IPAD PAINTING TUTORIAL - Mountain and tree landscape art in Procreate

okay so I'm back doing another landscape tutorial if you're familiar with my other tutorials you'll know that I use procreates as an app and within procreate I've just opened an a4 canvas I'm going to be mainly using the soft medium air brushes although later on I'm probably going to be using this turpentine brush setting as well but begin with I'm just going to start with the soft air brush and in terms of the colors that I'm going to be using I have created a pallet here so this is my color scheme these colors have associated hexadecimal codes which is found in here in the value section of the colors so these codes are down in the description on this video and you can just type them into here and then start to construct your own palette so you'll be able to use exactly the same colors that I'm using myself so I've tried to order the colors in the kind of order that you might actually want to use them in this video I'm planning to use them at least there may be some slight changes as we go along but I'm pretty sure that these are going to be the colors that I'm going to use so the first thing we're going to do is start to assemble some of the colors for the sky so I've got three different blues here to give me the full range of colors that I'm going to use and again I'm on the safe soft air brush I'm gonna make the brush quite sizable maybe turn this like the opacity of the brush down somewhat and I'm just going to lay in some of that color at the top so this is going to be the darkest of the blue that I'm going to use on the sky the majority of it is however going to be lighter so I'm just going to mix those two together obviously I'm using a mixture of not full opacity but also pencil pusher so I'm not pressing on fully that means that perhaps I can fade these to get together more successfully there I was just pressing on full you wouldn't get any blend I'm using a light touch to blend them together and if you're still not happy with the way that they've blended go back over with the colors of more of the mid-tone in just try and blend them in better together can be a quite frustrating part of the image here and I know certainly in the past that I've obsessed about trying to get those transitions nice and smooth having said that if you really have struggled and there is an easy option and that is just to use because Ian's blur she's a parent adjustments and then you can just slide that along and he should blend them in better for you if you feel that you've extended that blur down too much you can then just indeed section here which is the transform sort old you can then content it down into a smaller area as well so that'll do for my sky to begin with and the next thing we're going to do is create another layer and I'm going to create something of a kind of mountain range it's not going to be the foreground feature it's gonna be more of a background element so because it's quite far away it's not really good to venture outside of the blue tones that I've created here so they I've come up with some slightly different blues than I've created for the sky just so that it doesn't seem too much like the sky background but they are quite similar so again I'm gonna start with the first blue this family going to change to the medium airbrush I do want it to be a little sharper for the top of the mountain range and I'm not going to turn it up to full opacity but we're going to get it fairly close to that now I'm just trying to visualize where I want the horizon line I don't want it halfway who wants a bit lower than that let's just pencil it in here you can draw a wobbly line like this hold it at the end and it will snap to a straight line not that you're gonna see this line at all but it just gives you a sense of where you you're working from for your horizon so probably to the get without I'll begin with some shapes a rough mountain range in the background really not going to worry too much about this I'm going to obviously further refine this as matter if you let go of all the times and start to piece it in quite roughly [Music] being deliberately quite scruffy with this most of this is you know not solve it certainly but quite a good chunk of this is going to be over schooled by the trees that are gonna go in front of it anyway so you don't need to be too precious about this at all I suppose the only thing that you need to maybe spend a little bit of time on is just getting that top edge great some interesting features or some mounting tops and spikes I've done a couple of tutorials you want to look through my playlist I have done a couple of tutorials on scenes with mountains in they are kind of really fascinating forms obviously because the so massive and I will keep returning to them as a subject matter just because they are really interesting and they do appear in a lot of interesting landscapes really epic sort of scenes you'll find mountain ranges so a little bit of repetition but then I guess there's only so many things that you'll you'll typically find in a landscape anyway so you're gonna have trees you can have clouds you're gonna have mountains those types of things really now one of the comments that had on my last landscape tutorial is that