Landscape Digital Painting Tutorial

hello there i really hope that everyone has been keeping safe and well during these mad times that we're going through right now um i'm going to be talking over the process of uh me making this landscape you see here something that i've been meaning to do for quite a long time if you've been following me so uh yeah i'm finally doing it i'll be using photoshop to create this and i'm using a wacom bamboo tablet and this is mostly aimed at a kind of beginner level so if you're curious about how to get started or you're already on your way this will hopefully help you out so in my day job as a concept artist i have to create pieces like this quite a lot and because of that i have now got a kind of workflow that i try to keep to every time i make a new picture and that workflow is collecting reference sketching out my idea then blocking out the idea adding color and then finally adding detail we'll go through these five steps in this video but firstly let's talk about what brushes i'm going to use so i'm only going to use three brush types for this video if you've watched my previous video before where i talked about some tips for digital painting beginners you would have heard me talk about how even though custom brushes in photoshop can look cool and add a lot to an image it's important not to overly rely on them when you start to draw painting it's very easy to fall into the trap of not actually drawing or painting and instead using custom brushes to mask your shortcomings this is totally not a terrible thing everyone does it at some point i think i definitely did but i think it's important to have a balance between basic brushes and custom brushes that can add a little bit of flair to your workflow i definitely still rely on custard brushes in my everyday work to speed up the process of what i'm doing and that's fine what i'm trying to say is try not to allow custom brushes to lead your process until you feel proficient enough to get the basics down without them you can see from the brushes here that i'm sticking to the basic round and soft brushes and on top of that i'm using one painterly brush and i'll pretty much use this throughout it's probably my favorite brush right now i'll put a link to these brushes in the description below so let's actually start that workflow process that i mentioned before here's a bunch of reference photos i gathered before i started painting in my head the painting i wanted to make was a big epic fantasy landscape with green fields and some dramatic lighting pretty much the same thing i accidentally paint all the time it seems to give me some inspiration and direction for this i covered up these photos you can see here i was trying to look for some big dramatic mountain scapes maybe some oceans and maybe some huge cumulonimbus clouds that's hard to say essentially this stage is about bringing together a reference that can help you learn what your chosen subject really looks like you are studying a subject and then applying this to your work when painting landscapes shape and form is a really important thing to study and finding the right reference for this can really sell the believability of your scene that doesn't necessarily mean painting something exactly as you see it but it's about applying and being inspired by things like lighting color and composition for example these clouds here have that huge quality but also have a cool bright edge that can really make an image pop again this patch of dramatic lighting is a really cool way of creating a focal point essentially it's a cool way of making people look at something finally i really liked the vertical shape of these rocks and thought they would be an interesting structure for my own painting it doesn't matter if by the end your painting looks incredibly different to your reference and you don't always have to use reference either but by doing so you will usually end up with a stronger piece of work as you have studied what your subject matter actually looks like if anyone says to you to never use reference though unfortunately they're wrong this probably comes from a misunderstanding of what using reference actually means if you don't learn to look at things that you are trying to paint whether that's human anatomy landscapes or you know whatever how are you going to create an effective piece it is like bonkers to think that us as humans can retain enough knowledge to paint and draw stuff from memory without first putting that knowledge in our brains first but anyway run over about that shall we actually draw something so when i start a new sketch for a landscape i always try and find out where i want the horizon line to be first you might also call this the eye level as well this line is typically where the sky meets the land or the ocean but it can also be applied for interior shots as well say like you're looking uh and standing in a room you can usually find where the eye level is as it's kind of where you're looking forward from where you are when sketching landscapes like this the placement of the horizon line is the best place to start to show exactly what you are going to be sketching it's important to start of a horizon line as this gives you a marker of the viewer's height and viewpoint in the scene essentially the lower the horizon line on your canvas the more your viewer can see of the sky most importantly though the lower the horizon line on your canvas the more the viewer will be looking up what you sketch