Pintura en Procreate: pinta una cabaña en el bosque fantasiosa en tu iPad, pincel y lienzo gratuitos

1. Hey, Let's Paint in Procreate: [MUSIC] Hi. What if I told you that you could create this painting on your iPad right now. For years, I used to lead those in-person painting events where we all had our drink of choice, and we completed a pretty acrylic painting in just a couple of hours in a really low pressure setting with friends. But then I had a baby and then the pandemic hit. That meant no more paint nights. But I thought, why not try this digitally and allow people to join me at anytime, move it any pace, and create a really pretty painting on their iPad. I hope you'll join me for a fun night in or anytime of day, of course, with your drink of choice, I'll be drinking a homemade Chai Latte. Let's playfully throw some paint on a digital canvas and create something pretty simply because it makes us happy, brings us joy. Today we will be creating a beautiful moonscape painting with a little cabin and some rolling hills all on our iPad. You can follow along exactly, and do exactly as I do or feel free to throw in a little bit of your own flair into this painting and make it yours. Hey, there, I'm Melanie. I'm a professional artist and educator. I love creating happy whimsical art for picture books, coloring books, surface pattern design, and these classes. Follow me on Instagram for almost daily doses of happy art. Don't forget to follow me here on Skillshare as well. By hitting that green follow button up above. That way you'll never miss an announcement about a new fun class. If you're ready, grab your iPad and your Apple pencil, and let's start painting. 2. Your Project: By the end of this paint with me styled class, you will have completed an entire painting on your iPad. We'll be using an assortment of native Procreate brushes and one freebie brush to paint in acrylic style painting much like a painting you might make at a paint night event, but the fun part is that you can do this at your own pace in the comfort of your own home. In fact, I encourage pajamas and hot drinks. Seriously, feel free to pause me, slow this down, rewatch it, and just take your time. This is meant to be fun. Another thing I always told my students at these paint night events was to feel free to make any changes you want throughout this process. This is your painting, make it your own. For instance, you could change the orientation of your canvas and paint it in landscape instead of the portrait style that I am making mine. You could also use completely different colors to get an entirely different effect. Often I would have people start out with a completely different background color for their paint night and it would make a huge assortment of different paintings by making that one small change, so don't be afraid to change your colors. Now one quick housekeeping note before we get started. Please remember that this painting that we're about to create is for fun only. You can't sell the completed painting because it's based off of my original artwork. However, you can use the painting skills that you are definitely about to gain to create an entire painting from scratch, all on your own that you could sell. You are, of course, welcome to share your completed painting on social media or even gift it to a friend or loved one. Again, you just can't monetize it. But definitely, sign it and be proud of yourself. Print it out and hang it out at your own home. Now that that's out of the way, let's talk about supplies. 3. Supplies + Downloads: Okay, let's talk supplies. For this class you will need, of course, your iPad. We are currently on procreate version 5.2.6 at the time of this filming. But you'll just need that version or higher. You will also need your Apple pencil. I've also provided a Canvas for you to get started that is already set to the right size, the right DPI, and it has a paper texture ready to roll. However, if you have trouble opening that procreate Canvas file, you can definitely set up your own Canvas page from the very beginning and you can add the paper texture yourself. You're going to need to download the files that I've given you from an Internet browser, not the Skillshare app. I recommend saving your files to a storage system like Dropbox, and then you'll also want to save the paper textures as images on your iPad to your camera roll to make them even easier to access in the future. Don't forget to download the color palette and the brush that I have included. Once you have everything downloaded, we are going to be ready to set up our Canvas and start painting. 4. Canvas Set Up + Reference Photos: Let's talk Canvas setup. I have already included a ready-to-go Canvas for you that literally all you have to do is import the Procreate file and it's going to be completely set up for you. In order to do that inside Procreate, go to Import and locate wherever you have saved those files that I gave you. For me, I store all of my files in Dropbox. I'm going to just click that file and you'll know it's the right file because it ends in dot Procreate, so you just tap that. It imports it, pulls it in and the whole thing is already setup. It has the paper layers ready to go for you. It's the right size, right DPI, everything. Now, if you have trouble doing that, let's go ahead and set up a Canvas starting from scratch. In order to do that, let's hit the Plus and hit this little icon here with a plus inside of it again. We want to make this 8 by 10 inches. I'm going to change this to inches. I'm going to do eight here and 10 down here. DPI I want at 300 color profile, I usually leave on display P3, especially for sharing on social media. It'll just make your colors a lot brighter. You can then name your Canvas by tapping up here where it says untitled Canvas. I would probably just call this an eight by 10. Once you have created that Canvas, the next thing you need to do is add two paper texture layers. Now, this is optional, but it really does add to that acrylic painting feel. Go to the wrench and hit "Add". You can either insert a file or insert a photo. If you have just saved it to Dropbox or some other kind of iCloud storage. You're going to do insert a file. If you've saved it to your camera roll on your iPad, you'll insert a photo. That's what I'm going to do. Insert a photo, go to my albums, go to my paper textures. Click that. What I'm going to do is size it up to fill the entire Canvas, then tap my layers, and then I'm going to duplicate it. For this first one we're going to come to the end and go to Color Burn. For the second one, I'm going to tap it and go to Multiply. For this first or this top layer as well, I am going to flip this paper layer so that I get two different textures and it's not just the same texture repeated. It adds even more texture by doing this, so hit the little arrow while you're selected on that layer. Then you can hit either of these or both. You can flip horizontal, flip vertical, and that's just going to make the texture show up in a different way. Now, we have two paper layers here. I usually will turn the opacity down just a tiny bit on the Multiply Layer 1, so to maybe like 75 percent. Now, the important thing is, is when we are painting, we want to keep our painting beneath the two paper layers. Go ahead and give yourself a couple of layers here and know that this is where we're going to start working now. The other thing I would encourage you to do, since you are working on your own iPad and you do not need to film this, I would recommend that you actually turn your iPad so that you can paint up and down like this instead of side-to-side, since our Canvas is going to fill the screen better the other way. But since I'm making this video for you, I'm going to be working in this landscape mode. Now, the next fun thing to talk about is reference photos. At any point in the painting process, you can have a reference image on the screen in a few different ways. To set one up in Procreate, you need to save an image to your camera roll or gallery. Then you're going to go to the Wrench. You're going to go to Canvas and then hit the "Reference" toggle, turn that on. It's going to automatically just show you your Canvas that you're currently working on, which isn't very helpful for what we're doing today. What we want to do is hit "Image" and we're going to pull open that painting so that we can see what we're working off of. Or if you are making a painting based on another image, you would pull open your little reference image right here. Go to Image, hit "Import Image", and tap that little painting. I have included that in the downloads for you so you can actually