IPAD PAINTING TUTORIAL - Mountain Lakes landscape art in Procreate

IPAD PAINTING TUTORIAL – Mountain Lakes landscape art in Procreate

okay so on today's tutorial I'm gonna do some icy waters and some sort of mountainous rocks and I'm gonna do them reflected in the water as well so I've got a pre-selected cool pallet here there's not a wide range of colors but there are quite a few different types of blues and grays so is a good idea to have a good range of different types of blue even if it is just predominantly going to be monochrome in terms of the brushes I'm using with in procreate I'm gonna largely use the airbrush I use this for most of my tutorials unless I have a very specific reason to use a textured brush which is not very often then I'll just stick to the soft airbrush or maybe sometimes go to the sort of medium air brushes as well if I do change my brush to anything radically different obviously I'll let you know in due course but just assume I'm gonna be switching between the two so to begin with I'm gonna start with the soft airbrush in terms of the colors I've got to start on the top row and these color codes you can find in the description you just need to make a note of the values punch them in say this area where it says hexadecimal code press ENTER and then you'll be able to piece together to the same color palette that I've used here for those people that support me over a patreon one of the advantages of doing that is that there will be a downloadable file in which you know is therefore you don't have to put it all in manually you're more information about my patreon page then again there's a link for that in the description so to begin with I've selected the first blue I'm on a soft airbrush go in the size of the brush shop somewhere as it happens around this of 15% I'm gonna turn the opacity fairly low to begin with and I'm just going to start putting in a band of blue tone at the top I mean quickly going to now use another type of blue and just where you're the one ended I'm going to now blend it into that blue and I'm quickly going to move through the different blues here so we don't get too much of any one of them I've done quite a range so that you can obviously blend them in quite easily but if you're not happy with the Overlook then you can easily go to the adjustments Gaussian blur and just turn it up slightly and it's gonna blend it in slightly better and then if you feel like if extended it too far you could note you're all cornered you down whichever you feel is appropriate I'm just gonna stretch it down in fact so once it's over you know a greater transition area I'm going to do now isn't going to select about half of it so I forgot to the selection tool choose the rectangle extend it to about half way three fingers drag down will copy hand three finger drag down will paste you could have just done the copy and paste in one action but there you go so I've just married it there save a little bit of time I'm showing you some of the shortcuts because you know although you can do these things manually sometimes you just want to get to grips with some of the later stages so I'm just showing you a little bit of a shortcut for the the earlier parts I know later on it's going to be a little bit darker so I'll go into my hue saturation brightness and just certainly darkness of open hood that's also give me a sense of where the horizon is gonna go as well on that horizon and I will come back to some of the sky details in a bit but on the horizon I'm going to create another layer for that I'm gonna go to my colors I'm going to be using these colors here so I'm going to choose the lysis blue and I'm going to turn the size of my brush down in fact I think it might be better if I move to the medium airbrush I've been doing the top of the mountain range and they're not going to be too soft or the guns have a little bit of a more of a solid outline maybe turn the opacity up to halfway or so I'm just going to piece in some more distance blocks of mountains now now I'm going to stop around here cuz you're not gonna see anything beyond that point anyway this is gonna have larger things in the center now because I've got the opacity on a lower thing I've just done one pass I've not doubled over it like I did there so therefore it's gonna look slightly more distant and I can do something over the top to bring a section of it slightly more forward I can then go to my colors again pick a darker one maybe turn the opacity up this time so it really is going to cut in front for things that I've already done I'm gonna keep the horizon like white flat on this so I'm just going to move through the colors now I'm going to start increasing the size some of these features that's a night sending opacity up on this I can app detects just sometimes I've noticed that by keeping it on a fairly low opacity they you know you begin by adding texturing right from the start it's because I'm overlaying some of these different features I don't want them too translucent because you can literally see through them and that's not gonna work in this instance not too bothered about the the bottom line here just keep it roughly along with the horizon it's going to be an unusual kind of composition really where it's all focused towards the center now sometimes when I'm doing the landscape I might want to focus things more around the edges and then