Presentation
Welcome back. It's almost the end of the year and in some parts of the world, the colors are starting to turn white, and there's nothing better than trying to recreate these beautiful landscapes. In this tutorial I'll show you the steps I followed to paint one of these snowy landscapes. Without further ado...
Let's get started!! (o･ω･o)
1. Snowy landscape
The basis of snowy landscapes is snow, but there is no need to worry, painting it is not that complicated.
(A) Sketch - Composition
Composition is the way we distribute the elements that make up the subject of the illustration. It is a means based on compositional schemes and laws through which we can tell a story, making it visually striking, captivating and dynamic. The laws of composition are not absolute, but they are certainly a good universal reference that will allow us to transmit emotions, ideas and dreams.
In the following Tips I explain in greater detail different compositions that I will not explain here, in case you want to take a look:
- MIRROR COMPOSITION -
Illustrations of this type often break the first rule about the horizon in the first third of the height. By placing it in the center of the canvas, in many cases, the symmetry is highlighted with a corresponding element in the other half, since both halves of the illustration, the upper and the lower, are very similar, that makes it visually attractive.
This is what I will do, my central object will be a series of mountains that I will place a little higher than the center.
- DEPTH OF SIZE -
Using different sizes helps us focus an illustration. Small, medium, and large shapes are parameters we use to know how close or far away an object is. The largest things are the ones that are closest and the small ones are in the distance.
Let's see that the pine trees closest to the viewer are visually larger than the mountains themselves.
- BALANCE -
Symmetrical: This is a balanced type of composition that is pleasing to the eye, gives tranquility, but is boring. If we were to divide our canvas into two equal parts, we would have to distribute the elements in such a way that both sides have the same weight. In addition, we must respect the empty spaces so that the illustration can breathe.
In the case of this illustration, if there are pine trees on one side, there are also a few on the other to balance both sides.
- SKETCH -
This is the final sketch; I put some details in the snow so that it is not empty. Done, now let's see how to add color.
(B) The colors
Colours go hand in hand with the atmosphere and that atmosphere usually has its origin in the colours of the sky in relation to the time of day. In landscapes I start by painting the sky. A very important step, although I change them later.
- THE SKY -
The magic of painting a beautiful sky is the gradients. The trick to get a realistic sky is to divide it into three sections or in another case into two, or two if there is not much light in the scene. In the first section, the upper one, will be the darkest (1), the middle will be the medium tone (2) and finally the light colour (3).
Depending on the time of day, the colours that will dominate the scene will be different.
► Sunrise: At sunrise you can see the typical blue colour of the sky combined with warm colours: pink and yellow.
► Midday: During the afternoon, a more saturated blue is achieved than that found at dawn, here there is not much variation between blue and other colors.
► Sunset: At sunset, the sky changes to an orange color combined with a blue that tends to orange. Pink colors can also be included.
► Dusk: At dusk, a deep blue with little luminosity dominates.
► Stormy days: Days with rain or snow have the peculiarity of having a gray sky.
- THE SNOWY SKY -
Going back to the main illustration, I sketched it in layers and to better manage them, the first thing I did was create a folder, then select all the layers of the sketch and move them inside it.
Note: If you are using the tablet version, to move the layers you must use the two parallel lines that are in each layer on the right side of it.
Now, you have to select the folder and lower the opacity to a level that does not disturb the sketch and allows us to paint on other layers without problems.
Now, to apply the color of the sky, the easiest way is to use gradients. To create one is simple:
➀ We will go to the gradients icon in the toolbar.
➁ In the subtools window we will choose a default gradient. If we hold it down (or right-click on it for PC) a floating menu will appear.
➂ In this menu we will choose the option «Duplicate subtool».
➃ A window will appear where we can choose the name of this new gradient.
To change the color of this, we must first choose the color on the color wheel (1) and then click on the small icons above the gradient preview in the "Tool Properties" window (2)**. Do this with each one.
To delete one, just open the gradient menu and choose the option: Advanced settings > Delete.