look at it while we're working today. You can then move this little reference box around by holding on that little bar and just pulling it around on different parts of your screen. If this starts to get in your way, simply tap it in, hit the X. The other way to see a reference photo is of course to use the split screen mode. In order to do this, look at the top of your screen and you will see three little dots up there. They're hard to see, especially in light mode. But right up at the top, there are three little circles. I'm going to hit this in the middle where it shows a perfectly split screen, 50, 50. Then what you can do is you could open up your gallery. You could open up Pinterest, whatever your reference image might be saved to. Then you can look at it side to side. You can also drag this little bar so that it fills up a little bit less of the screen and you see more of your Procreate file on either side by the way. You can definitely rearrange this so that it's on the other side. You hit those three little dots and drag it to the other side. Then again, you can make it so that it's a third of the screen or 50 percent of the screen. A super helpful tool. To close this, I'm simply going to tap that bar and pull it all the way over. Lastly, another super cool feature is adding a private photo. This feature allows you to have an image on your Canvas that will not show up in your time-lapse. If you like to show your time-lapse as part of your social media sharing. This is a really nifty little feature. Go to the wrench, go to Add, and hit, "Insert a private photo". Then that image is going to pop up on here. While you see it, when you save your time-lapse later, you will not see that show up in the video, which is really cool. Unless of course, you're recording your screen. If you're doing a screen record or doing a video like this, obviously, you guys can see that this is on my Canvas, but in a time-lapse, it will not show up. I hope that was really helpful. Next, let's discuss brushes. 5. Brushes + Experimentation: Throughout this class, I encourage you to try different brushes and don't feel like you have to use my recommended brushes because there are so many great native brushes in Procreate that you can experiment with. Now, if you wanted to purchase some brushes, the brushes that I truly love and do use in my personal work and work that I sell, are brushes by Lucy Fleming which I will show you here, and brushes by Lisa Bardot. She runs Bardot Brush. She has tons of brushes to choose from. I'd recommend getting her brush paint box and her pencil box brush that I believe it's called. Anyway, those are the brushes that I truly do use and love. However, today we're just going to be using some native brushes along with one that I've given you. The brushes that we're going to be bouncing around between today, I'm going to give you a list right here are the Larapuna, oil paint, old bleach, wet acrylic, jagged brush, old brush, wild light, the dry inking brush and then there may be some wildcard brushes that I choose on the fly as I'm painting. The freebie brush that I definitely encourage you to download because I will be using it that I made is called Loaded with Paint. Basically, it's a modified version of the wet acrylic. The reason I made it is because I wanted a brush with some tapered ends and to have some slight variation in the color. Basically, this brush acts when you are actually painting in acrylic painting, I always tell my students to load up the brush with paint. It's going to act like a fully loaded brush. It's got a very bold line to it. It's going to take a little practice getting used to this brush because it does change in color a little bit, but it's super fun. What I encourage you to do is just download it and then try it out and see how, when you change your pressure, the color changes ever so slightly. Hopefully, that can pick up on camera, but you will definitely see it as you're using it. When I press more lightly, the color is a lighter version of this blue that I've selected, and then when I press really hard, it goes down to the darker version of the color. Then you'll see again it has a tapered end, so the harder I push, the thicker my line becomes, which I really like when I'm painting. It's important to note that I will be showing you my process in real-time. That means you're going to see and hear me talk through my choices and hopes that it will help you also develop that instinct for painting and making your own choices throughout the process. The beautiful thing about digital painting is the flexibility. We can try out textures and colors and then delete and redo if needed. It makes this creation process and painting super low-pressure. Now before we jump in, I encourage you to make some practice marks and explore some brushes for a few minutes. Check out the difference in texture and how each brush behaves. Sometimes you'll want a brush with more control and sometimes you won't. It is helpful to know which brushes will give you that control when you need it. I actually made you this little brush reference sheet to remind you of the textures and the brush behavior. I included it in the downloads for you, but I encourage you to even make your own exploration sheet. You'll see that I've tried out each different brush that I'm recommending to you so that way you can really see the texture, what the ends look like, what does it do to the color. Is it going to be neat? Is it going to be messy? If you press hard, what happens? This reference sheet is really helpful, and it's going to be even more helpful if you make your own because you'll get a little bit extra practicing. We are ready to dive in and start painting our background. 6. Painting The Background: We are ready to get started on this background. [MUSIC] You're going to see throughout this painting that we're going to follow a similar formula for each element or for each part of the painting. We're going to put down a fairly flat base of color, and then build up the texture and color on top of that base. We'll often start with a wet acrylic brush that I gave you, and then add several other brushes and some smudging over the top of that base. For now, let's actually start by laying down a lot of paint with the oil paintbrush. I also made a slight change where I put all of the brushes that I'm recommending into one set. It's called the paint night set, and I did include that in your downloads as well too. I forgot to mention it before because I just came up with the idea as I was going here. So let's find the oil paint large areas is what I titled it for you. Pickup blue to start, the fun thing is with this reference photo over here, you can actually select colors off of here if you want to. You can just hold your finger down somewhere here on this reference photo and pick a blue. Or you can come over here, and use the palette that I gave you. You can bounce back and forth. You could pick your own colors, do whatever makes your heart happy. I'm just going to choose a medium blue here. I'm going to make sure my brush is really big. I'm just going to start putting some paint down. This oil paint brush is great for making really smudgy textured backgrounds. I love this streakiness that it brings. Because if we were painting traditionally, that is what this would look like. We would be using a big flat brush to just start making these sweeping strokes across the canvas to fill it in. Now I'm just going to start varying the color up a little bit. Add some brighter blue in here. We can shift the blue more towards this aqua blue, or more towards a purply blue. Just put some bits and pieces in here. Add some interests. I like to make the corners and the edges dark because we're going to put this nice big, glowing moon right about here. I want to have it be a little bit brighter so that it actually does give off a glowing effect. I'm going to show you another way that we can add in some darks later. Because we are making a digital painting and nothing is truly set in stone. We can change anything at anytime on this painting. This is getting pretty dark. So what I'm going to do now is choose some of these brighter colors in here. I'm going to just start smashing some of that on. I know you're probably thinking like does not look great, what are you doing? That's because we're going to use our smudge tool in just a minute. Once I get some colors to actually smudge around, I'm going to undo, that looked a little bit too big. What it's doing here is it's grabbing that darker blue and pulling it in. Because this paint brush is very interactive with the paint that's already on the canvas. Even though I have a lighter