create more of a space in the center whereas this is kind of the opposite you're gonna have more retreating space at the edges bought more of a really dominant feature in the center I'm just gonna keep moving along of a darker color there isn't gonna be an absolute cutoff point for this because it's all part of the same rock just that some bits are going to juts out a little bit more than others perhaps it's okay to leave some broken texture to that might be something that feeds into your image later on I'm not going to bother with the reflection just yet I'm going to work on the top half first and then when I feel I've got a bit further with that then I will work on maybe creating the reflection of it and it would be much quicker to do it that way I do have a dark color here but I'm going to use that for some of the real shadows and texture parts of the rocks like I might go back a little bit backtrack a little bit maybe create some features here that are in the middle distance a little bit more so I'm going to create a I'm going to do now is I'm just going to tidy up some of the edges I just really want to start imagining where you might get some little outcrops and bits that stick up this is when you get to invent your own sort of mountain really your own rock features some little spikes here and there that stick up a little bit here that juts out in another per section that juts out maybe you could have a more dramatic spike at this point maybe it curves down maybe another dramatic spike and so on okay so I'm going to go back to my lightest blue now and this range and I'm going to use that to start building in some texture into the more distance of mountain ranges so I want to break up that kind of solid dark tone not too much just a little bit here and there maybe a little bit here as well I'm going to use a slightly different color palettes on the left-hand side there's a good imagine the sun's coming from more from this side so I want to use a different color scheme really then it's going to be on this right side that's correct another layer and I what I'm going to do is I'm going to switch to the blue tones at the top so I'm going to use these these were the colors for the sky but I'm gonna go for the third color along and I'm gonna use this as a real bright blue that's gonna help me add the snow on to this side of this mountain range I might just have some smaller patches of it near the top and then it's almost like the snow has settled and sunken into a sweeping motion near the bottom so helps to think of it in terms of the way that it behaves and that's gonna really inform the way that you actually draw it imagine it's been at the top but it's falling down and it's settled more near the base of our little thing again keep it quite broken maybe add it with a sense of the directionality of it so maybe I think starting a longer points along here and then sweeping down I can keep it broken if you feel like you want to go to brighter whites at this point there might be some bits where the sunlight is hitting that side but then it's just fine shim to creep around in certain areas and you can use that bright white just to suggest that the Sun is actually picking up on maybe some smaller sections at the bottom here as it creeps around what I really wouldn't do too much of that at this side it's just going to be smaller details and elements along here and then perhaps as the snow creeps around on to this side and it's getting more direct sunlight at this point of view then you can really concentrate on that white there's going to be less snow on this side because this is subject to a bit more sunlight perhaps so maybe there's going to be some just settled on the top of some of the bits that jut out and then again it's gonna slide down maybe it's gonna settle there at the bottom a little bit more maybe it's not quite melted away down there points higher up again where the snow is still clinging on so getting the the amount of this and the right kind of shapes is the real challenge not something you can necessarily teach I've straightaway but I'm giving you the demonstration the suggestions of the types of areas that you could add alike perhaps it's in the size of the brush down still on the medium air brush some add some little highlights at the top here again the Sun is coming from this direction so it's maybe hitting it along that edge and that's gonna be the same as we go along to the other areas here too now I'm going to go back to the blue and I'm just going to start feeding it into the white areas a little bit more so one of them to really join up here and just feel like they have a connection to each other maybe just bring that blue down a little bit further in certain areas you need to make it obvious that that shape is the same substance but it's subject to a different light conditions so need to kind of tie them together a little bit more like that now I'm going to switch to one of my other color ranges here now we've got more grays in this section so I'm going to use that and I'm going to hopefully get the idea across that there's the sort of Sun hitting it from over this side and it's creating rather a different effect so it's a warmer color tone and I'm just going to start piecing in some of those warmer colors on that side so gonna chop and change between the different colors got three different types of gray here and