Once created, to apply it you have to choose a starting point and move the second point in the direction you want it. All of this on a new layer below the sketch.
Okay, let's move on to the next point. A little further on, change this gradient for another one.
(C) The mountains
As for the mountains, first, we start by understanding that rocks are in themselves a geometric shape, they can be rectangles or triangles grouped together. Once we have their shape, we erode the edges making them irregular.
The second step is to generate the volume; imagine it as a cube, one side of the face will give better light than the other. To give the mountain a three-dimensional shape, it must be divided in two in a non-linear way, with a certain curvature, and a series of cracks must be made on both faces that will follow the direction of the curvatures. Finally, we decide the direction of the light.
- SNOWY MOUNTAINS -
To add the color we take three shades, the base color, the light and the shadow. With the light color we paint triangular and irregular shapes in the direction of the slope of the mountain and, on the contrary, we have to make the same shapes with the shadow, thus simulating the two sides of a mountain.
To paint the base of the mountains I use the «Selection» tool in its «Lasso» variant. I mark the outline of the mountains carefully.
Now, I select the base color (1). To fill them quickly and easily we can use the paint bucket found in the floating menu of the selection tool (2).
Using a hard brush stroke I better marked the irregularities of the mountain crust.
Using a textured brush like the Gouache brushes, I painted the relief of the mountain. This has to be done, as explained at the beginning, in two parts, one facing the light and the other in shadow. These reliefs are not uniform, they leave empty spaces in various places, but small ones.
I painted all these effects on a new layer above the base color. In order not to go outside the structure, it is advisable to use the function «Adjust to lower layer» which is found in the layer window menu.
To simulate the snow on the mountain I will do it by painting some spots with pure white on the faces of the mountain that face the light.
Using the same Gouache brush and selecting the color of the snow, use some lines in the shadow area to paint along the mountain slope.
I blurred these lines with the “Color Blend” brush found in the “Blend” section of the toolbar. All this in order to begin to blend the mountains with the ground.
- THE ATMOSPHERE -
Another element that we must take into consideration is that in landscapes (although also with any background), the objects that are in the farthest part will have a color or colors that correspond to the atmosphere.
Atmospheric perspective indicates how an object moves away from the viewer, as it moves away we see this object with reduced clarity, value and saturation. Distant objects seem to have a cooler temperature. The foreground colors are very saturated or dark, while those that remain in the background lose saturation and become lighter and begin to get lost in the environment. For this reason the mountains in the background blend beautifully with the sky.
Another effect of the atmosphere is the fog that covers distant elements, such as mountains, trees, etc. The color of this fog must be in accordance with the atmosphere.
To simulate this depth effect I did it with the «Soft Airbrush» brush and selecting the color of the snow in the shadows, I painted the mountainside without marking the color too much, then blurred it a little with the «Blur» brush. Finally, I lowered the opacity of the layer a little.
I have to say that at this point I decided to change the background color and the base color of the mountain to a light blue. The result is like this:
(D) The pines
To paint the pine trees, use a specialized brush that you download from the Clip Studio Asset materials.
I used it in the following way: First I set the brush to a size corresponding to the depth level, in this case, being in the background it is a small scale. Then, I painted the pines following the sketch. I erased the parts that were sticking out, so that the base was even on each of them.
- ATMOSPHERIC PERSPECTIVE -
Atmospheric perspective indicates how an object moves away from the viewer. When it moves away, we see this object with reduced clarity, value, and saturation. For this reason, the color of the pine trees in the foreground are very saturated and dark, while those in the background lose saturation, so we should see them with reduced clarity, value, and saturation.
The brush with which I made these pine trees will paint each one of them black regardless of the color I have selected, but to paint them in another color you have to activate the option «Lock transparent brushes» and then paint over them with a brush.
Finally, to apply the typical haze of distant elements we will use the same airbrush method explained before.