blue chosen, it's pulling this blue back there if I don't push hard enough to put down the new color. I'm just sprinkling in some other colors. Again, you could switch to a different brush if you want. I know that looks crazy. Wait for it. We're going to choose our smudge brush and I'm going to smudge with the oil paint brush again, I think. I'm just going to go back and forth here. I'm going to make it a little bit larger but a little less opacity with the smudge so that it's a little softer. I'm very lightly pressing, just smashing the paint around. I might even go a circular motion right about where my moon is going to be. This still looks a little dark. I'm going to come back in again with my brush. Choose some brighter colors. Let's see what happens if I go with a dry brush. I like that. I'm just going to sweep some across here, back-and-forth between circles and sweeping motions. That's starting to look how I want it to. I'm going to vary up my color again. I want to shift more towards an aqua. This is going to add some very pretty tones in here. Then I'll make my brush a little smaller. Go even brighter, and just put in some smaller streaks. This is a chance for you to really play, really get to know your brushes because the background is exactly that. It's the background. You're not going to be paying a ton of attention to this part of it once we get the rest of this painting in here. This is the part where I encourage you to spend quite a bit of time just playing. I'm not actually putting in the moon right now, I'm just putting in a glow. The moon is going to go on its very own layer. That way we can make adjustments to that, more finite adjustments. In this reference I have this really pretty color right here, but I don't have in this painting yet. I'm just going to paint in some of that. The cool thing about this too is that even though this is my painting and I'm trying to recreate it, it isn't going to look almost nothing like the original because I'm not making exactly the same brush marks and brushstrokes and choices. That same thing is going to happen in your painting. Yours is not going to look like mine. It's not going to look like the other students. It's going to look like your work. Which is something that I always found so fascinating in our paint nights is that we were all starting with the same idea yet no one's painting looked the same. Let's play a little more. Let's try the wild light brush. Let's just see. I don't know what's going to happen here. I don't know about that, really big, very low opacity. Maybe if I just put some streaks in here and then blend them in. I'm using the oil paint brush to blend that back in. That's losing a lot of that texture, but we're just gathering information here. Remember at any point, if you don't like a stroke that you did just two-finger tap to undo. I'm going to go back to the dry brush, put back in some of that texture that I just blend it out. Then I might let this be good enough for now. Remember this is going to be on its own layer. We can always come back to it. Let me zoom out just to see. What I'm noticing is I've put my glow far down. I'm actually going to shift my entire canvas up a little bit. On that canvas at this painting layer, I'm just going to shift it up a bit like this. Again, I just selected made sure I was on my paint layer, choose the little arrow and then to move this up like that, make sure it's still centered. The bottom really doesn't matter because it's going to be filled in with green paints. You could fill this in right now if it bothered you or leave it, I'm going to leave it. I just have my moon, my moon glow down a little too far. Come in here with some more bright, white. [MUSIC] The next thing I'm going to do is make a layer above this, and you can name this, then I rename this background. I'm going to make a layer above. I'm going to keep this layer right here as a buffer. For this one I'm now going to put this into color burn. What we're going to do is darken up the edges of our canvas a little bit. I think actually what we're going to do is grab a brush that I didn't even recommend yet. It is under Artistic, I think. Oh, no. It's under Painting, and it's called Fresco. If you're knew to color blend layers, what this layer is going to do in color burn is darken anything that we paint right now. I'm going to choose a dark blue. I could even just choose this one. It doesn't have to be the darkest, it doesn't matter. We're going to paint this in and what you're going to see is that it's not actually putting down a color necessarily. It's just darkening what's beneath it. In the tone of that blue, just going to make things look even deeper and give even more interests to this, and make that moon glow even brighter because there's more contrast now. I'm not actually going to leave it this dark, I'm going to turn down the opacity on this layer just a little bit. Go to your Layers, tap the color burn part right there, and then just slide this down. Let's look at it while we do that. You can slide it back and forth and see. I'm going to go to about right there for now. I think that's looking really good. I think for now, we're going to call this background pretty good at the moment. We're going to go ahead, and move on to painting our moon. 7. Painting The Moon: The next step is going to be, let's add in our big beautiful moon. First things first, open up your layers and start on a brand new layer. That way we can make nice adjustments to just the moon if we need to. I'm going to rename this moon. Now, before we get started, I do just want to tell you, this is your painting, you have absolute creative control here. If you don't want to make a full moon, make a crescent moon. That's totally your call and a really cool way to make this your own. I'm going to be making the big, nice full moon. I'm going to start with the loaded with paint brush. I'm just going to choose a color off of this painting here. I choose a pretty bright white. Just to get myself started, I'm going to be using the quick shape tool to make a perfect circle. But then I'm going to be altering it so that it's not perfect. But this is just to get me started. Sometimes we just need a little help to get going. I'm going to show you that again. Start by just painting on a shape. Make a rough circle, hold down, don't lift up your brush and you'll see it says ellipse created. Now I'm going to hit Edit Shape. I can either leave it as an ellipse or tap circle, it'll correct it so that it's a perfect circle for me. I zoom out a little bit here and look at the placement. I'm going to move this up just a bit and see how there's these four circles on here still. That means I can still edit this shape as long as I'm still in the quick shape editing section here. What I can do is if I tap here, I can actually make this bigger or smaller. I can rotate it, if it were a different shape that might matter, but it's a circle so it doesn't. Then if you ever wanted to change the shapes that it was no longer a circle, you would hold one of these little dots and see you can stretch, squish, squeeze whatever. I'm going to go back to circle, correct it. Let's see. Let's go about that big and then to move it around, you actually have to tap off of it and move like this. I can place it right about there. I just tapped and it released that editing function. Now I'm just going to fill this in and I'm just going to use something even brighter because those really dark. I'm going to come around the outside now and soften this so that it's not a perfect circle. I don't want it to be perfect. It's actually a good lesson here. As a kid, I thought my art was only good, if it was realistic. Such I would strive for realism all the time. Now I'm a recovering perfectionist. I'm realizing the older I get, I don't want to make realistic art, I want to make it whimsical, playful colors that aren't even what they're supposed to be shapes that are exaggerated, really fun, smudgy texture. That's what I want. That's what I'm doing. I'm going to brighten up my white even more by choosing pretty much pure white. If I tap up here in the corner, it should choose a pure white for me. That looks yellow. There we go. I'm just going to smudge some of that around in there, then I'll choose my smudge brush. Right now it's smudging with the old bleach. That's good. The old bleach brush is actually really great for the moon. Going to smudge that really well. Now what we need to do is add in some of those interesting glittery textures in here. I'll choose one of these gray colors, bluish gray. I am going to probably bounce between like wild light, old bleach and maybe even the fresco