Photoshop Mouse paints a bleak pastoral landscape effect map

In our first painting, we wanted to start this landscape with a basic palette. Ideally, first I start with the background cloud in our example. So I started thinking about the colors I wanted for my image, some cool, warm, hot, or dark.

Final Effect Diagram:

In our first painting, we wanted to start this landscape with a basic palette. Ideally, first I start with the background cloud in our example. So I started thinking about the colors I wanted for my image, some cool, warm, hot, or dark. For this particular image, I want to make it feel a little more warm, something you can discover in the early morning of Arizona (Arizona (USA)) or Texas (Texas). So first I'm going to put down a solid blue and just use it as my starting point. After that, I'll paint some brown, the focus will turn white, and some sharp Brown will remind me where my dark color is going to go. All we can do here is use a short brush, nothing to define it, or it will give a clear picture of the scene. Just hint what will be done below.

Below, we will use a different technique called smudging. In more sense, it's a finger painting technique, but it's just a technique that combines color with still rough, slick edges. In order to complete this technique, you will configure your brush settings, below the picture, I use something like settings.

After you mess with your settings, decide what makes you feel comfortable and then we can move it. Now you can use this hybrid technique to see that this brush is a small, special and savage Brush when it is set on pen pressure. The more you press the brush, the more the color will spread, and spread the color to one side. Think about wind shield wiper effect, this kind of type. I start with the left side of the image and mix the colors first. What you don't want to do, is to quickly go crazy one-time smear everything, don't worry, use it to start exactly.

Here, I started mixing more colors and smearing more places. But what I do is look at these colors and give me the feeling of using a soft brush to get dirty space. With this soft brush, I made myself a few quick brushes to paint the background cloud or just fill in the negative space. You don't want a sky full of blue, but you don't want the sky full of brown. You want a blend of both, so one color doesn't overwhelm the other.

As we progressed, I started with the left, adding brown clouds to the top of this step. After I have painted the clouds in the corner, I will return the brush and set it to pen pressure with the proper and simple brush pen. Here we begin to plug some blue, gray brown and brown near the white spots. In the dirt here and there, most of what I do is just soft graffiti; you don't want a solid cloud barrier, obviously, because the technical cloud is not 100% solid. All I have to do is scribble the back of the line with any stroke and put it to a faded picture. (Remember that the Pen pressure is open).

Now we go back to the mix brush. Up to the right-hand corner, I started mixing these colors, creating more misty clouds, no more thick, hard lines. That's why this brush works pretty well! After that, you can enhance the details of the rest of your cloud, and you have started. You will notice the changes on the left-hand side of the mist above. A dark brown line that will make it more than that before flattening it has more considerable depth.

Next, we will have a bigger jump than before. In this step, there is more painting than mixing. I use the number 9th brush, use the pen pressure and will look at the color falling from the image, will mark the line and the brush on my mist. Some will be light, others will be just the light part of the cloud. When you see, I put some hard blue and blue in the light breaking the sky here. Most of the focus around the dots, I put some baby blue at the top. At the bottom, I blended some of the colors together and added some new colors to this image. These will essentially break the brown part of the outer sky, causing a wall between the clouds and the landscape, which will be painted dark brown at the bottom.

Now we can return this hybrid tool to make the bottom of the cloud a little more. Also, you can start mixing the other colors you add in. Remember, as the distance goes, your colors will become smoother if they hit an image deep in the field. Once you have finished the image you are aiming at, you can begin to touch some clouds. If you already have a brush to make clouds, this is helpful, I have a few, just a drop of any cloud color will give more definition. Use this touch to complete, this is your choice, plus some birds will give the picture lively feeling.

The really simple step is to just use a soft brush, with a little white yellow, set it to overlay (overprint), low transparency and just brush in a few brushes to make your beam.

The mountains here are very simple; I only use the same color as the background, first the obstacles block them. Make sure the graphic doesn't have the same but just mix it a little. As the mountains go far in the background, they reduce the saturation, so remember this step. Once I have mountain barriers in the picture, you can also emphasize them in the sunlight beam, which will be just a little brighter brown or forward. Using a number 4th brush, pen pressure, scribble some light source on them.

Next, you can start to soften more colors, lower this figure and mix them on top of the other clouds. To do this step, I use a soft brush again, open the flow button. When slightly reduced by this transparency 10%, you can really start mixing these hard edges with these few soft brushes. We will also begin to use this step at the bottom of the screen, under the clouds. Most large chunks of dark black go through the bottom. In step 9, they are too hard to drive in the sky, so we need to patch them up and go over the brushes again. As you can see, I have once again decided on the bottom of the mountains, just to keep their form, rather than throw them there. I've already started adding some negative space to the right and the top of the cloud, so don't be greedy to paint the whole image.

Now you can think, ' Wow, where does the bottom come from? ' And I decided to open more images, so it's not just one side of the image, I obviously used some inspiration from Route drive. Before doing that, I drew a half at the bottom of the picture and then used a hard brush to fill my color. To extend my view, I added some photos to the line building on the road; it gave me a very long feeling. In the mist, I want to add some tricks to the clouds. Before doing this, I use a soft brush to set the screen, choose a pretty pale blue to fill the negative space, dirty in the mist, as if the sky pushes itself through. And, the main local focus, the white ones, I added some spots to some of the other colors, because White made me feel too strong.

Now for the material of the road, I created a dark brown material on a new layer that would fit on the road and then set it to Filter/texture/grain. After I got the right material I wanted, I set it up for overlay on the sidewalk. I drew two white lines below the road, like yellow lines in the middle of the road. Using a brush on the overlay, I created some light from the sun to shine on the ground. Once you've finished with it, put all the coats together.

For the final step, I want to fill the color with something very simple on both sides of the ground. So I use the grass brush and I don't use it on any other thing, but it does work. And by setting two kinds of beige, around this area I began to fill my lawn/weed. Then I use this Dodge tool, on this soft brush, to start more prominent sidewalk parts.

Then you can use a brush with a size of 3, create some oil spots on the ground, or use a light color and create a little more light glow points on the ground or on a broken tile. Then complete this tutorial!

Note : More wonderful tutorials Please pay attention to the triple Photoshop tutorial section, triple PS group: 311270890 welcome you to join

Category:

• PS Mouse Painting Tutorial