend some of this out. Or I could put it under the horizon, but I want it on top. I'm going to blend it out. I'm going to use the super thick and softly blend down some of this. And as I push against it, it will reveal the horizon underneath and go with a real big brush. Lower it down like this. I gotta get on this layer. If I want to blend this one, there we go. Just leave some of that splash in there, but tone it down a little bit with the blending. Now lost some of my really dark right there. And that's from the top one. This one on top. So maybe I'll move that one under the horizon. And maybe I'll skewed it around a little bit more. Or maybe I'll add to that. Let me put another stamp on there. There we go. And on this other side I want to do a little bit of golden color. And I kinda wanna do the same thing. So another new layer. And let's put a cloud stamp in there. That might be a little too gold, too saturated. So if you want it less saturated and move it over, That's not saturated enough. Move it back. There we go. And then I'm going to put some down here as well. And I know this is a cloud stamp, but you can blend that this time I'm going to use the scatter. Smaller size. I'm actually painting with the scatter. We go to the blending tool and use the scatter. And just sort of softly when that around it just I'm just getting that color in there. Like a little more strong white. I'm going to go ahead and merge all of these. Then. This little spot right here where it's dark, that little splatter. I want to tone that down some, so I'm going to use the super thick and just gently go around the edges of that to tell him that splash down a little bit. And this one too. Well, we got rid of it too much. And the backoff, you say did I undo my yeah. Okay. I'm using the super thick. Let me do a little smaller. I don't want to lose the whole splash. Nitpicking here. Just wanted to tone it down. So there we go. I'm a little more happy with that. Now let's add a new layer on top and need to get some more white in. And I'm gonna go with pure white. I'm going to pick a pure white. And I'm going to pick that heavy stamp. Wow Sam, I'm going to put it in there and then I'm going to reshape it and maybe flip it. And instead of blending on this, I'm going to do another new layer on top and I'm going to use the retry, the scatter brush and just paint some around here over the edges, which in turn helps to blend them in. But I'm not totally losing the texture. Now. I've lost a little bit. It's too white in the middle. I need some, something showing there. I'm going to merge those two together. And I'm going to put a mask on there, which will paint in black. And Let me try a stamp on a mask That's a little strong. Lower the opacity of that low opacity. I'm just kinda stamping in there on that, so the white is not totally gone. Now want to add another new layer and I'm going to, I'm still on the white, still on the white. But I'm going to put another Cloud and other heavy stamp cloud on top here like that. And this one, I'm going to blend it with the scatter just along the edges a little bit, which tones down that strength of it. Zoom out so you can see what it looks like from a distance. I feel like there needs in this upper left corner, there needs to be something. So I'm going to get on new layer and using the paintbrush scatter. I'm gonna see if I can just gently tap and scatter some white. Often that section maybe even come down this direction toward the tree so it's a little strong. Something looks too strong, undo it. And then over on this side, do a little scatter as well that brings some good texture and dimension into there. And then even on the bottom, that's a little big. Back it up. Undo, tap gently just to get some texture in there. I think I like this bright blue right here. It's not bright, quite bright enough, so I'm going to scoot it over and make it a little brighter at another new layer. Let's find a stamp mark that I might like right there in that general area. This one's fun. Number ten. So it gives us some interesting look to the watery part of the scene. So I'm going to re-size and reshape this. I'm just trying to get some texture in here into the water area and lower the opacity. And then obviously I don't want that hard edge there at the top of that. So I'm gonna go to the blending brush and you super thick. And just alone this hard edge and you get a decent sized brush. Sort of blend that edge down. Maybe even blended away from the outer edge where I really wanted it is in the water. So blending that down here at the top a little bit, blend some of that back down. So now it's in the water. Say it's over this area a little bit, some blending that down a little more toward the water. You can turn it off and on and see what you think. And the opacity is at 63. I'm going to lower that opacity a little more. I just want a little hint of that shown in that water. And now I need a little brightness somewhere here in this water to match this cloud. So once again, another new layer. And what might make something fun about the fan brush? Oh yeah, that's kinda neat. Make a little white streak right there. Maybe even add to that a little bit. Kinda looks like a reflection of the Cloud. I think I would like a little lighter marking up here at the orange area. Maybe. Just gonna pick a little bit lighter color, this greenish color I'm ended up with. And this time I wanna do stamp just to get some funds, something in there. Let me try this stamp. That's kinda fun. What do I wanna do with it? Reshape it? I just want a little bit of that appearing. Just dragging it around. That may be a little strong. I'm looking at specifically over the orange area. Well, that might work. I'm just kinda moving. You can move it all around, say, whew, that's fun. But I need to mask off some of