let's just see if we can create a little bit more variety they all notice that I'm producing this zoomed out of a zoom in you're going to lose due to kind of sense of the illusion now I'm going to put more detailed tutorials on my patreon page for my patrons I'm going to stick to doing the overall effect on my YouTube child but if you if you're interested in more of the details then I'm going to start putting more videos up on my patreon page for people who want to push you know push it a little bit further than I'm able to do on my YouTube now I'm a high school teacher and for the last few months it's been really really busy at work and have not produced as many videos as I would like to have produced but now I'm on my summer holidays and I've got a little bit more time and the intention is that I'm going to get more of these videos done over the next few weeks one of the reasons I set up the YouTube channel was to just keep myself active as an artist really initially I find it's really good to get involved in a some kind of community keep your creativity going get feedback from other people and I'm glad to see that it's really encouraged other people to get involved and share their work as well at the same time it's been really motivating for me to keep going creatively but also the actual YouTube channel has really benefited from the feedback and the interactivity or the involvement that my subs drivers have had with the channel it's been really fantastic because I'm working full-time it just here and there I find that against my wishes having to neglect the channel a little bit at times but I'm doing my best whenever I get more free time I'm going to keep investing that time into this channel I'm going to keep growing it it's not going away it's not going anywhere why recommend is that you subscribe press the bell notification and even when my uploads are a bit more hit miss of the not on a constant basis when I do upload them you know the algorithm YouTube's algorithm is not going to prevent you from being notified at that point one of the colors that I just moved onto is one of the green colors I want to present especially on this side where there's less snow it's getting more sunlight let's just pretend that it's getting sunlight on a more regular basis and we're adding more greenery there because things are growing there so I've got a variety of different greens here you see I've got three different greens I'm adding that green mainly on this side at the lower area because you're not going to get much that grows up on the the taller areas but when you get more settlement of soil perhaps it's going to have you know places where things can take root you get in a bit more of those three different types of greens here maybe it's just just going around the edge a little bit I've not really changed their past here but on a look on a maximum opacity sometimes I don't do that sometimes I do what I'm doing at the moment is I'm relying upon the pencil pressure so sometimes I'm pressing on more than others sometimes I'm really releasing the pressure so it doesn't it doesn't cover it as much now if you having a go at this particular tutorial and you're finding this one quite challenging quite difficult because I'll be honest this is the kind of subject matter when you really get into the texture I personally find quite challenging too now one of the reasons you know I set myself to challenge in doing this type of painting on camera to explain it is so that I can get better at it myself but if you are finding this quite challenging and you need something a bit simpler and do look through my other videos my playlists my other landscape tutorials because the definitely some of them will be easier than this but once you had a good go of some of those and you want to come back and you you want to look at the way that I do it and you can incorporate some of my approach and hopefully it will be of some assistance but it's not not always possible to give you absolute step-by-step instruction on how to create every facet every aspect of creating an image and trying to give you the overall sense of it sometimes for the creating an illusion you have to be able to look at how it's working maybe use a photograph reference it's going to get you a little bit further but at the same time unless you slavishly copying it you need to be able to use your eye and recognize when an illusion is working or where it perhaps it isn't working – I'm not terribly happy with the difference between that side and the rest of it so I feel like I need to just press on like that's a good – McCullers instead I'll go to my darkest blue or there is a dark black but I'm going to the next one along when it's only opacity of that down somewhat and a brush up a little bit and I just want to exaggerate perhaps the difference in this area get rid of some of the grades there and really darken them up a little bit so it feels now more of a difference between that side where the sunlight is hitting it and then the other aspects around the corner that are more in the shadow I'm gonna just concentrate some of that darkness really onto the Ford or the front areas and maybe just a little bit hair in there as well over here but don't want to do dark colors as it recedes into the distance now I'm gonna keep this color and I'm going to start adding some broken bits in the snow as well I can