will have to be drawn in such a way to show that your viewpoint is coming from below opposite to that if you place the horizon line very high on the canvas the more of the ground landscape or whatever you will be showing and the more the viewer will be looking down at the scene what you sketch will have to be drawn to show that too essentially we are drawing the scene from our perspective this is kind of a basic idea of perspective and even though i won't be going into too much detail about perspective here i really do recommend looking into some basic perspective tutorials to really get your head around the idea of sketching three-dimensional objects on a 2d plane the scene i'm starting to sketch now has the horizon low on the canvas i want to show the scale of huge mountains in the distance and i want them to give the impression that they are imposing and massive and huge and that we are looking up at them also i'm gonna do a quick detour quickly here the resolution or size of this canvas i'm starting on is something about 4000 pixels wide by 1600 pixels height i think it was something like that um i'm not really that concerned about using a specific size or dimensions apart from that they should be pretty big this is so i can zoom in at the end of the process to add smaller details i find working on smaller canvas sizes can be really restrictive and things can get really blurry really quickly also if you're starting on a smaller canvas and then need to scale up your image the quality of that image could be affected really really badly and then you might have to do a lot of work of course though if you're asked by a client to do work to a very specific resolution then that's just what you have to do but when i'm doing fun work like this i try to work as big as possible mostly because i always know i'm going to end up zooming in at the end at some point and having that large size really allows you to get in there and get some nitty gritty details done when i start my sketching process here as you can see um i start with some very light and rough lines um i'm always trying to keep things very loose at this stage of the process because it's meant to be fun and i'm just trying to get some really rough initial ideas down um sometimes i do start with blocking in actual shapes and if you've watched any of my other videos you'll probably see that i do that quite a lot but i thought of this i wanted to be more free and i wanted to show the more traditional kind of way of creating a landscape like this at this stage all i'm thinking of is just trying to set out some very basic shapes of the landscape and again just keeping it very very simple at this stage i'm using very rough lines to show the outlines of the big shapes here things like the hills and the mountain sides and i'm really not focusing on any small details at all right now because you know now isn't the time for that and you know as we've seen from the five-step thing we are going to do the details at the end and not now i'm really thinking about sketching mountainous shapes similar to the references that we collected earlier going back and forth and checking my reference and you know taking inspiration from what we had gathered there and also at the same time i'm trying to think about the composition of the piece and placing the foreground the mid-ground and the background in specific places obviously that sounds like quite a lot to be thinking of all at the same time and it is but all this comes with practice and you don't have to rush anything at this stage it's all about trying to find a balance between these big shapes that you're putting down i'm slowly trying to work out what shapes fit where on the canvas and i'm also trying to figure out a focal point with a landscape like this i'm trying to make a focal point out of either a structure or a mountain or a building and i usually choose to place my focal point based on where the golden ratio would sit something that i will get onto in a moment i'm not too worried about doing anything wrong i'm erasing i'm tweaking things i'm moving things around i'm copying and pasting i'm essentially just not being too precious about anything at this stage and i'm not bothered about moving things around and changing what i've already put down as i said this stage is all about exploring and keeping it fun and just just trying to find an idea without worrying too much i mentioned just now about composition and the golden ratio and i'll get onto that now and i'll try to explain it the best that i can there is a debate about using the rule of thirds versus the golden ratio when it comes to painting i'm going to ignore the rule of thirds today and just focus on the golden ratio as that's what i tend to use in my opinions most of the time the golden ratio is a rule of thumb used to find compositions that are pleasing to the eye and it's something that has been found to have been used in art for centuries it's a ratio that we can apply to our paintings to find the best place to arrange the elements in our work this isn't a hard rule we always have to follow but it's something that can help your paintings look more appealing to the audience you may have seen this diagram here and it's usually called the golden rectangle in simplified terms we can apply this diagram to our landscapes to find the best possible places to put areas of interest this is because it sets out proportions and areas that people tend to find pleasing to look at placing interesting elements