there were no trees so I'm really going to go to town on adding some trees and true Bob Roth style I'm going to add loads of happy trees in this scene I'm gonna go to the opposite end of my color spectrum or the colors that I've selected for the mountains so this color is not quite white but it's it's near as damn white and I'm going to use it quite sparingly but it's going to be used to get some features in here that perhaps obviously snow on the mountains so I'm not gonna get zoomed in we're still using the medium airbrush don't need to go any sharper than that because I've turned the size of the brush down so I'm adding some features here that would be perhaps snow in the scene I'm gonna reserve this mainly for the real high sections on the mountain range some bits are gonna be directly in sunlight perhaps a god can a cloudy sky in which Sun bits some bits of light rather break through actually cause a real white area on the mountain edge on the mountain side making sure that I have certain shape so we're going to have a sense of maybe there's no texture sort of sliding down the edge of the mountain there so it goes with the shape of the mountain somewhat but other than that you want a real broken kind of texture on there so I can go to another blue now so you notice I've got four different colors here I've got the white I've got a very pale blue so I'm going to add some of the pale blue now so there's gonna be some bits of snow perhaps that are still at the top but they're not in the same extent of direct sunlight so they're gonna be a little bit more blue again I'm concentrating them near the top of the mountain they're going to be colder still there I broke in texture you don't want it to uniform be some bits where there's really not much sign of snow you can leave it quite dark and another bits where you're going to cluster lots of blobs and textures to represent snow to the way I'm imagining the light source is probably coming more from maybe above maybe just sort of passing through onto certain sections here again so I can go back to my white maybe there's just a section similar to the way they've got it here that's just catching more of that white area and catching more of the snow in that area nice view a few bits on this one it's not perhaps as I offers that mounted but still is gonna have some of the whiter parts just here and there switch between your blues so not that a lightest blue we've got the next blue along this I'm going to use that now I'm going to perhaps just start adding some blocks maybe you get more of the snow sort of collecting into bigger areas keep it quite scribbling don't keep some gaps [Music] I've kind of explained in the previous tutorial that this kind of texture work is it's difficult to explain sometimes I don't like using brushes that do all the work for you so really applying the texture manually really starts to enable you to see what kind of textures work and what don't I think it does help to imagine that the light source or maybe the light coming through and how it travels how it hits certain areas how other areas are still going to remain in shadow so that an element like snow for example is it's going to appear like a light blue when it's slightly more in the shadow and then way you imagine the light to break through you're going to use more of that very white color and it's really going to illuminate those sections so it's the same element just under slightly different light conditions you need to try and get your head around where the lights coming from in your scene and that way you can you know really understand how it's going to impact things so I've made a decision that probably the light's going to come from this side really because it's gonna hit this side predominately maybe above maybe it's in this side so it's not quite where he imagined initially but sometimes when you start adding texture and color it starts type kind of have a life of its own in a way you want to be in control but you also want to be responsive to the thing that you're actually grating sometimes it it seems to note you in a direction that you didn't initially intend honestly it helps to go with it out sometimes and just work with it rather than trying to fight against that now I heard a quote a famous quote by Picasso this says that you should just destroy any happy accidents so if you accidentally arrive at something that looks good you should instantly destroy it don't be satisfied with a happy accident and try and recreate it yourself personally I'm not quite of that school of thinking I think if some things kind of appeared in front of you and you can learn from it and incorporate it in your piece then I think that's a happy accident I don't really I'm not such a purist that I feel the need to destroy instantly and start again but each of the room so I'm going to create another layer and I'm going to use this layer now and I'm gonna still stick with the colors at the mountaintops but I'm going to create effects perhaps whereas we get lower down in the mountain range but house some low-lying mist perhaps some atmospheric Adler elements that's breaking up the darker tones there so I'm gonna use the lighter blue I'm going to change to my soft brush and increase the size of the brush and turn