zoom in a little bit more not too much but I'm generally now just going into it adding some finer details sense of broken texture and not snow the will be ways are suppose of using a textured brush to create this effect but I'd rather do it manually that way you feel like you're really getting a sense of how to do this and if you understand how to do it manually with a basic brush then you can apply that understanding to any medium at that point so whether it's digital whether it's traditional paint whether it's pencil drawing if you can do it with a simple brush then you can do it in any medium than in theory whereas if you're reliant upon textured brushes then really you're kind of limited to digital in this instance don't want to teach things that are limiting people to a particular program so I'm not pressing on it's hard for this section I'm breaking up the texture a little bit I'm not pressing on as hard as I did here so if I press on hard to get dr. color press on lightly I get a lighter color I'm just pressing on a bit more likely to break up this snow maybe flip between the two so I can press on the actual snow color create some sections perhaps where you get bands or that snow higher up ok go into my dark grey a fake dark grey it's not quite as dark as I would have imagined it be perhaps I'll turn the opacity down so that when I'm adding Gettys is having an influence but it's not quite as lysovskaya selected come in to have a sense that there's a sheer element to the rocks that's an explanation whether it's snow just drops down maybe so if you wanted to go to your lightest blue here so it's not the white it's the lightest blue it's a a good color perhaps estar adding just some extra highlighted textures into this Dale arts daylight half of the mountains the rocks there might be just just some little bits of snow or bright bits of rocks that are reflecting the sunlight it's gonna be difficult to tell her this kinda distance but he was looking a bit flat there so I'm adding a little bit more now if you know you've watched sort of Bob ruffs paintings in the past which I certainly have then he'd have great techniques with the brushes that he used to be able to sort of roll and drag with the knives to be able to sort of get the broken texture in there now I'm not relying upon any kind of technique like that so I'm doing it manually and that's just the way that I prefer to work like I say there's no right and wrong really it's wet it's the best way to get to the effects that you're actually interested in and if you enjoy one type of process and it gives you better results then you know feel free to do that you don't need to stick slave Ashley to the way that what another artists actually works but I'm showing you the way that I would approach it and hopefully it's something that you can benefit from watching anyway maybe have a go take on board some of these techniques but don't feel that you can't just take on board what you want and adapt them to suit your preference I'm just adding a bit more of the highlights to the top of some of these areas maybe extending across having it join up over there I've done too much white of a man takes over that back off so you're not happy with this whiter area of that now it doesn't look quite right so I'm just selecting by pressing and holding a nearby color and then knock it back so we've got maybe a small element of it but nothing like as much as it was it was just a bit too glaring again I can go back to the brightest blue and maybe I can just tie that in a little bit more adding bit more subtle broken dots now sometimes when you watch a tutorial you might be given the mistaken impression that it's all about technique is all about the brushes it's all about the way you approach it but in actuality a lot of what art is is the ability to see what you're creating and amend it as necessary so it's the eye that is important more than anything else you can have all the training and techniques in the world but unless you've developed the eye to actually see what needs doing and where it needs putting then all the techniques in the world are not going to get you very far so once you've seen some techniques that you understand and you couldn't you could have a go at working with it really is then about putting the time in getting familiar with the subject matter so that your eye can see what what looks right and what doesn't look right ok so I'm going to leave that prominent feature as it is for now I'm going to move around some of the other features on the horizon start adding in some snow details and a little bit more texture so we have things in the distance that need more snow just break this up the snow is going perhaps a little bit further up in areas I can move across to the other side maybe have some broken snow here again think about the kind of the movement the swing or the snow there and maybe apply just a hint of that in the distance too maybe I can go to my green star link in a sense of this some of that green color or things growing there how long the horizon line at the base okay so what I'm going to do is I'm going to flatten those two layers by pinching them together I'm going to slide it across duplicate it go to my transform tool I'm going to flip it vertically and drag it down this is going to form the basis of the reflection Oh something like that and already without doing too