in and around this area as a basic example we can morph and stretch this diagram to fit our canvas and it will still apply now i'm in no position to start describing the mathematical aspects of the golden ratio and the fibonacci sequence and all that jazz instead here are some examples of how some classical artists may have used this ratio to find pleasing compositions in their paintings [Music] you can see how these artists are placing areas of interest near to or on this intersection or area this painting by turner in particular shows a strong use of the golden ratio the drama of the people in the boat is placed directly in the center of the spiral from this spiral we can then find something called the phi grid by flipping the golden rectangle and drawing along these lines we can make our own grid with this grid it allows us to see where we could place interesting elements in our own patterns in a much simpler way where the lines of the grid intersect this is where the eye-pleasing areas lie and this is where we could place a focal point for example again this grid can be applied to those patents from earlier too this grid is something that i'm using here and you'll see that i've also duplicated it scale it down and placed it on the bottom left and the top right corners too i've done this to try to find more areas of interest again where the lines intersect but still keeping to the aspect ratio that we've set for ourselves already you can ignore that for now though i've circled two areas where i feel i want my focal point to be though and i've based this off the 5 grid i've overlaid the circle in the off center will be my main focal point in the picture and seeing as it's based on the pleasing proportion of the grid it should hopefully look okay this is all very much a thing you need to try for yourself obviously and have fun with and i'll place a link to a fire grid in the description so you can overlay on your own work and experiment with placing focal points in these areas and also this is just one way of finding compositions that can be pleasing to the eye the golden ratio might tend to fit landscapes well but you shouldn't hide away from trying other compositional ideas too so at this stage i'm kind of happy with where the sketch is and i'm happy with the rough composition we've got right now um now we'll try to stick to it from now on um of course there will always be times where you have to tweak your original sketch but it's important that you don't ruin the balance of the original composition that you've already got already for example if you added like another big shape to the landscape um later on in the process it could wreck the composition that you've already got like working for you i'm now going to start blocking in areas of paint on layers underneath my sketch i do get people uh comment on how many layers i do tend to use and definitely in some of my other videos i do go a bit overboard with how many layers i do put down um this is mostly just because i um i'm not really worried about the kind of amount of layers i'm using when i'm doing something fun like this but when i'm doing client work obviously i'm very aware of keeping things organized and very uh streamlined as well i would say don't be worried about using lots of layers if you're doing something for fun and being organized is good but when you're starting out don't be constrained by keeping to a few layers just here and there like um don't worry about just like throwing down a new layer willy-nilly um it's not the worst thing in the world unless of course you've got a computer that's quite slow and obviously this is a personal choice too um you might want to keep everything to two or three or four layers i personally like to just throw layers down like i've said and then merge them all down later on once i'm happy with that area of painting i think as long as you try to keep an idea of the foreground the mid-ground and the background layers and go from there that's a good starting point to structuring your layers and organizing them so this is the part of the painting where i'm trying to hone down the shapes of the landscape um one of the most important things i try to focus on when i'm making a landscape is creating interesting shapes and i think creating an interesting shape language is really key to selling a cool looking landscape i also try to keep things very graphic at this stage too i'm essentially trying to build up shapes of grey or value to slowly build up the overall painting and to start showing depth i'm trying to show the difference between the foreground the mid-ground and the background and i'm only using grayscale because i'm trying to concentrate only on showing value this keeps things simple at this stage and allows me just to focus on refining these shapes from the sketch and also slowly building up form within the shapes also one of the best ways i think to create a convincing landscape is to make sure that it looks readable and this is what this stage is all about i always try to keep things as simple as possible and at this stage of the painting everything should be simple and bold and this helps along with the idea of readability you want people to be able to see the main elements of your landscape from far away so for example if you were looking at a painting on the other side of the room on a wall far away if it was readable enough you'd be able to make out the main elements of it i'm also using big broad brush strokes too um and i