brush. For now, let's choose old bleach and see what this looks like. That looks pretty good. It's going to make some fun shapes in here. Make this smaller and up the opacity a little bit. There we go. Let's just change our brush. Let's see what wild light does. I think that's going to be good. I'm just going to lower the opacity on it and I make this outside ring here. I went way off. I tap here. I like the texture that that's giving. If you do a nice hard tap, it adds a very fun texture over the entire thing. Change my color just a bit here, give it a little bit of a blue. I'm liking how that looks. Let's brighten this up a little bit. Remember if you're making marks you don't undo them, tap, tap, tap. Three fingers also read something, if you were like, Oh, actually that looked pretty good. I was being too much of a hater on myself. I'm going to try the fresco brush. Let's choose something from over here, something darker. That was working. Those couldn't see it. What I'm doing is just wiggling my brush with this fresco brush. I'm just wiggling in some of those, they look interesting. I think they're just a little too big. Let's undo that and make the brush smaller. Just tap some of these and somewhere here. Let's see. Another way you could do this is to make a new layer, and then I'm going to make the brush really big. Then I'm going to make one huge one and then I'm going to select the arrow here. Re-size this, I can even turn it and I can move it wherever I want to on the moon. Maybe I'll do right down in here. Then I can even turn the opacity down on it, where it kind of like that. I could even put it in a color burn, linear burn multiply. That looks really interesting in some of those. Let's go with linear. Turn it down and then I can actually just combine these because I don't really want that extra layer there. I just wanted to be able to edit that shape of the brush a little bit. I'm going to go and combine those. Now that's permanently part of the moon. I can also though smudge it in a little bit if I needed to. Looks a little too blended. The moon is a lot like the sky where you can play here, spend as much time as you want getting this to look how you want it to look. I'm actually going to smudge the outside a little bit here to soften this up. I don't want a perfect clean line. The other thing I'd like to show you is that this looks a little dark maybe. I'm on my moon layer, I'm going to come over here to the little magic wand, tap that, tap hue, saturation, and brightness. Then I'm just going to bump up the brightness a bit, maybe even the saturation. I went to 54 and 61. Now I'm just going to tap somewhere else on the screen. Tap my brush. I think that looks better. Now I'm going to come back in add in a little more interest again. When I made this original painting, I added in these small more pencilly-looking details with the dry ink brush and I probably even used a pencil. You can do that too. Come up here to dry ink details. I'm going to choose a bright white. I'm going to double-tap and it'll select your way up there to get a nice bright white, and I'm just going to very messily outline this a bit, make it a little smaller. Again, you didn't see I am not being precious about this, I like those textures. Now I'm going to make these big circular glowing lines around the outside. It is like that yummy detail. If you are looking I like it but it's too much, grab the smudge tool, soften the ones that look a little too crazy. [MUSIC] Now I also really like on this example, of this original, how there's a couple of really dark bits. I'm going to use the same dry ink details and just sprinkle in some of those darker spots, and I am going to smudge these, I can already tell, that's what I want to do. We can either smudge with the dry brush again, or I can try smudging with the dry ink details, let's see. Make it a little smaller. The more you paint, and the more you practice with this thing, the more you're going to start to just develop an instinct for what you want. How are you want to make those things happen. It just feels a little too perfect in here for me, so I just want to mess it up a little. Then I now come back to smudging with the dry brush, let me grab this one. Let's see, maybe I'll smudge with the old brush. Make another. Create a rear area out of it. What do we think? How are you feeling about yours? I'm looking at this and feeling like my glow in the background is not enough, so let's make a new layer. I'm going to come above this color burn layer that I put on the sky, and if I wanted to, I could go ahead and just combine that down right now. If your iPad is not going to give you a lot of layers here, absolutely go ahead and do that. I'm just going to make a new layer in between the moon and the sky, where I'm going to make some glow. I'm going to change this to a different blend mode again. I'm going to go to, let's start with color dodge, but overlay might be a good choice, soft lay, any of these ones that are going to brighten the color. I'm going to start with the fresco brush, and I already have a light color chosen. I should be working behind the moon here, and I'm just going to make a glow like this. Right now that looks a very stark, so I'm just going to lower the opacity on it. The other thing I might do is choose the arrow tool, make it a little larger, like that, and before we change the opacity, let's just play with the blend modes a little bit. Come to screen. Didn't do much difference, add, holy moly, that makes a huge difference, that's too much. Lighter color, so dodge, lighter color, so it's a softer look. Overlay, I love overlay because, look at the saturation that it's picking up, instead of just making it more white, it is picking up a lot of that blue, that's beautiful. I'm probably going to go with overlay. I will lower the opacity, and then to see what that effect looks like, let's just tap it on and off, these little boxes over here, where there's a checkmark, I'm going to uncheck it. This is without that overlay mode or the overlay layer we just made, tap it back on, that's looking good. I like that. I think I want to make it a little more dramatic. Again, without, with, that looks pretty. Let me make it a little bigger. Now, of course, we need to add some stars to this background. I'm going to make another layer, I'm going to drag it beneath that glow layer, I'm going to set it to overlay again. We're going to find a splatter brush, it's going to be under the spray paint brushes, down here. I have a lot of brushes guys, you do not need that many, and here's splatter and flicks, both of those work really nicely. I'm going to start with the splatter, I already have a nice light color chosen, and we're just going to go star crazy in here, so it's a little too big and not showing up very well, so I'm going to make this smaller and make sure the opacity is at 100 percent. Here we go. It's going to add in some of these bigger ones like that, and then I'm going to switch over to the flicks, and that's very small, so let's make that a little bigger. I'm just going to tap in some stars, clusters, that's looking really pretty. Again, if you're like this is too much, you can lower the opacity. However, I like to go star crazy, so I'm going to make some really small lines of them. Here we go. Then at the end, we're going to add in some of these more detailed stars that you can see on here with the dry ink brush, but that's going to be at the very end to add in our extra magical details. We are good with this moon and stars for now. Next, we're going to move on to painting the hills. 