much more you've already got a sense of illusion there now what I'm going to do isn't going to go to me adjustments I'm going to use the motion blur and just start having a little bit of an experiment there you don't want to do it too far the water's going to like some kind of storm it's gonna look unrealistic but you don't want it as a crystal-clear reflection so just a little bit of a sense of agitation to take away the absolute pristine reflection is going to assist you now some of this is going to be done more manually as well but that right from the outside is gonna give you a sense that there's something a bit different about what you see it down down here as a post or both so we're just going to create another layer and using the kind of lighter blues what I'm going to do is I'm going to create kind of a broken surface along this point so in the distance where it joins there you're probably going to get it more joined up its own size to push down a little bit but I want to start bringing in a sense but it's perhaps more stripes more broken now the point of this scene is is can I like frozen water well not totally frozen but we're in that icy environment obviously we've got the snow on the mountains but the water itself is going to have floating bits of ice really want to exaggerate the sense of you're being a really really cold environment I'm just creating a little bit of a surface ice and snow that have not gotten really any movement in the water it is pretty much still which is why this area is going to be like a crystal clear reflection of what we've got above or maybe a slight ripple of the bits near the horizon we're going to have maybe a settlement of little lumps of ice and I don't doing sweeping motion across and actually if you can hear I'm keeping it as a kind of very broken textural element to so I'm going from left to right but I'm doing it in like small dashes you want to keep the now I'm not pressing on too much so it's a it's a balance between not pressing on very hard and perhaps you could turn the opacity down a little bit as well would perhaps help mmm as we continue to bring this closer to you or I guess if it was a photograph it would be the camera we can increase the amount of spaces between these blobs and these ice objects it's gonna appear more and more broken as it gets closer to you I'm being very careful to try and preserve this sense of direction it's easy to go off at different angles it's not gonna work and if you do to longer line as well the – then it's also not gonna work that won't work at all you really have to try and preserve that sense of the horizon and the direction and you don't want in this instance long dashes you just want very broken short marks just to create a real sense of texture there now what I'm going to do is I'm going to have it stopping quite sharply actually so I've decided that I want to bring it about here and I don't want it to stop I'm going to keep it increasing the density of these dashes don't really want any of that mountain not much of it to show through here I don't want it to be reflected in this area not hardly earned at all anyway I mean some of the marks I've been adding may well be joining up quite considerably at this point doesn't matter I think it's better to do it slowly because if you just did it as a flat thing it's really good until dead you want as much kind of texture and change and variety in there as you can get I'm doing it relatively quick for the benefit of the video but you could take your time over this if you wanted to get those dashes quite evenly spaced then go for it now as well as that I'm going to move to a slightly darker color and I'm going to do the same thing into these areas where actually it's quite a light reflection but I want to just dark and up here a little bit turn the opacity down know a little bit again try and preserve the direction over here too okay I'm gonna do next is I'm going to switch to my real bright color so I'm gonna have white and I'm gonna have the lightest blue so I'll go with the white begin with and there's gonna be some bigger features there so I could turn the opacity up there's gonna be some bigger floating features on the water that are really gonna stand out so bigger features here as well have been crossing over the edges because if you did them I don't know if you just had them there so they didn't make contacts with the reflection didn't interrupt that then it's gonna have less of a powerless of an impacts I have it crossing over and disrupting have it broken you can have sections maybe they get bigger as they get closer to the camera doesn't always have to be the case but add a bit of variety anyway now if you're going to have a big feature I'll do an example here and you go inside perhaps need to include a shadow side to it as well but if it's a big enough feature then chances are you're probably going to have to do a reflection to it as well so you'll need to do some sense that it has a shadow vision a reflective version rather I've done the top half now I need to show the underneath of those a lot of the reflected part maybe in the sense I create top blue color just to show there's a division between the two it's and the size the brush hook I want a real maybe a big artifacts here in the water something nice and substantial more foreground feature I'm gonna keep it quite flat but I want it to