the opacity pretty low for this because I want to bring in the effects but not have it be too sudden or too strong it's important it's on a different layer because I'm probably going to continue to add some detail into the bottom area of the mountain range now for every single element of it because quite a good chunk of it is gonna be obvious killed by trees but anywhere where it just shows through a little bit I want to make sure that I can go back in there and just fine-tune any little details I'm not satisfied with but I just wanted to create a general effect of a kind of atmospheric element there at the bottom so that will do initially for the mountain range in the distance like I say I probably will return to it but for now I'm going to leave that where it is I'm going to use the bottom range of colors now and again I'm going to switch to my medium air brush I'm going to go to my darkest color here which is pretty much black there it happens to be in the color and it's all blue spectrum and they also have a dark green going to use the black having said that I'm not going to use on full opacity so it I guess the way that I'm using it isn't going to be fully black anyway really but I'm you know I've chosen a black color anyway and I'm going to start piecing in where I want the trees to be so they're going to be a lot of pine trees I guess so maybe a couple of tall and see the problem is now that you can't end up being quite reluctant to put trees in front of areas where perhaps you've got a detail that you're enjoying or you like the results of sometimes you have to be a little bit brutal and be prepared to destroy what you've created I think in this instance I'm going to avoid that section I want that section to show through so perhaps we'll do more of a cluster in this area or more of a cluster in this area the good thing about working digitally is that if you decide you're not happy with that you can always move them around and peace on somewhere where they work better anyway but for now we're going to presume move forward as if that's not an option so I'm just creating some tree trunks so I'm planning where I'm gonna put the trees and imagining some trees in the distance so when I'm doing the tree that's moving further forward I'm going to do the base of the trunk lower down and when it's further in the distance it's going to be when you're not really not really able to see that horizon line anymore but we know it's sort of roughly there I'll put it back in just for a guide so when some things in the distance it's more like to grow from that horizon line and it'll be smaller it will be shorter when it reaches high up when it's nearer to you it's gonna start below that horizon line and the chances are it's going to extend higher or consider seeing as well so I'm just creating a series of lines really just to give me a sense of where things my stars are stuck up they don't have to be terribly neat at this point I'm just getting an idea of where to put things so I'm going to turn the opacity up a little bit so I'm going to use this black to start piecing in some suggestion of the leaves now so I'm going to use pretty much a kind of zigzagging motion now to create the sense of branches so I'm not doing it as a still as a line and doing get more as a series of broken texture like this I'll just keep swinging the commotions backwards and forwards as I go so I'm creating quite loose quite abstract shapes and forms but I'm just going in that kind of emotion so I'm being quite mindful of keeping the branches generally pointing upwards certainly at the top of the tree as branches get lower down you might find that they straighten up somewhat but certainly towards the top of this tree they're gonna have more point upwards they're gonna fan out wider in at the bottom and perhaps level out a little bit depends on the type of tree but for my trees that's going to be the general rule now this is more of a background for the tree elements and I'm going to do quite a lot of these so you're gonna have to be patient and spend the time doing these but if now to be fair if you imagined that picking apart doing artistic things was going to be a quick process I'm afraid your mistake in a lot of cases it you know I've found it if you don't love the process then don't bother because it takes many hours takes a lot of work you have to enjoy the hours that you're gonna put in and I really do so I've got the patience to spend the time putting in these shapes putting in the texture the actual fact that some of my full paintings I've spent many many many hours fine-tuning the kind of details and probably well certainly not many people are going to look at most people when they glance at a painting they might zoom in a little bit look at a couple details and let me move on some of my paintings I've spent so long on them that you know I'm not sure how many people it's really going to benefit from that level of detail but it's about whether you enjoy to think of look in a lot of cases don't enjoy working on it and I don't know I don't want to discourage people but maybe find something that you do actually enjoy spending your time doing because art is a very time consuming pastime and I don't see the purpose of doing it unless you're actually