Creating a Leaf Nozzle

The steps used to create the new Leaf nozzle are the same as those used to create the Tree Trunk nozzle earlier in the chapter. If you need detailed instructions, please refer to that section.

To create a Leaf nozzle based on the Leaf brush, follow these steps:

1. Create a new image. Something about 400x400 pixels is large enough.

2. In the new image, create about 10 new layers. The actual number is not critical as long as there are enough layers to produce a random-looking brush stroke.

3. Starting on the top layer, paint some leaves using the new leaves brush. The color of the leaves does not really matter for this particular nozzle, but since these are leaves, green is as good a color as any other.

118 4. Hide the layer and move down to the next.

Hiding each layer is only a matter of convenience and helps us keep track of

H which layer we are painting on and what we are painting on it. The more layers we use

GA in a nozzle, the more helpful it will be to hide each layer as we finish painting on it. E I The layers shouldn't have too many leaves. Some layers may have only one or

H T two leaves.

h 5. Continue painting, hiding, and moving down to the next layer until all 10 layers H have leaves on them. Don't paint leaves on the background.

3 6. Unhide all the layers.

Y F 7. Select and group all the layers. The instructions are the same as described ear-TA lier when making the Tree nozzle.

£ 8. From the Nozzle palette, select Make Nozzle From Group.

g 9. Save the file as Leaves nozzle in the native Painter RIF format.

NI Now that we've created the Leaf brush and a new Leaves nozzle, it is time to

^ add some foliage to the trees.

« Adding Foliage to the Trees o e Hiding all Tree layers except for the one we are using makes it easier to see how u thickly we are painting the leaves. As we finish each layer of leaves, we'll unhide the next Tree Trunk layer.

1. Hide all the Tree Trunk layers except the farthest one.

2. Start with the farthest line of trees and create a new layer above the background layer that is on top of the tree trunks.

3. Activate the secondary color on the Colors palette by clicking on the secondary color. A thicker outline indicates that the secondary color is selected.

Use the color picker and select a color from the trunks of the farthest trees. The secondary color updates to reflect the color selected.

Pick the Leaf Painter variant of the Image Hose brush category. The brush is available in the Book Brushes category.

Note: This variant is available in the downloadable set of brushes associated with this book.

6. Set the Grain amount in the Brush Options bar at the top of the working space to 0%. This setting causes the Image Hose to paint with the secondary color without regard to the original colors in the Image Hose.

7. Set the size of the brush so the leaves are painted an appropriate size compared to the tree trunks.

8. Paint bunches of leaves on the tops of the distant trees. Make sure to do this on the new layer in case you need to make changes.

The number of leaves you paint is completely up to you. The image will now look something like Figure 4.23.

9. Unhide the next layer of tree trunks, and create a new layer above them.

10. Resize the Leaf Painter brush so the leaves are painted a bit larger than the far background ones.

Figure 4.23 The farthest leaves are painted on the tops of the tree trunks in the distant background.

As the tree trunks get closer, you will see some variation between the light and dark colors in the trunks. Set the secondary color to the darker of the colors in the tree using the color picker, and paint leaves in the new layer on top of the second row of tree trunks.

Select the lighter color in the tree trunks, and paint some lighter leaves on top of the darker ones. You may want to make several additional selections from the tree trunks and paint more leaves with those colors. Use the same technique with the third and fourth rows of trees (Figure 4.24).

Rows Trees
Figure 4.24 Leaves are painted on each row of trees.

Now we'll finish the last two rows of trees. The painting now has a sense of depth and is quite detailed. And we've done all this using only a few initial images.

Unhide the foreground tree trunks. Create a new layer for the leaves.

Pick the colors for the leaves from the tree trunks, and paint the forest canopy (Figure 4.25).

When you've finished painting all the leaves, click the foreground color to make it active.

Forest Fantasy Outline Paintings
Figure 4.25 The foreground canopy of the forest is painted in using colors selected from the tree trunks. o

Painting Undergrowth and Shrubs on the Hills T

The trees themselves are looking good, but the hills are looking a bit sparse. We need H

to add some undergrowth to each of the Hill layers as they recede into the distance. T

Fortunately, painting the undergrowth is no more difficult than painting the trees and ES


Once again, work from the background of the painting toward the foreground as when you painted the leaves. Hide the Tree layers, and reveal them as you work forward. You do not need to hide the Hill layers, though, as the ground cover is painted.

1. Create a new layer above the Background Hill layer.

2. Select the color of the Background Hill layer. Then select the Brush tool and pick the Graphic Paintbrush Soft variant from the F-X brush category and paint some rough bushy shapes on the new layer over the Far Hill layer (Figure 4.26).

Now we'll move on to the next hill.

3. Create a new layer above the second hill.

4. Use the Grass Painter brush with one of the grass paper textures to paint grassy shapes on the new layer above the second hill.

5. Switch to Dons GFX Paint brush and, using a pattern that is similar to the paper texture in the previous step, paint a series of grassy shapes along the top of the second hill.

Painter Brush Variants

Figure 4.26 The distant hill is covered with undergrowth using the Graphic Paintbrush Soft variant.

Figure 4.26 The distant hill is covered with undergrowth using the Graphic Paintbrush Soft variant.

Two of the hills are complete, with one hill left. The painting is looking more and more like a fantasy forest.

6. Continue painting the undergrowth on the foreground hill using the same technique used for the second hill. In the front hill, vary the color more than in the further ones (Figure 4.27). As objects move closer to the viewer in the landscape, their colors are clearer and easier to distinguish.

Figure 4.27 The undergrowth in the foreground is painted using more variety in the color.

Our final touch to the forest undergrowth is to add a few shrubs.

7. Create one more new layer on top of all the other layers.

8. Use the Leaf Painter Image Hose brush and the Leaves nozzle to paint some shrubbery in the front of the scene (Figure 4.28).

The colors of the closest leaves should be brighter than any of the other leaves in the image.

Figure 4.28 Shrubbery has been added to the front of the forest.

For all intents and purposes, we could consider the painting of the forest as finished now, but adding a few additional creative touches can take a rather ordinary finished painting and elevate it to a new level. The next section covers a few finishing touches that we can add to the forest to make the image more interesting.

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Freehand Sketching An Introduction

Freehand Sketching An Introduction

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  • Massawa
    How to paint a canopy of trees?
    8 years ago
  • Sharon
    How to use leaf nozzles?
    4 years ago

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