8. Painting The Hills: Things are about to start getting even more interesting. We're going to add some hills. Same idea as usual. We're going to start by putting down a huge flat base of color and building up the texture and tone from there. Each hill we want to put on its own layer. That's going to give us more flexibility later for making changes. So just remember that. So like on this reference, this back hill is on its own layer, and then there's another middle hill here and then a foreground hill. So each of those is on its own layer. Here we go. We're going to go on top of everything. So select the Moon, then hit "Plus" to make a new layer. I'm going to rename this hill 1, or you would call it background hill since this is going to be the one that's the furthest from us. I'm going to choose a middle green here off of this reference photo, and I'm going to come back up here to our paint nights set and go to loaded with paint. I'm just going to choose a spot to start here. So on a reference, by the way, if you're ever zoomed in or zoomed out, you don't know how to get that back to looking normal, just do a quick pinch and it will fix it for you. So if we're looking at this reference, I started my hill at about halfway. I'm going about halfway, about here. Then I'm just going to make a nice line here to get me started. Then I can look at this and say, it's going to make my cabin be pretty low. Then here the cabin is just below the start of the moon here. Let's erase this hill up a little bit. That should be pretty good. I'm just going to fill this all in really quick with flat color, big sweeping motions. [MUSIC] Typically with my hills, I will make the tops of the hill brighter and the bottoms darker. This will also help us with getting separation between the hills and layers. For now I'm just going to choose something brighter, maybe a little more blue, and put this in at the top. Make the brush really big and the opacity lower, so it's a little more blended. Although that does not look blended in at all, does it? Let's smudge it. So hold down on the smudge tool and it'll choose the current brush that you were using. Did it actually? Yes, it did. I'll just blend those in. For now, this is far from perfect, but this is a good start. Let's make another hill on top of hill 1. Let's rename it. Hill 2. I'm going to go back to the screen, maybe just make it a little darker so I can see it. In this one I have making a hill in this direction. It hides the bottom corner of the house a little bit, like that. Then I have it making a little hill here. Not huge though. Now this is hard to see because it's such a similar green. So if we wanted to, we can a little brighter here, like that. Right now these don't have a lot of interests, don't panic. They look boring, but they're not going to look boring forever. Then we have our very front or foreground hill. Make a new layer. Rename it. Hill 3, and then you could also just put foreground. For this one, we're going to make it really nice and dark because typically things in the foreground are much darker. So you didn't even select from over here if you want to. In this one, I need a little more fun and interesting. There's a huge rush. A little more playful in the shape. That is quite dark. Come in here, larger brush, less opacity and just come over the top of this, soften that out a bit. Again, remember we're going to smudge it. It's okay, that it looks crazy. I'm going to come to the Smudge Tool and go to old or dry brush. Either one. Is too small. Here we go. We're obviously going to spend a lot more time on these hills. So what I'm going to do is come back down to hill number 1. I'm going to come to any textured brush. Use any textured brush that you like. I'm going to probably use dry brush right now. I'm going to select this bottom green here, and I'm going to go even darker. I'm just going to very loosely paint them in. You can see that's already helping differentiate our hills. I'm going to choose one of these greens in here. Now remember, we can also do that same technique where we add a overlay or a Color Burn layer and darken things up that way as well and then just flatten the layer. You see how the formula's working. Just get some color down. Then start adding the interest. Let's even go a little more blue like this. Now this is looking flat. What I think I need here is some more saturation. So I'm actually going to adjust the entire layer. So I'm on my hill 1. I'm going to go to the magic 1. Hue, Saturation and Brightness, and I bump this up a little bit. Bump this up a little bit. [MUSIC] Let's come to old brush and choose some of these bright greens. The brush is too tiny, I'm just making a very sketchy line instead of a sweeping texture. There we go. That's what I was wanting. Repeat this process for all of the hills. I'm not sure where that neon green was coming from. One of the brushes was definitely changing the color there. I'm just going to blend that out. If at some point you find a texture or a technique you loved on the second hill and you're like, man, why couldn't I have known that for the first one? Just go back to it. Use the technique you've just learned and apply it to the first hill. And the last hill. Again, your foreground elements are going to be quite dark compared to the rest. Unless you're making a fun whimsical glowing plant like I have here on that one, that's fine. But if this dark hill or if this first hill is nice and dark, it will help fun things like that show up even better. I think what I'm going to do. First, I'm going to brighten up the front of this hill just a bit because right now they're blending too much, the second hill is blending too much with this foreground hill so I'm going to add in some difference there. Then we're going to come back to the middle hill. I'm going to add a layer. I'm going to make it Color Burn. I'm going to choose my oil brush and a dark green. Maybe I'll just select one of these. I'm just going to paint in a dark area like this. Right now, that looks crazy dark. That's okay. We're going to lower the opacity on it and move this over so I can actually see, maybe like that. Then I'm going to combine it down. I still have my three hills, they're totally separate. I can still make changes to them. All I did was combine that Color Burn layer down. I'm going to add another Color Burn layer to this first hill just to darken this corner a little bit. The reason I'm doing it this way is that I like that I can put the darkness in and then make an adjustment to it and then blend it or then merge it down. That helped a lot. I'm going to lower the opacity on it just a little bit because I did it a little too hard. That looks good. So without and with. I'm going to merge it down. I think these hills are looking pretty good for now. At the end, what I would usually do is make an overlay layer and a Color Burn layer to put in even more texture at the end. But for now, these look really good. We are ready to move on to probably the trickier part of the painting, which is the cabin. 9. Painting The Cabin: This little A-frame cabin is going to be like the most nit-picky part of our painting. Let's just break it down into some shapes and jump in. Don't be afraid of it. It's a triangle. We can do a triangle. In fact, we even have an edit shape that can help us do a triangle if we need it. First things first, come over to our layers and what we're going to do is tuck this little cabin in behind some hills. I'm going to come to the moon layer and add a new layer in-between hill one and moon. So tap the plus, rename it Cabin Base, because we're actually going to use a couple of different layers here to make this cabin. It's not all going to be on one layer. Cabin Base. Now, because I tucked this in-between the moon and the hills, this should show up behind these hills now, which is what I want because I wanted to hide the bottom corners. I want it to look like this little cabin, its tucked in, nestled in into the hills. First things first, I'm going to choose loaded with paint, because it has nice clean edges, and let's select a mid brown here. You again can select it off of this reference or just come over here to the palate and this middle brown on the top is probably a good start. Now I'm going to zoom out here and look. The top of my cabin needs to be a little bit below the moon, probably right about here. Make my brush smaller and full opacity. Again, a little bit below the moon, maybe about here. We'll have the end here and here. Now, something I'm noticing between this new painting I've made and this one is that this hill is pretty tall. If I wanted to, I can adjust that, I can also just make the cabin a little taller but to move the hill down, that is so easy. Go tap your hill layer, tap the arrow, and just do this, drag it down a wee bit, that looks good. Come back up here, go back to my cabin. Let's look at what we're working with here. I'm just going to start putting down some lines and looking at my placement, and I'm going to make a straight line by holding down. I never lifted my brush from the start and stop point or the same thing here. Let's see how this looks. Looks big, maybe not. I'm going to fill it in. You'll notice that this loaded with paint brush again it's changing in color, which I really like. Already we're getting a little bit of variation and interest in here. Let's see. I think it's big. I'm going to choose my arrow and I'm just going to make it a wee bit smaller, I'm going to move it around just a touch. I think that looks pretty good. I'm going to make sure it's nice and filled in, especially down there at the bottom. We have a base. Now what we want to do is make a new layer on top. We're going to rename this cabin. You can call