would recommend doing the same it's important to still as i've said not get caught up in small details because again we're not doing that right now you'll also notice that i'm using the lasso tool a lot and i'm not sure whether that's lasso or lasso i'm going to say lasso okay this is something i do to really try to keep my shapes clean and graphic i tend to mask out an area and then paint move into that area on top of the shapes that i've already put down again this stage is all about building up shapes very very slowly the shapes of the mountains the shapes of the clouds and anything else that's kind of a big part of the landscape right now you might notice that i'm flipping the image horizontally every so often you can do this too by going to image image rotation flip canvas horizontal i do this because it's a great way to see your painting with fresh eyes by flipping it your eyes will instinctually move to areas that might not be working as well as you originally thought it's a great way to see problems with the composition too as shapes might look really different when they're flipped around um this is a lot like when you might hold up a mirror to a portrait that you're drawing as well to see whether it looks odd or not i do this really often because it's now pretty much a habit and it's part of my workflow i'd recommend trying it yourself when you can to see whether the painting you're working on is actually working as well as you think it is going back to what i'm actually doing at this stage um i've kept each part of this painting on a separate layer here um each being their own block and hopefully you can see that on the right and when i say block i mean like the foreground mountain the big back mountain block the clouds etc not only am i doing this to keep things organized this is the way that i start to paint and build up the forms of the mountains you can see that there are some layers on the right that are connected to the layers below them and these are called clipping masks and these are a great way of retaining the shapes you've put down while also adding detail to them and i'll explain clipper mask quickly now so i'll quickly run through how to make a clipping mask in photoshop now so let's say we've got a base layer here and we want to create a clear mask that is attached to this layer meaning that everything you paint on that layer will only stay within the shape of this base layer i'll show you what i mean so make another layer you right click let me go to create clipping mask and you see now here is now attached to this layer underneath it and what this means is if we change our color is that when we paint it's not going to be like in that layer unless we are over that layer and this is really useful as i've mentioned earlier this is really really useful for when we're creating landscapes like we are right now if we've created a shape of a mountain again like we've said before we can now use a clipping mask to now add planes onto that shape without ruining the overall shape of the mountain you can also lock layers when you're working on them using this here and this will mean that anything you paint now will only be within the pixels that you've already put down on that layer so for example everything i'm painting now is only attaching to this layer i'm painting within the layer i've already put down do so with clipping mass and using the lasso tool i'm building up the form of the mountains the plains of the hills and other parts still using only value or in other words black and white value essentially means how light or dark something is on a scale of white to black when painting landscapes value is important as it helps the readability of the piece as i mentioned a lot earlier it's one of the most important steps to work on in a painting as it sets out the foundation of how we will essentially view a piece and what colors we might eventually use a side note to that though by no means you have to work in the same way that i am here if you feel confident moving straight into using color and a lot of people do instead of using black and white first go for it i use black and white because it helps me to simplify the process in my head and it helps me to find areas of darkness and light within the painting without worrying about getting the colors right too if we set down values that don't necessarily reflect how a landscape might look it can make things look off however one of the best ways to learn about value and about how to apply it to our paintings is to look at our references again here you can see that i turned two of our references from earlier into black and white and by doing this we can start to see the darkest and lightest areas of a landscape and from studying this we can apply these ideas to our painting that we're doing now a good way to really see value or in other words again the areas of dark and light is to squint your eyes so the reference goes a little bit blurry that sounds a little bit odd but i'm sure other people have told you this before too if you try it now you should hopefully start to see all the details becoming blurrier and less prominent you should start to see instead blobs of value of a light and dark instead of the little details that might kind of get in the way of you seeing exactly what's in front of you i'll blur the image now the reason this is useful to us is because by cutting out the details we can start to really learn how landscapes and by extension everything else actually look we