that. So we're gonna put a mask on there. And I'm gonna go in with, I'm on black. I'm going to go in with since we've been using the scatter brush a lot, Let's try that. And just kinda tap on the upper edge where the horizon is. In certain places, just leave the greenish color that I'm tapping, tapping over top of it to tone it down and reveal what's underneath. Going all across that upper edge because I really don't want that. I like the bottom part of that stamp. Most of it. It adds some fun texture in there and you turn it off and on. Let's zoom out. Often on. And let's lower the opacity of it just to get a little bit of it in there. Now I feel that the upper Cloud is to white. Now that I'm zoomed out. So I want to input a little bit of a greyer shade in there. So let me merge all of these. Well, if I can do it right, merge all these together. There. I'm going to add another new layer. And I've got, I did have the gray selected. There's a gray. I'm going to add in some gray over that cloud. And let me try to do that with the super thick. See what that'll look like. Just tone that. Oops, that's too strong. Tone that and just gently tapping it. Tell him that brightness down a little bit. Maybe even bring a little blue in there as well in some certain areas. So it's not such a bright white and maybe bring a little of this brown in there. Tone down a little bit better. Looks like a really fun landscape right now. And these are some of my favorite colors is blue and this terracotta. There are some of my favorite colors. I really liked that. I'm going to go ahead and squeeze all of that together and add a new layer on top. And I'm going to bring in that texture that I've had in the other lessons soon as I find it right here. And I'm going to set that on Multiply. And I'm going to decide if I want the texture that way or if I want to flip it or rotate it, I'm just going to keep rotating until I think it looks the way I want. I liked that way. Then we're going to duplicate it and put it on soft light. And I'm going to lower that opacity down. If I needed the soft light, take it back off. Let's just look at the multiply and lower the opacity on that. About 40%. That's fun. Now, if I want to enrich this horizon color makes them a little bit darker in there. I can add a new layer on top of the canvas layer, grab the darkest shade I can find in there. And let me just use this fan brush. And let me just paint where I want to darken things a little bit in there. Maybe even go a little darker like that to the black. Gives it some good contrast. Now that's a little, little much there with that fan brush there. So let me switch over to the paint and blend and just add some little dashes of that coming downward from that horizon. In certain spots. Been canvas texture in there. Even upward a little here on this side. I kinda like to add a little darkness with some cloud texture to just for fun. Let me try a new layer and stamp this stamp a cloud in here. I don't know why I felt like doing this, but I can move it around. Free form, reshape it, resize, it. And then blend it with the super thick. Just kinda blended in where there's just a little hint of something interesting. There might be a little too much. I don't know. I'm backing out of it now. Double tapping. It gives a little bit of interesting texture there on that side. And I'm still not done with this blue. I don't think I went a little bit of that in there, but I want to go a little more dark and saturated. New layer. Let's see. How about just some blue cloud mark in there. Let's use this other small cloud and stamp it there and then blend that with the super thick. Sad, some difference in shading and it's very subtle. Very subtle. Little too much of the blue. I'm going to turn it off and on and keep blending until I I'm happy with how it looks. I just wanted a little touch of it in there. This is a minor things. Now I'm going to decide if I want my Canvas and actually a little bit darker. So I'm gonna go back to the canvas layer and play with the opacity. Bring it up. Oh my house, draw on it. That's pretty strong. Maybe about 58%. I'm pretty happy with that. That's exactly what I had in mind. The oranges, the blues, the browns. I could sit here and keep playing with this, but I know you're probably getting bored by now, so I don't want to do that, but I just wanted to show you how you can just play with the brushes and come up with something without an inspiration room, even without a color palette. Just by picking colors you like on here. And just keep doing multiple layers until you get to something that you like. And then when you're satisfied with what you have, go ahead and merge those layers and then add new layers on top and just keep going. I mean, it's very meditative to sit here and do this, and I tend to do this every morning. I spend time with my art like this and don't have any clue of what I'm want to paint. I just sit down and start playing. And that's how a lot of my best ideas come. Because I'm relaxed and I'm having fun and I'm not trying to do a certain thing. I just had in mind today what kind of colors I wanted to do in this piece. So that helped me along a little bit. But I hope you've enjoyed this bonus lesson. And have fun creating your own abstract landscapes. As always, thanks for watching. You guys have a great day. 13. Bonus 2 A Simple Fun Painting: Okay, in this video, we are going to design a fun impressionist, abstract piece. Not necessarily a landscape, but I've included this. There's an impressionist style brush. And I wanted to do this as a bonus video to show you what you could do. This is the room that I'm working with here. And I'm going to pull some colors from this room for a piece of art to go right over that love seat. Right there. So it'll go right over there and I'm going to pull