this trim or frame. I'll just put Cabin Trim. I'm going to select my dry ink brush and I'm going to select the dark brown. Now what we're putting in are these lines here like the trim, the cabin and then the trim of the windows. Again, quick shape will be your friend. If you want a straight line, just hold down, and then same thing, hold down. I don't like the placement of that. There we go. I think I made that a little too thin, so I'm just going to bump up the size of my brush and come back over it. That looks pretty good. Again, it's not perfect and I don't care. I don't want it perfect. Let this be your permission to make it less than perfect. The first window, we're going to start with a triangle at the top, straight down. Again, I'm holding and it's automatically making a straight line and then I can move it wherever I want to. Then I'm going to come straight across, divide that triangle in half, that's a little thick. Divide it in half, hold down, then I can move that, then like this and like this. I should have gone ahead and pulled that entire line down. That's okay. Do it now. Then I have these lines here. I'm noticing I made this a lot skinnier than this one. That's okay. This cabin is a little different, and we're going to put in these little side windows. Now all I'm going to do is just clean up my lines a little bit and make some of them a little thicker but a little more emphasis on this fabulous door here. Then we had two little handles right there. Next, I'm going to go ahead and put in the glass behind this layer, so I'm going to tap on the cabin and then hit plus so that way the layer goes in-between the trim and the base, and rename this. Rename windows or glass, whatever you want to call it. I'm going to choose this color that's in here, it's just a very, very pale blue, and I'm going to paint it in. In fact, I'm going to paint it in with wild-light just to get a little variation. It's not actually giving a lot of variation right off the bat, and that's okay. I'm just painting in behind that trim that we just put down. When I go over the top, it does actually make a brighter color with this brush. That is the base for our cabin. We are ready to now make it more interesting, add in the darks and the lights and the texture. Same formula as normal. What I'm noticing is that I made this cabin maybe skinnier is what I did. If I wanted to alter that, I would just select all three layers, choose the arrow. I can hit distort and then I could just make it a little wider like that. We don't want to do this too much, otherwise, it's going to start to get a little blurry but a small change like that is not going to hurt anything. Let's start adding any interests here. You can start on whatever part you want. I'm going to start on the background, which is the base of the cabin. I'll probably come back to my loaded with paint brush for now and I'm going to add in some of these lighter browns, small brush, add in some of these lighter colors here. It's not quite different enough, so it will just change it on our color wheel a bit. Because this part is being hit by the moonlight, it should be nice and bright. Then this side wouldn't be quite as bright, maybe up here at the top a little bit, but it's going to be darker for sure in there. The other thing you can think about is your windows could either be the blue like I have done here, or if you wanted to pretend like somebody had warm lights on inside the cabin, like candlelight or something, you could make more of a glowing yellow light coming out of those windows, which could be really pretty. I'm just very roughly painting in some lights and shadows. That's already giving it so much more definition. I'm going to bounce around a little bit. I'm going to do a little bit of the windows, and then I may end up coming back and doing a little bit more on a cabin, will see. I'm going to come to my window layer, and I'm going to use the old bleach brush here for a second. I'm going to see what that does. I'm just covering the whole thing as my brush is too big, and get smaller. There we go. I'm just going to paint in some blue, and then what I usually like to do is make the windows darker around where they're meeting the frame so that the brightest spots are in the center of the windows. Like that. If you are having trouble keeping the paint from going outside like that, you could always turn on Alpha lock on your glass once you have a good base. So you would just swipe it this direction, and it will turn on Alpha lock, you'll see the little check marks, or if you're having trouble doing it with your fingers, you can also tap the layer and hit Alpha Lock. Now, whatever you paint can't go outside of what's already there and painted. So I cannot paint outside over here. I'm going to turn that back off though, just because I want it to be very, it's transparent right here, and I want to be able to paint over that, whereas if I had Alpha Lock on, it might not have let me, since there wasn't already some paint there to begin with. Now, I am going to smudge this around a bit. Smaller smudge brush and I'm going to smudge with something a little smoother, maybe the old bleach since that's what I was using. That looks better. Soften that up a little bit, and then I will probably come in with something a little brighter and hit the centers, maybe with loaded with paint, and I double-tap up here to get more of a bright white. I just do this, and I will smudge that again. What I'm probably going to do is, it's just looking a little dull, I'm going to change the saturation on this just a bit, on the whole layer. To do that, again, I'm going to come up here to the Magic Wand, hue, saturation, and brightness. Bump this up a little, maybe one or two percent. Now, just looking back over here, there's a little more color to this. I'm just going to add in just a few more of these dark blues, like in that brush for this. When you want to make a subtle change like that, remember, the opacity of your brush is a friend. I didn't want it to be too obvious, none of the brushes are giving me such a soft vibe until I remember, hey, just lower the opacity. The more contrast that you put in these areas, the more it is really going to pop when we zoom back out and the little details will come to life. There we go. That looks pretty good. Now, I need to just come in here to the frame because it just looks very flat compared to the rest. I'm going to tap on the frame, and for this, I might actually, go ahead and turn on Alpha Lock. I'm going to come up here to my dry ink details, and I'm going to choose a brighter brown just to put in, that's probably too bright. Start with your base layer and then move up from there. It looks very red. There we go. I'm just going to scribble in a little bit of texture, a way it does not look flat. I like that. Now, what I'm going to do those come back to my cabin base, and I'm going to scribble in a little bit more brown with the dry ink brush on here, to give it more of a wood feel, very small. Just going to lightly scribble in. I'm going to come to a lighter color here and add a little more saturation to it, make it a little bigger, and then scribble that in. I love building up the layers here. It's what is just going to make this thing. If I'm shaking the entire table as I scribble, not my intention. I don't have Alpha Lock on this layer. So if I get too crazy, that's happening. Keep playing and editing that to your heart's content. I'm going to call that good for now. We are ready to move on to the trees, which are super fun. 10. Painting The Trees: Trees. There are so many possibilities for how you can paint these. There are just so many options for your brush here. Here is my general process for making pine trees though. I will pick a watery brush, like the wildlife brush. I'll start with a dark color and make a trunk first and then go from there. Let's make a new layer. We're going to put this on top of the cabin layer, but behind the hills just to help hide the bottom so they don't have to be perfect. Rename it. Trees. Come up here and I'm going to find wild light. I'm select a nice dark green. In fact, I'm even going to go, it's nearly black. You could do either one of those. I'm just going to start on this side. What I usually like to do, I'm going to bump the opacity up, size down. I'll start at the top and just drag down. Again it doesn't need to be perfect. I'm going to put another one about here. Let's just make our base trees here. Another one right over here. This one is closer to us. It's going to be a little thicker, a little bigger. If we notice placement here, we have the top of the tree going to about that top third of