can study the darkest and lightest areas of a landscape and then try to replicate them ourselves in our own paintings at this stage of the painting here i'm trying to not put down very light or very dark tones i'm keeping things very much in the middle at this stage i'm trying to keep to a kind of tight value range here and i'm leaving the darkest darks and the lightest lights until later on i do this so i can slowly build up value in layers by gradually zooming in more and building up form i'm trying to slowly add smaller and smaller areas of the lightest lights and smaller and smaller areas of the darkest darks i'm still using the lasso tool to mask out planes and then painting into them painting lighter value onto darker value to make sure i'm choosing the right values again i keep looking back at my reference and you can see here as the mountains are getting further away they are getting lighter and i've tried to replicate this in my painting this is the kind of studying that i meant at the beginning of the video looking at real life and applying it the reason that the mountains in the background start to get lighter is because of a thing called atmospheric perspective as things get further away from us the lighter and sometimes bluer or grayer they get this is mostly because we are essentially looking through more layers of air and humidity and dirt and dust and everything else that's kind of kicked up into the air i'm pretty sure you've seen yourself either in real life or in landscape photography mountains that are very far away in the distance and they will always look a lot more washed out than the mountains closer to us this is a really simple way of showing depth in a painting and it's a really important thing to understand when you are painting landscapes [Music] do [Music] one thing i like to use a lot in photoshop are custom shapes this is essentially a tool that lets you put down your own designs in a stamp like fashion and when creating landscapes like this it can be a really powerful tool to use you can use custom shapes to speed up your workflow by essentially creating elements of your landscapes and then repeating them by placing them down in whatever way you want this could be things like rocks or leaves or mountains and you know anything really you can also paint with them and you can end up creating some quite cool graphic style images if you do that by creating your own design elements and turning them into custom shapes you can start to define a cohesive shape language in your landscape too by using repeating elements you can add character to your environment that is individual to that painting i'll explain the process of creating a custom shape now and hopefully what i'm talking about will become a bit clearer here i'm starting to create a rough silhouette of a set of rocks i'm trying to spend time to make their shape look interesting while also fitting in with the shape i've defined for the main mountain in the background i'm focusing on creating a strong silhouette and it's important when making a custom shape that you keep the edges quite clean it's usually best to create a shape using a brush of no opacity so there aren't any gaps in the shape once i'm happy with the shape i've created i make sure that it's all on its own separate layer to then actually get started making it i press either control click or command click on the layer thumbnail to make a selection of the shape of the layer you should be able to see that you've selected the whole shape that you've now made then with the selection tool active right click on selection and go to make work path then go to edit define custom shape [Music] this will create a custom shape based on the path you have selected at the time now this shape should now be in your custom shapes palette i also wouldn't worry about tolerance there i just put it as one or two and it's usually fine now that we've created a custom shape we can use it in our landscape to help build up areas more quickly with this rock shape i'm making sure to place it in areas where it won't necessarily change the composition but add shape details to the foreground mid-ground and background essentially adding a bit more shape to the shapes that we've already defined i make sure to reduce the size of this rock shape as i place it further back in the painting's depth it's easy when using custom shapes to accidentally ruin the believability of the perspective that you've got going already by placing a huge shape in an area that doesn't really fit that kind of scale in other words if i place a large rock in the foreground i should make sure these then get smaller as they move away from the viewer [Music] [Music] with this cloud i'm painting here i find it's really good to use broad strokes like along with the eraser on broad strokes too to put down clouds that look really big and puffy without looking too detailed and hard using a soft painterly brush like i'm doing here allows for form to build up slowly applying large parts of shadow or brightness and then cutting into it with the eraser i find it's easier if you don't zoom in too much when you're painting clouds and stuff like that and keep it quite zoomed out and far away [Music] do [Music] [Music] next i'll finally start adding in color to the painting this stage is just as much about light as it is about color too when thinking about color it's not as simple just to think green for the hills brown for the rocks you know things like that you have to think