colors from the room to get to blend with that love seat. So let's get out of this and go to Procreate. Now this will be a square image, so I'm going to set up my Canvas to be 6 thousand by 6 thousand, which is the size I like to work on for big prints. Because to go on that wall, it's going to have to be a big print. I'm gonna go ahead and bring in the photos here. At least a one to one or two of them. Let's bring in this one. And let's insert the second one as well. Well, let's just bring in all three. That way I can grab colors from all of them. So I'm just going to move them around here. Make them a little bigger. They're each on their own layer. Make that one pretty big because that's got some of the color I want to grab. Now obviously you don't have to do this part. You can do this with your own inspiration room. I'm going to go back to that first one and make that one a little bit smaller. So I can make this one a little bigger. So I can zoom in and say, But this one, this bottom one has the colors really good that I want to grab. So I want that one in there. And I'll just merge all those together so that can be my room photos. So now I'm going to make a new layer. I'm going to put the room layer on top. And on the room layer, I'm going to grab some colors to make a color swatch. And I'm going to do that often the right side where it's white right here. I'm just going to go to my smooth paint and blend. And I'm going to start picking some colors. I love the dark red. So that's going in there. I like this brighter red. These people have a lot of running gold. There's a creamy color or a tan, and then kind of a lighter. It's not light enough. We find the really lightest point. There is sort of a, it's almost a pinkish, but I know it's not that way. It's more of an ivory. I'm going to select this color. And I'm gonna go more on the color wheel to up and to the left, a little more to the white side. Like that. It's more of a creamy colors. There's a yellow cast on the picture. And I do want to get some of the golden yellow. So I'm going to see which picture has the best use of that. And that's, let's see. I'm just kinda go through here and find something that looks golden yellow. Maybe that but more toward the goal. So you can pick your own colors by manipulating your color wheel around. There we go. And I do think I need a little bit of dark. So I'm going to grab the dark brown from the back of the sofa. It's almost a black, but that'll give me some good contrast. So there is my color palette, which has the colors that this room contains to make a piece of art to go on this wall right there over that loves seat. So now we're gonna go to the Layer two, underneath that layer and we're going to start painting. And I'm already on the dark color, so I'll start with the dark color. I'm gonna go to the impressionist painting blend. And this is going to show you how you can make a really quick abstract painting, not necessarily a landscape, but it could be a beginning background for a landscape. And it can also be a background for your other photo art projects where you blend backgrounds with your photos like I do. I'm gonna get. A larger brush. I'm just going to hold it down and move it around the canvas. And as you can tell, it gives me different shades as I hold it down. But unless I lifted up, the dark won't reappear. So I lifted up periodically as I am putting these down and I'll vary the size. And I'm tapping and putting it down more often to get more of the dark in there. You can probably hear my tapping the more you tap, it's going to have this brush is going to have the darker tones, right when it first hits the iPad with the pencil. And then as you hold down and gets lighter, I'm just going to cover this whole canvas with this color. Or would these colors? Alright, now I'm going to add a new layer. I'm going to turn on my photo and I'm going to grab the dark red. I'm going to work from dark to light. So I've got the dark red and that's going on the new layer. So I'm going to turn off the inspiration and start painting with this color and make the brush a little bigger to get some strokes down first. And now we'll make it a little smaller to work in some different strokes. I'm not covering everything with this, but I'm adding quite a bit of this red. All right, Now I'm gonna go with another layer. Turn on the inspiration room and let's get the brighter red for the next layer. Turn off the inspiration room. A little bigger brush. Get in there with some of this brighter red. And each time I'm adding the new layer, I'm doing less brushwork. And I'm aiming for these areas where the white is showing through. Because I'm done, I don't really want the white showing through, but this will all be blended. Okay, there's the brighter red. Another new layer. Turn on the inspiration room. And let's go with this color right here. Turn off the rim. Input some of this color. Right in the center, working toward the center or the center is going to be the brightest spot. Lower the size, bring in some smaller marks. Oh, how fun is this? Okay, new layer. Turn on the inspiration room. Now let's go with this gold. Turn off the room and get some of this gold in there. More, more in the middle with the big strokes and then the smaller strokes. Alright, new layer. This is super fun way to do a painting. And this little bit of why the off white, white, off-white color on this last layer. And just a little bit, well that's a little too strong. A little. Make that brush a little smaller, just a little bit of that in there. Alright, now I'm going to merge all of these layers by squeezing them together. Makes sure I don't mess it up. I'm going to duplicate it. Which made it a little bit darker, interesting. But I'm going to turn off that bottom layer, um, because it does make it darker, which I