going to enjoy putting in the hours so I'm gonna do them in the background so you may be press on a little bit less in the background so they're not quite as dense be a little less careful about them in the background doesn't really matter as much I can say this is a background element anyway there's going to be more colors that I'm going to answer the on top of these but I definitely need a base of dark tone so that then when it out or the lighter colors like greens over the top of them it's gonna feel like it has different layers and depths of the colors in some ways I quite like the way he appears like this it's a bit like a snowy landscape quite the Bleak kind of snowy environment with Hills in the background but that's not gonna be the end result we're gonna have quite a lot of green coming into this so I'm putting in the ground we're putting in the time I've explained the process exacting backwards and forwards but also maintaining a kind of broken rough look to it as well I'm just gonna get on with these and then we'll pick back what once they're done a few more of them [Music] [Music] [Music] I can be quite happy to just fill in some areas where I'm gonna get very dense but the trees there's gonna be next to no like links through in some of the areas it's not a problem you're gonna make it that bit darker again it's just the background this isn't the finished look I do intend to do more tutorials I've been a little bit delayed in my intentions to do this because I'm currently in the process of moving house and renovating a house so it's an enormous amount of work and in all honesty my life is in quite a lot of chaos at the moment it is my intention to do some more detail kind of tutorials where I really focus perhaps on a tree elements or a rock element or a texture element and look at those in more detail but I haven't had time to do much of that yet but that is certainly my intention moving forward [Music] [Music] [Music] okay like I said that's quite rough but doesn't matter because I'm gonna create another layer now and I'm going to go to my darkest green call us and I'm going to use that just turn the size of the brush up a little bit and I'm getting used up so just to start to bulk out some of the areas to create just some denser foliage in some bits because those initial dark lines are great for a starting point but they're completely black there's no sense of color or depth in them so by going over this now with some of that green just keeping quite patchy again moving with the general form but I can bulk it out make out little denser here and there I'm not going to bother with the bottom areas just yex are probably going to have some real foreground shorter tree elements there to cover that over anyway so I'm going to concentrate some of this really near the top parts of the tree so just starting to add more blobs of this green just to give it a little bit more variety of color to begin with this is still the darkest tones we're going to keep working back over this with a variety of lighter greens - you need to just start to build in your texture of color so again it's not on full opacity so we're getting a combination of the black and a green and emerging together here so you get the double impact of both of those it's okay to close down some of the gaps there [Music] I'm just moving across these started on the top elements be a smaller blobs but maybe I can just create a slightly diluted version of that green just going over these and more of a kind of scribbling [Music] okay so I've done that green I'm going to create another layer I prefer to keep them separate as layers then I can really just change one element set a time so I'm going to the next green long and I'm going to focus this green perhaps turn the opacity up sighs the brush down a little bit we're just gonna focus more of this green towards the edge of the trees in fact I'm gonna skip that green I'm gonna move along to the real vibrant green here can always go back and add some of those subtle greens blues just not having the the powerful impact that I would have anticipated at this stage I'm going to reserve this for some of the edges of this tree I remember I've mainly got the sunlight coming from this side so I'm going to show up a big impact of the light on this side of the trees he's gonna probably appear on both to an extent a little bit more on this side of the all the trees I'm keeping it quite broken' again maybe this one base that the end of the branches you can just see some texture on the Walton lights impacting on the end of those maybe there's some areas where all this green close to the sides of the brush up and the opacity down maybe it starts to cluster together a little bit more bear in mind I've got even lighter greens that and go over this food [Music] again so I'm just going to reserve some of this green for this edge of the tree just to add some highlights on to this as part of it a little bit cross the center or more of a concentration on that half of the tree [Music] so all the other elements that have added so far are still there but I'm adding some foreground elements so all the branches the foliage that goes in front of it over the top now he's now pushing it back a little bit and sort of having more focus on these