about how these objects are being affected by light as well something that is being brightly lit versus something that isn't will look different and have a very varying color to it so it's important to study and look at real life to see how light actually affects our world conversely when thinking about shadows it's better to think that instead of there being no light there's actually just less light remember that light comes from everywhere so even shadows are being lit in one way or another by thinking about these points we'll be able to make much more believable and vibrant landscapes i'm happy with how the lighting is looking now and i think the main focal point is now showing a nice amount of contrast too and it hopefully seems pleasing to the eye at this stage i'm going to start applying colour to the black and white image using a variety of different tools i slowly build up colour while trying to retain the value i've set down as much as possible i make sure to constantly refer back to the black and white sketch that i've done already to make sure i'm not putting down values that go overboard on what i've already done already there's also a cool shortcut i can show you too about how to check your values very easily and simply on photoshop i'll link um a link to that above now it's essentially a shortcut where you can turn the screen black and white while also still painting in color and this is really good for seeing what values you're still putting down i use the reference that we've already gathered to help choose what colors i should be adding into this painting while also adding into my own color scheme style as well when i'm painting something like this my kind of style is a bit more cartoony and not so ultra realistic and i try to be a bit more vibrant than what you might actually see in real life when thinking about color and light we need to think about how regardless if something is directly lit or not it will be affected by some sort of color unless there is absolutely no light at all for example like you're in a pitch black room in a painting like this where it's a lot like a bright summer day the sun sky and bounce light will illuminate the scene just because something isn't in direct sunlight doesn't mean that its shadows will be black that's not how the world actually looks again a good example of this is how the sky whether it's cloudy or stormy or bright blue will resonate a color onto the landscape casting a diffused light into the shadows bounce light is another important thing to think about when starting to apply colour to your work essentially if a part of the landscape is getting hit by a strong light source the colour of this part will start to reflect up and onto the objects around it for example the large bright area of our focal point is being hit by a large amount of direct sunlight as i move forward i'll start to put in areas of warm reds into the mountain next to it the way to think of it is like this you can see in this circled area here that the underside of the rock is being warmly lit from below this is because of the bounced light that is being reflected from the ground the sun is hitting the warm desert color and reflecting it into the shadowy underside [Music] this rock here is in shadow but it's still being lit by the sky and the bounce light from below the sky is softly lighting the rocks here that are facing upwards they're not being hit directly by the sun but they're still being lit with a cool blue color and again all the undersides of this rock formation are being warmly lit from below here's another example you can clearly see a reflection of light on the underside of this rock here from the sun hitting the ground do and finally the cool blue light from the sky is really visible here these areas are in shadow but are still very colorful from only the skylight it's important to be sparing with bounce lights as they don't want to overtake the main source of light that it's being reflected from instead it's good to be very soft with bounce lighting adding in skylight and bounce light is a really simple and quick way to add color vibrancy to your paintings and i tried to do it as much as possible to try to attain a rich color palette i like to use vibrant and cool blue in the shadows pushing that idea of light reflecting from the sky and filling the shadow areas up and i like offsetting this with large warmer areas like in the focal point to create drama [Music] another way i like to create drama in my landscapes is by using half shadows and cloud shadows with my main mountain focal point i've tried to put the top half of it in shadow and the rest of it in light this is something i do a lot in my paintings because i feel it adds a nice sense of scale and drama to the scene by using a half shadow like this i can suggest that there is something far away that is casting a shadow onto this huge mountain you're essentially trying to allude to a bigger world that is outside of the canvas in this case there might be a huge cloud that is causing this fast shadow to be cast or maybe there's a massive structure or mountain that we can't see adding more to the suggested scale of the world if we talk about cloud shadows more too one way to make a boring landscape come to life is to experiment with playing with areas of light and darkness over it by putting in shadows cast by clouds you can add variety to a large landscape that might seem a little bit dull otherwise this is because you are creating an interesting