may like later. So I'm going to leave that, but on this particular duplicate layer, I'm going to blend with that same impressionist brush. And I'm just going to get the size right here. I don't want it super big. I'm just holding that down and blending around. Every once in a while, I'll lift up, which will start blending with a new color. This has a lot of texture in it because of this brush marks. So if you're working on a wallpapered wall with a lot of texture, this type of painting probably would not go so well. Alright, it's blended. I'm going to turn that bottom layer back on. Woo, look at that. That looks interesting. I'm gonna go to the bottom layer and do a little blending on that later as well. How fun now, I'm going to add another new layer on top. And I'm going to go back and grab that. Dark red. Again. Turn the room photo off and I'm going to, on the new layer, bring in some more of that dark red spots around the edges, trying to keep the light area toward the middle. Just to draw the eye to the middle. Now where is that super dark color? I'm lost my super dark color. I know I had it somewhere here. Must have hit something. Okay. Reselect in the super dark color. And I'm gonna do this on the same layer. There we go. So now there's the dark color and I'm going to adopt that in more so around the bottom. And then I'm gonna go back and I'm gonna get that pretty gold color again. Oops, I didn't mean to start a new layer. Turn off the room photo and bringing that pretty gold, some more of that. And then just a tad bit of that light color. Turn off the room photo just right there. Now I'm going to blend this layer. Might go a little smaller brush to blend this work around. Blend some of that in what a fun impressionist style abstract painting. Now if I duplicate this, that gives it even more intensity. So on that duplicate, blend, a little more on that. I think I want a little bit more of the golden there. So I'm gonna go back and pull the gold color. Really liking that gold color. And turn off the room photo and dot in. A little more flexible that gold throughout. And I'm going to blend that gold on its own layer. Gives it such a randomness. Fun, energetic. Now I'm going to move all of these layers together and blend actually on that layer that I've just put together. Just to soften up a little bit more. I haven't tried this. But let's try the super thick blending brush and see if I can soften things just a little bit more, especially around the edges. Just blend with that brush tone, some of that, any of these little white flecks down that I don't want by the edges. Because why it will draw the eye. Let's go with a really big brush and just kinda touch in there very gently, just kinda soften some of it back down. Now I think I want a little more red. You could just keep on going with this. That bright red. I think I want a little more of that few spots. And let's go back and blend that with the impressionist. Just to kinda work that in. Let's blend it again with a super thick as well. That brush may be too big. And I want to blend it all out. I just want some of that red in there. How fun. Alright, let's squeeze all of these together. Now let's look at a save it. Save it. Turn the room on, turn that off, make a new layer at the top to bring in what I just saved as a final image. And let's see what it might look like on the wall of the room. That looks neat. Can bring it over here. I'm trying to make the size smaller. I mean, I know this room angle is not at the right angle. But it gives you an idea. What that may look like on the wall. Goes with the color tones of the room, gives a nice, bright, nice abstract, bright burst of color. You could continue on with the painting and create a landscape with it, or use it for a background for something else. Like it would be fun to get a photo of these flowers and bring that in on top of that, masking the background away. That would be fun. Or you could just leave it as is. It just depends on the look you want for the room, but it looks pretty cool. Let me duplicate it. Bring it down here to look at it. Right here. I know I'm covering up the lamp. I just like to look at the stuff on the wall. I know it's cricket. I don't know what I'm done with it now. Resized it too much. Let's try not to have it cricket. So it kinda gives a look what it would look like in that room. Just a fun simple, It's a simple piece. But yet it's a, it's got a lot of energy. It's got a lot of abstract energy to it. So it just adds that color to the room to match the colors that are already there. And it's just a lot of fun to do. And that's a really cool background for other uses as well. So since I've saved it, it will probably become a background that I can use. So that looks pretty good. Anyway. I hope you guys have fun playing around with that brush. It definitely is something you can add some great texture and a lot of energy to your pieces with just because of the brush itself. But then when you add these vibrant colors with it, I mean, you could create your own multiple masterpieces with multiple colors, but this kind of painting. So I hope you've enjoyed the lessons in this class on painting the abstract landscapes into different styles. And I hope you enjoy this little bonus lesson on painting with this fun brush and that you will have fun creating your own art. I look forward to seeing your projects. So pick your inspiration photo for your room that you want to make a piece of art to go with. And then work those layers and work with those stamp brushes in this set two, to really create your own numb interesting landscape based on what I've shown you in this class. And I look forward to seeing everything you create. So be sure to upload your projects to the class project page. As always, thanks for watching. You guys have a great day.