parts of the tree so creates a real sense there's lots of stuff going on there within the tree can even add some more trees some shorter ones and here now within this section so again I'm going to concentrate the lights on more one edge or around the edges of that tree maybe a little bit in the center so if I create another one here I'm going to concentrate on that half of it a little bit on that side maybe just a few broken shapes in the center there as well so I'll do like a maybe a middle sized one here to any capacity up a little bit so you can really see this there's some broken sort of texture here running along the side of that tree a little bit less on the other side maybe just perhaps it encroaches across the middle section to here and there [Music] [Music] now I do have some even lighter green so I'm gonna use those I need to turn the opacity down a little bit because this is really gonna be quite bright so I can use this now just a bit more sparingly along the edges of some of these just a real pick out a sense that it's really illuminating that kind of edge of that tree so you need to use this a little bit more sparingly you don't just want to cover over the greens that you've already created so it's not going in exactly the same areas if you use it a little bit more broken than the other greens that you've already put again gonna come back to that I'm going to create another layer mainly because I want to start adding some of the land here before I move on to any other elements I'm gonna go back to one of my dark greens here and I'm just going to use this to start to piece in a sense of some greenery here at the bottom as well in fact instead of that green I'm going to go even darker because I don't like my color go for the very darkest green I think that'd be a better color at this stage turn the opacity up in fact I'm going to put this layer underneath the trees even so it goes underneath the trees and again I'm going to use this dark green just to build out some of the land here where the trees are actually stood [Music] and I'm going to move along to my other colors and I'm going to start creating some Tufts maybe some bands across here turn the opacity of it down create some grassy areas here some broken sort of Tufts round shapes that's great as I gonna put it on top because that was okay for the background but there are some details now that I want to bring forwards so for example I might want to do some mounds of grass in this area so again I'm going to new to some my other colors here so I've got a kind of almost a kind of yellowy green add some different kind of tones into the mix here almost like straw like colors maybe some grass that is a little bit more dried out it's maybe just a few sort of strands and suggestions for things sticking up at the top they're just breaking in a kind of awkward movement you're not seeing individual blades of grass so much that's just the general movement of your brush brush Marx's is going in the direction of the subject matter itself gives the impression rather than individual blades of grass he's my real vibrant green here add some more elements so the sunlight is coming in from here maybe it's going to illuminate this sectional bit more because it's got greater access to it fewer trees [Music] while this stage I'm going to do isn't going to merge all the layers I can three fingers down cut the layer copy then go back on my layers to finger backwards opens up on my layers again three fingers down paste and what have pasted on top is a condensed version of everything so if I move that around now you can see I can move all of the condensed layers but at the same time I've still got all the other layers they're free so I'm going to do with that layer is I'm going to click on here I'm going to flip it vertically just zoom out a little bit so you can see it I'm going to go down I'm going to have a go out creating the reflected seam now I've got to put it about there in fact before I do that I'm going to try that again I'm going to reduce it down I've have to zoom out here so you can see the full kind of thing that I'm doing I'm going to squash it down slightly what tends to happen is you get a slightly condensed version of your reflection then you do at the top half so I've squished it together a little bit like that so there's some bits of that that I'm not very happy with so I'll just go and delete the little bits that don't quite work so I'm reducing back some of those elements like so and to be honest for the whole of that layer I'm going to create a bit of a blur this I've got on Gaussian blur I'm going to if you can see just blur it out a little bit not too much I just want it to appear slightly less it crystal clear in and focus what I'm going to do is create another layer I'm going to use the colors I've got here at the end on this new layer with my medium brush I want to create a little bit of a separation between the reflection and the actual land so I want to create a little bit of not quite a sandbank but certainly a little bit of the land at the edge of the water here [Music] that's I can then go back to my darkest green maybe just fine-tune some of this bottom of the lungs just so it meets that a little bit more than the edge as well I'm so on the grass