really sort of cut into the the scene so again some more debris lets me look a bit flat over here a bit featureless so keep adding some noise some things to disturb disrupt you'll notice that I've got very flat a very featureless sky as of yet so I'm going to go and fix that I'm gonna create another layer I'm going to put it behind everything apart from the original two layers so they're the original tules I'm putting it above those but behind everything else now for the clouds I'm going to go to the two lightest course I'll start with the lightest blue I'm going to move to an airbrush soft brush rather turn the opacity down and I just want to create soft sense of some clouds in the sky I really want to bring the focus into the center area so I'm going to have here perhaps or pointing towards that almost now if you go straight at this with a high opacity and it's gonna look really bad you need on a soft airbrush and you need the opacity really very very low to begin with otherwise it's not gonna work at all it's not going to create the right effect you really need to do things gradually if you want to create that sense of realism it's not gonna be old totally straight lines but there is going to be a general direction towards the center feature though maybe the middle of a sense of a band along the horizon as well so I'm not going to do too much cloud though maybe some as well as those general sweeping motions weed out some blobs now this is a layer underneath a mountain range so I can really go right up to the edge I'm not gonna have any issue with it creating a problem of that mountain edge if you want to add some maybe sharper edges here and there you can do that reduce the size of the brush really sharpen up some of the the lines there if you want to maybe some sort of squiggles here and there you don't want it to be totally straight lined maybe keep it quite loose now felt like we've got lines coming in here lines coming in there I want to slightly decrease that conflict so I'm just going to add some more kind of blobs and diagonals into this section here just to sort of bring them together a little bit more so they're not fighting against each other to quite the same extent you could decide you've done too much event you can always go on to the eraser again go for the soft airbrush though turn the opacity down somewhat and you can create broken areas there just be tentative perhaps too much you can always add some more breaks in the cloud you feel like it's all clumped together a little bit too much I'm generally quite happy with the effect um I think because the rest of the image gives an illusion then the sky almost doesn't need a lot of worrying about really so that will do for the sky I'm going to duplicate a layer just the same as if it before use the transform tool flip it vertically and bring it down so it reflects in the water now you'll see it isn't quite fit so what I'm going to do is I'm going to select it again flip it vertically and maybe stretch it to film but I don't want that layer to be quite as exaggerated so I'm going to turn the opacity down on it so it's still there but it's nothing like as bright as the original so I'm going to turn the opacity of that way down so it's still essentially reflecting everything if that is there but it's nothing like as bright as the original top area of the sky now another thing you can do on the reflected part there is to go onto the smudge tool go on to a medium airbrush turn the size of it down and the opacity down and you can really help sell the illusion from the zoom in a bit more you can break up that edge a little bit you can really create a sense that this perhaps more disturbance in the water so you've not got quite the clean edges gun fuzzy but you're going to get slightly a more broken kind of rippled look I think that's gonna create a slightly more realistic look to the water so you can just move backwards and forwards really in terms of selling the illusion that's that's generally about it I'm going to just spend a little bit of time working on some of the details so I'm going to again use some layout of the blues now you can sort of swap and change between the different blues but essentially I'm going to use some of the slightly darker blues to just create a sense that maybe these forms that are floating and not entirely flat because they're not going to be entirely flat they're going to have mass the fact that the floating is because you know there's a quantity of it so they will will cling together have mass have a shadow as well as having your reflection to just gonna go back to that layer I feel like I just want to darken it up slightly compared to the top half there maybe desaturate it just a little bit as well make sure darken and desaturating i feel that makes the difference that kind of separates the top half from the bottom half gives it a sense that it's more water really than the compared to the rest okay so I'm going to leave it there for this particular tutorial do check out my hexadecimal color codes in the description there's a link from a patreon page if you want to download that as a file make sure to subscribe to my channel check out my other videos I hope this has been beneficial hope this has been educational for you as well as entertaining and I'll catch you back here again see you soon

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