contrast between objects that are lit compared to darker areas near it like i've tried here in this painting i've tried to set out the focal point as a well-lit area but by putting a darker area nearby it creates a sense of drama it also boosts the readability of the piece and makes the focal point stand out i'm not a total expert on all of this so don't take my word as gospel though the way you'll learn about what colours to use and where will come from studying the world around you and actually looking at references these references don't always have to be real world looking at how other artists use color in their work is a great way to understand your own way of applying color the main tool i'm using in this stage is called the color range tool you can find it if you go to select and then down to color range in simple terms the color range tool allows you to make some very specific and clean selections or on the other hand some very erratic and random selections depending on the kind of thing you're going for i use the color range tool to help me mask out and select areas of my painting that i will then add color to it's a way of choosing all the identical pixels in an image at the same time while also giving you the option to increase or decrease the range of pixels that you are selecting this means you can make some very specific selections and you can make sure to only be painting on the areas that you want to i like to paint pretty loosely and i try to avoid zooming in a lot until the very end of the process so by using the color range tool it lets me retain that loose style i've got while also restricting what i'm painting at the same time you can hopefully see how i'm starting to add color to our focal point area by selecting the very light areas i'm making a selection of just that area and i'm starting to build up color within it i'm doing this in the shadow areas too the color range tool picks up areas of value which i can then start adding in color to i'm still using clipping masks here so i can make sure to keep things organized and apart if i make a mistake working on separate layers when applying color also gives you a lot of freedom too when you're also using blending modes i try to use a variety of blending modes to help me build up color things like overlay and hard light are really good at boosting the color vibrancy that you're putting down [Music] i won't go into too much detail about blending modes today but i will hopefully in a future video [Music] [Music] [Music] my do [Music] so do [Music] [Music] [Music] [Music] do [Music] do [Music] [Music] do [Music] do so now we're getting towards the very end of the painting um now is the time to not be afraid to start zooming in and really getting into the small aspects that might make an image pop it's at this stage that i tend to flatten everything down not only does this make my computer run a little faster it also clears my mind of all the other things i had going on at the same time i tried to save a copy of my file before i do this though just in case i want to regain some of the layers i had beforehand it's about now that i start using different methods of building up areas what i like to do is to copy and paste areas i like to make them smaller and then place them around to quickly build up detail without having to paint them it's good to remember that we're using a digital program here and we should use all the tools that are at hand if we want to the idea of painting every single thing by hand is just not necessary when there are ways to speed up your workflow process in my job as a concept artist i have to constantly find ways to make work faster and anything that can make me create work for my clients unless time is going to be a good thing so if you find a shortcut in photoshop that gets a good result use it so from here i'm going to allow the video to play until the end and i honestly really hope that you've found something helpful from this video here i will make um another tutorial video in the future and i will try to cover things in a lot more detail than i have here i know i've definitely uh just touched on subjects um yeah i think hopefully next time i'll go into more detail and specific videos [Music] [Music] [Music] [Music] do [Music] [Music] [Music] [Music] my do [Music] do do [Music] do [Music] [Music] do [Music] my so so [Music] [Music] so [Music] foreign [Music] and again yeah i hope you found this useful and if you have followed along in any way and made a landscape from this i would love to see it um and i'd love to see what you've come up with so i am on twitter and i am on instagram that is just at jordan underscore grammar i'll put it on the screen now um and i will be back soon with some more environment paintings um and if you don't want to miss them be sure to hit subscribe and turn on notifications and i will see you soon you

Channel: Jordan Grimmer

Views: 736,896

Rating: 4.9812593 out of 5

Keywords: art, landscape, concept, design, conceptdesign, tutorial, timelapse, cinema, photoshop, digital, cg, conceptart, environment, 2d, artwork, learning, watch, walkthrough, shape, digitalart, speed, speedpainting, how, to, process, painting, lesson, drawing, sketching, wacom, game art, background, backgrounds, vis dev, video game art, concept design, castle, tablet art, tablet, imaginefx, tablet painting, illustration, production art, artstation, digital color, painter

Id: XHprIlkY8Q4

Length: 61min 6sec (3666 seconds)

Published: Tue Sep 08 2020