The same is true for the pines in the middle plane, except that I created a new layer and activated the «Snap to lower layer» function so I could paint over them without going outside their contour. Using a bluish-grey colour, I painted over the branches to simulate snow on them.
- BRANCHES -
In the snow-covered moors we will find branches of plants that perished due to the cold of the snow. It is a small detail that adds realism.
(E) The snow
Painting snow is very simple, to paint it you have to take into account two points:
➀ The first point to take into consideration is the texture, the best way to paint snow is with a textured brush like a Gouache style brush, but you can also make reliefs between one color and another with any other brush. But this only happens between color changes, the rest of the snow has a flat texture.
To simulate this texture you have to make strokes following a diagonal or horizontal direction. Also, placing small points of light in the shadow simulates snowflakes.
A couple of tools we can use to enhance the texture of diagonal or horizontal brush strokes are:
(A) Liquify: This is located in the Tools window.
(B) Fingertip: Located in the Tools window > Blend > Fingertip.
➁ Snow is not always white and grey. It absorbs the colours around it. For example, to paint this snow what I did was use a blue colour as the one that dominates the general illustration for the snow that is in shadows and for the one that is illuminated with pure white.
At this point I added the pine trees and some rocks in the snow, so that it is not empty.
(F) The clouds
We can simplify the shape of the clouds with a series of circles piled up against each other, but not all of the same size, some huge, others small. Let the contrast of shapes be visible. After the shape, we paint the base color.
Then we will choose the direction of the light, in this case, the light comes from above, so the lower part of the cloud will be darker, and successively upwards the colors will become lighter. Finally, we gently highlight with colors the shape of the circles we made at the beginning, but these have to be in some parts showing a fusion between two or more adjacent circles.
An important aspect of clouds is that they are a gas, so the edges are often blurred, with colors that blend into the environment.
To paint the clouds more easily, what I did was use a specific brush for them that I downloaded from the Clip Studio Asset, specifically this one:
(G) Reflections in the water
Reflections in a specific area are easy, let's see how:
➀ You have to group all the elements you want to reflect in a single layer.
➁ The layer that will be created must be inverted vertically. Using the «Transform (CTRL plus T)» tool. The option to invert is found in the «Tool Properties» window.
➂ The next thing is to keep the «CTRL» key active while selecting the thumbnail of the layer where the lake is painted (it is necessary to have the desired area completely painted in some color). This will select the outline of it. After the selection is already established, deactivate the «CTRL»» key.
➃ We will go to the floating menu of the selection tool and activate the «Invert selection»» option.
➄ Now, we will select the inverted layer.
➅ Finally, we activate the «Layer Mask» function in the «Layer» window menu. Ready, now we have the reflection only in the selected area.
On a layer above I marked the depth of the edge of the lake following the edge of the lake with a dark blue color.
Finally, with the «Liquify» tool we will make ripples from left to right. This helps to simulate the undulation of water.
- TEXTURE -
I really like adding textures, and this one is no exception. To do so, I do the following:
➀ I go to the following path: Material> Monochromatic pattern> Texture.
➁ Once there, I drag the texture that I like the most.
➂ Now, in the «Layer properties» window, we will go to the «Effects» section and activate the «Overlay texture» option.
➃ Finally, I modulate its intensity, this is done with the «Strength» sliding bar.
- RESULT -
2. Snowy landscape
Now let's learn more concepts about snow through another example with a different state of the day.
(A) Sketch - Composition
- RULE OF THIRDS -
The rule of thirds is based on the golden rule, the golden ratio, but it is easier to use. This rule states that regardless of the size of the canvas we can divide it into two thirds of the vertical and horizontal; these intersections create four points, at these points it is more pleasant to place our focal point.
This type of composition will help me determine what is the best position for the tree and which points it is better for the steps to pass through so that they look aesthetically better.
(B) The sky
I start by setting the base colors with the selection tool as I did in the previous landscape. In this case, I didn't make the sky with the gradient tool, but I painted the whole layer.
Use a hard brush to paint the darkest part and then blend it with the «Color Blending» brush.