the moon. Then over here, this tree is almost to the top of the moon. This one is about halfway. It looks good. Now we're ready to start making some wiggly, wobbly lines to fill these trees in. You want to try to be pretty random about this, because if you look up a reference of a pine tree, they are not perfectly even. They have really no perfection about them, which is what makes them so fun to paint. There's so very little pressure here. Again, I'm holding my brush very light, I'm not being very controlled about it, and I am just making these squiggly crazy lines. For this part I might speed this up just a bit, because right now all I'm going to do is just be filling this in. There's nothing really too interesting about this. I will come back to you once we are adding in more of the detail here. For now, I'm just putting down a base of very dark color. We have a base down. Now what we want to do is choose a lighter color and start building up over the top of that base. Just lighten up your green. Come over the top. That looks a little too bright. I want something that's like a deeper green. That's better. I'm just going to wobble back over those areas that I already made to make spots where the light is hitting. You'll notice that this wildlife brush that if you press really lightly, a lot of color comes out. When you press really hard, it dilutes the color as if it has some water in there. Now as you're doing this, you might think like this just looks terrible when you're zoomed in like that. Don't look at it that way. Nobody is actually going to be appreciating your painting like that, so don't zoom in like that and judge yourself. We're actually going to be looking at it more like that. Then when you look at it like that, you're like, wow, that actually I know that's looking pretty good. Plus it gets better the more layers we add. The trees, the texture will start to look more correct to our eyes. As we add in more and more. Don't forget, we can also smudge a little, oops, that is too big. To blend that in. Anywhere that you're really unhappy leaving it, smudge it to touch. Now we're going to go even brighter. I'm going to switch to a slightly more bluish green. I'm going to add it down a little bit There we go. Then at the very end, what I do is I switch over to the dry ink brush to do the very top final details. These ones we want to be a little bit more blurry and less obvious. Then when we come in and do the top layer, we'll switch to a brush that has a more defined texture to it and a even brighter color. I'm going to take another pass with a brighter color. I'm going to lower the opacity a bit. This is going to be the layer right before I do the more inky details. I am going to come back with my dark green one more time and it just slightly reduced opacity to just put in a couple of more shadowy areas, especially down here at the bottoms. Remember that we really want those bright spots to be where the moon light would be hitting the tree. Lovely, perfect. Just give us a general idea so that our brain can process that information. Let's go ahead and switch over to our dry ink brush and see what we can do. Then I come in here and choose one of these colors. I'm going to lower the opacity just a bit, see what the size looks like. That looks pretty good. I'm going to scribble it in. Some detail. You can do these scribbly motions here. You'll notice on this one I did even really huge scribbly lines. Then the bright white is at the very end. That is something I do with an add layer at the end to add an extra magic. We're not doing that quite yet, right now we're just adding in bright highlight. This part can be fun too, because it's like scribbling when you're a little kid. Again, try not to hold your pencil too tight. Just let your wrist loosely jiggle the pen around. That's looking good. I think those look really good. They're maybe a little dark. What I'm going to do, is I'm on the entire layer, magic wand, hue saturation and brightness. Bump this up a couple points, and then I'll up the saturation just a bit. There we go. We just made some really pretty trees. The next part is we're going to add in some of those foreground plants. 11. Painting the Plants + Stones: One of our more final steps is we're going to add in some of these foreground plants here. Feel free to go as detailed as you would like with these playouts. If we were strictly following illustration rules, these plants would be the closest to us and the more detailed part for the viewer. You're more than welcome to do that. But again, don't feel that you have to. It's your painting, do what you'd like. Mine are fairly simple here. I just kept with a fairly simple shape and then at the end added in those little magical highlight details. I'm going to tuck this first layer in between the foreground hill and the second hill. Here's hill two and here's hill foreground. Right in-between them I made a layer. We're going to call these plants. Let's start with a wild light brush and see how it looks and a nice dark green. Then I'll just free hand in a stalk or a stem. Then some leaves. Again go with any shape you want. They can be made up plants, they could be real plants. Do what makes you happy. I wasn't too happy with this end here. I'm just going to erase it off and redo it. You could alter the color as you go, which I believe I did do in the original. I think what I'll do is choose a brighter green. Now I come over the tops of some of these. Maybe a little too bright. Here we go. Just add in some dark under layers on some of these. Then again, I can always blend this. I'm going to go ahead and just blend these in a bit. I think those look pretty decent. Now, I'm going to in a nice bright green add in these pine shaped plants and make that on a new layer, and it's actually going to be in front of the foreground hill. Let's see. You could do this with the dry ink. You could still use the wild light. You could also do the loaded with paint. Play with those, see what you like. You could even go choose a pencil brush. I'm going to choose this green down here in the bottom. That should work just fine. Not going to be too precious about these. But again, you do exactly what you want here. If you'd like to spend more time on easy work, absolutely welcome to do that. For the sake of class, I will do it pretty quickly for you. I'm going to make them maybe a little smaller. I'm distorting. Let's undo, choose the arrow, go to uniform. Then just make this a bit smaller. Then I might even up the saturation on them. They look as clean as I would like. Whatever you could do. You want them dark, you're not stuck with that decision. You can change them. That looks pretty good. Next, we just very quickly put in some of these stones. They need to be tucked in behind Hill Two but on top of Hill One, so click "Hill One" tap, let's rename this to Stones. Here I'm just going to use the loaded with paint to start and then we'll add in some details on top. I'll choose a gray off of there. I'm just going to roughly put in some shapes and what I'm noticing is it's looking a little weird. We need to move those down just a bit. That looks like the stone was resting on top of the house. What I might do is come down here to Hill One and just erase away some of this like that. I come back to my stone layer and I'm going to choose a different brush that has a lot more texture to it. I'm going to choose a lighter color, just come over the top now. Remember, the moon light would be hitting these pretty well, at least right here so they do need to have some bright spots. These are stone, so they should have a rough texture to them. I'm going to go ahead and come in with the dry ink and just vary color here scribbling some texture. At the very bottoms of them we will make a nice dark color, and we can blend that in if we want to. Then what we're also going to do is come back to our hill layer and darken in the hill underneath these stones because it should have a shadow where those stones are laying to make it look like they actually are laying into the ground. Before I do that though, let's add a bit of a highlight on top of these. Again, don't feel rushed by this. I'm doing it quickly, but you do not need to. Take your time, pause the video. Come back down here to Hill One now, I'm going to make a new layer and do Color Burn and then I'm going to choose Wild Light and a darker color, dark green and I'm going to paint in some dark, that is too dark. Let's change our brush. The wet acrylic is nice. I'll now lower the brush size and I'm just gong to paint in some dark areas under these stones. Those stones are getting a little lost behind my greenery here, so