to go right in the water there as well I could just use this to fine tune it's a little bit decide which bits are want to be right on the water's edge there but want to subdue the reflection a little bit than I can to go over that make it a little less bright so another thing you're going to do to that reflection it isn't going to go into my smudge tool but instead of using the soft airbrush I've gone to the turpentine brush here and I'm going to just play around with the size of the brush and the opacity of it and I'm going to use some large sweeping motions they want pretty much straight lines to go across and I'm just disturbing that water one quite a salt a little bit more of a grainy texture to this anyway more lines than just the normal softer brush I can reduce the size of the brush turn the opacity up or want to break it up even more [Music] if you want to create a sense that this the ripples are closer to here you can leave a slightly bigger gap and that is to get towards the top you're really going to get a complete sort of breaking down of that texture here the extent to which you do this is entirely up to you you wanted to go back over it and use some of the colors so if you wanted some of that green you could easily then just go back into that and just exaggerate some of the green in some of these areas just to bring out some of those details back in if you wanted but it gives you a good starting point to start thinking about the break and the texture that's in D the water there [Music] and what you might also want to do is there's going to be some sort of ripples and things that might just be not typically a straight reflection there might just be some bands where it ripples in a different way and catches the light a little bit more so I'm just using this soft airbrush just using some kind of dashes to break it up a little bit more again if you wanted to use the darker color - you know it works both ways so you could introduce some more for blacks of tones into certain details in certain areas just as much as you can the lighter colors have it interrupt a little bit more so really it's kind of a reflection of the colors here but if you wanted to break into that a little bit more and you can do equally with a little dark and light tones so in terms of the cloud I didn't add this color before but i've got a gray now that I've added too but I'm also gonna use the white so I'm going to use predominantly the white not going to go too into detail with the cloud I just want to add a suggestion of clouds here and there but not much but maybe just some Tufts coming into the sky here a little bit here and there but fundamentally it's quite a clear day I think in this particular scene [Music] then in terms of the gray I'm really going to need a pasty down for this I don't want to over kill a gray at all I don't want a lot and make them look like storm clouds I'm just going to add just a hint that there might be some master these and they have a slight leak in a shadowed area but not too much now some of my other to toss I spend a bit longer on the clouds but I just wanted to give us life not have a totally empty sky here so this is by no means the most complex clouds that I've ever done and I certainly don't even more complex ones on my other tutorials is worth looking through my playlists if you want better examples of how I can do clouds of how I've shown you how to do clouds I should say [Music] today go I'm not even going to feature them really on the reflection at all I could carry on fine-tuning this and certainly if it was something that I was going to present as a finished piece of work I mean it kind of is a finished piece of work but you know I'm saying if I was going to hang out on the wall or was going to present it as my best example work I would spend longer fine-tuning in these details so if you're following this example I hope that it helps give you a sense of the overall structure and it's enabled you to think you can do this a little bit more effect effectively than you could before you've just learned one or two techniques then you can apply to your own painting spend as many hours as you want fine-tuning those all-important little details and I hope this has been useful please do check out my other playlists take a wander over to my patreon page if you fancy that all the links for those kind of things are down in the description do remember to subscribe and come back here I plan to do loads more tutorials like this I already have a lot of tutorials like this and have no intention of stopping thanks very much for watching I shall catch you back here soon see you later [Music] you [Music] you [Music]

Channel: James Julier Art Tutorials

Views: 1,814,910

Rating: 4.9535699 out of 5

Keywords: Ipad painting tutorial, Mountain landscape tutorial, Tree landscape tutorial, Apple Pencil painting tutorial, Procreate painting tutorial, How to paint a landscape, iPad Pro painting demonstration, Apple Pencil 2 Procreate painting, Painting pine tree landscape, Digital landscape painting tutorial, Digital Bob Ross, Bob Ross on ipad, Painting on Ipad made easy, Beginners painting on iPad in Procreate, iPad art tutorial step by step

Id: XwByi3_RM5I

Length: 33min 33sec (2013 seconds)

Published: Sun Aug 04 2019