what I could do is come back up here to the plants and I could just move, oops, didn't mean to move them like that, and I could just move them over a little bit like that. Then it actually looks like a little pathway there. It almost seems like there needs to be another little stone right there. Let's teach you a little nifty trick. I'm on the stone layer. I'm going to select the ribbon selection tool and free hand. Then I'm going to free hand around this little guy here, three fingers swipe down and hit Duplicate. Then I'm going to drag him right about here. Then I'm going to rotate him this a little bit and maybe make him a little smaller so he doesn't look perfectly the same. You could even distort it, there we go. I just added in another little rock without needing to paint another one. I might come back in, I'm going to combine these down now, because when I duplicated it, it put it on its own layer. I want that little stone to join the other stones. Pinch them together to combine, come back up here we're going to add just a little more texture to these stones. I'm just going to make them be not so perfect on the outside. It's also an opportunity to make sure those don't look exactly the same. There we go. You could even add in a little bit of green over the top as if there were little pieces of grass growing slightly over the stone. Now we're just getting real detailed. We are ready to go in and add our final touches now. 12. Painting The Final Details (Stars, Highlights, + Color Burn): Now that we have our painting mostly completed, let's add in a few fun details and really make things sparkle and pop. We're going to add a couple of add layers. That's a blend mode. At the very top of everything, make a new layer and when I say everything, I'm sorry, I mean, at the top of all of our painting layers, we're going to tap the N and change this to add. In order for this to work, we need a bright color so it can either be absolute white or something close to white. I'm just going to choose that top color right there. I'm going to go to my dry ink details and here is where I can add in some stars. I'm going to add in some little circles, make some little glowing lines around them. You could add your star sign in here if you wanted to get really specific with your stars, you could add in shooting stars. Make this yours in any way that you would like to. I just love adding the magic at the end. This makes me happy. I think that's probably good for the stars, maybe not. It's pretty close. We're probably good on stars now. We're going to add another add layer. Right above that, I'll just hit the plus. If you want to name these, go ahead. Guess I'm starting to get lazy at this point in the process. This is going to be a highlight layer. I'm going to stay with the same bright color. I'm going to lower the opacity on my brush and make my brush just a little bit bigger and what I'm doing now is putting in those bright spots where the moon is really making things shine. You'll see how this suddenly makes things really sparkle and come to life. I put these in all over the painting and you can change the brush too. It doesn't have to be the detailed inky brush. In fact, I will probably switch over to old bleach, probably something like that to do a little bit of highlighting on the hills. I just want to come in here and hit the tops of things. It's already making such a big difference. I'll put in a couple of little lines on the hill. I'll add a couple around the moon. Hope it's not so crazy. On my leaves. I'm going to lower the size just a bit. These little white lines just give some definition and separation between elements. You might find that you don't like doing this quite as much, you don't like this look, and that's okay. You don't have to go and do this as much as I do. This just happens to be part of my style. I really like the white detail. You could do this very minimally though. It doesn't have to be as crazy as I'm going. I'm going to go ahead and switch to a more textured brush. Let's try old bleach. Make it bigger, less opacity. There we go. Now, this is going to go over everything. I am not separated by layers right now, so it's putting this texture on top of everything, see how it's going on top of the leaves. I'm just trying to put it on the hill, but it's going to hit the top of the leaves as well. If you want it to only hit the hill, all you'll need to do is go make a similar layer above just the layer you want it on, and not on top of everything. This is looking great. Finally, I'm going to add in a little bit of a color burn so one more layer, change the N to color burn. This time we want to choose a darker color. I'm going to choose dark blue and I'm going to just come in and put in some dark shadowy areas. I'm going to up the drop a little bit at this. I really like color burn because it gives such a good pop. Instead of adding black, which dulls things down, we're just darkening a color that's already there. Looking this over, I think I want to make a little adjustment to my plants because they're just blending in a little bit too much. I'm just going to maybe brighten them up a bit. Alternatively, I could go darker, I'm just going to brighten them a little bit. Then I might darken the hill behind them. Small adjustment to each thing. Very small adjustment. The last thing we just need to do is sign this bad boy. We just completed an entire painting. You did it. Make a new layer at the top. I like to usually put this into an ad or a color burn. Since this is so dark, add is probably going to be the way to go, or maybe even overlay. I'll choose a bright green and then I actually have my signature saved as a brush and I tap that in and then I can move it around, not distort. That's not showing up super well so I'm just going to duplicate it. There we go. There's my signature. The painting is done. You guys did it. I'm so proud of you. I hope you're proud of you. I hope you've learned a lot of new skills. Catch me in the next video, I'll show you the entire time-lapse of painting this video and wrap up with a few notes for you. 13. Bonus Color Alterations : Hey guys. This is just a little bonus lesson for you. This is a way to make alternate versions of your painting or make an adjustment to overall color if you'd like to. The first thing you need to do is duplicate this. You don't want to ruin your original. Come back out to the Gallery, slide over and duplicate your Canvas, open up the new one. Now feel free to make any changes to this one that you want without ruining your original. What I'm going to do is come down here to my sky, and I'm going to combine that bottom layer, come up to the Magic Wand, Hue, Saturation, and Brightness. What I'm going to do is make a big color shift here. I want to make a spooky fall scene maybe. I'm going to go with a warm Ambary sky. I'm going to change my hills to be a warmer green, less saturated. Again, Magic Wand on your layer, hue saturation and brightness, shift, bump down the saturation. You can even bump down brightness. Do this on all of your layers, and you make a completely different vibe for your painting, which is pretty darn cool. I'm going to warm up the tone of the house a little bit. Then we shifts the trees too. Stones look a little too blue. Let's change those. Then make more of a brown. Then we just have our plants in the front that need to change a little bit, and then we should also change our moon to be marble warm color. Let's change the middle-plants. More of a brown. Boom, just like that, we just made an entirely different vibe for our painting. It's like a spooky season instead of that really dreamy blue. Now we have a very amber glow to this painting. I hope you like that little bonus. 14. Thank You + Painting Timelapses: Thank you so much for joining me for our fun night in of painting. I hope you've gained some new skills and confidence in your painting abilities. Remember that with each painting, this just gets easier and easier and you're going to start to build those instincts as you gather information on what tools and colors work best for you and you just keep getting better with time and practice. If you liked this class and you haven't already, don't forget to hit "Follow" up above so you get notified about my next class. I plan to do several more of these paint-with-me style classes and I'd love to see you in the next one. Don't forget to share your finished painting with us in the Products and Resources tab. Let us all see your hard work. Here is where I'm going to leave you for today. Enjoy the rest of my time lapses of this painting and others to get you really inspired and feeling like painting even more.