(C) The snow
To mark the texture I used a dark blue color and a brush with Gouache texture, giving diagonal brush strokes, especially on the edges.
Once again, using the “Color Blend” brush, I blended the color.
- SNOWFLAKES -
Snowflakes have a characteristic of being able to shine, this is because they are geometric structures that reflect the light that hits them. Let's see how to make them. First I use the «Spray» brush found in the section: Brush > Airbrush. I paint with this over the snow with the same color of the snow on a new layer.
Now, I change the blending mode of this layer from «Normal» to «Add (glow)».
The next step is to duplicate the layer by holding it down and then choosing the corresponding option «Duplicate layer» from the menu.
Finally, I applied a Gaussian blur to the duplicated layer. To do this, go to the following path: Filter > Blur > Gaussian Blur. Done.
(D) The trees
Adding snow to trees is easy, you first need to establish the shape of the trunk and the corresponding branches. When doing so we must remember that these structures are not straight, but curved. If making these types of shapes is difficult you can always resort to the assets of Clip Studio Assets.
For example, the trees below are made thanks to this brush:
The second step is to add the snow, and when doing so we must take the following considerations into account:
➀ Snow mostly accumulates at the joints of the branches (those that form a «V»).
➁ The trunks acquire a whitish tiger-like color from the snow.
➂ Snow accumulates at the base of the trunk, but the degree of accumulation goes hand in hand with the amount of snow in the scene.
To paint the snow on the trunk, just choose the corresponding color and activate the blending function «Lock transparent pixels». To paint the accumulated snow, any textured brush is good, but I use this one:
For this type of scene with bright, clear skies, a light-dark contrast is essential. In this type of contrast, luminosity is lost when black is added, and lightness is gained when white is added. The best example is the contrast between black and white, although we can achieve the same with other color combinations.
(E) Projected shadow
To create a projected shadow, do the following:
➀ Duplicate the tree layer.
➁ Activate the «Transform» tool. This can be done with «CTRL plus T» or in the following path: Edit > Transform.
➂ Once the previous tool is activated, in the «Tool Properties» window there are two options: «Flip Horizontally» and «Flip Vertically». These are the options that allow us to reflect the shadow of the tree. The icons clearly show what type of rotation each one does.
➃ Make sure that the base of the shadow matches the base of the original tree.
To better fit the shadow to the perspective of the hill, you can use the different transformation tools found in the "Tool Properties" window when the transform function is active. Another option would be to activate these options from the path: Edit > Transform > Choose from the available options.
You need to lock the mirrored layer with «Lock Transparent Pixels» and start painting with a brush. The color I will use will be a saturated blue.
To ensure that the color does not remain static throughout all the branches, I will create a gradient using a light blue tone at the tip of the branches, which I will then blend with the color blending tool.
- RAY OF LIGHT -
Last but not least, there is an ambient effect that will give a plus to landscapes, that is, the rays of the sun. When the light hits the skin or any other object, a border of saturated light is generated between the shadow and the light. To achieve this effect, do the following:
➀ By clicking on the «CTRL» key while clicking on the layer thumbnail, you can quickly select what it contains.
➁ Once you have selected the content of the layer, go to the third option in the floating menu of the selection tool, which is called «Expand selected area». If you are using the tablet version, at this point you should deactivate the «CTRL» from the side shortcut panel.
➂ In the window that will open we can choose a pixel range that allows us to expand the border of the selection, in my case I chose 1px.
➃ Now, we have to create a layer below the original shadow. Using the selection I will paint on the new layer with a pink color using the snow brush that I showed earlier.
Now it's time to merge both layers, lower their opacity a little and apply a Gaussian blur.
Using the snow brush I outline the edges with the pink color and to erase some areas I use the same brush, but keeping the transparency selected on the color wheel.
- RESULT -
3. Use assets
In the Clip Studio Assets gallery you can find a wide range of materials that you can download for free or for a fee. These materials can be a great help in speeding up the work process. In this section I will show you how I made this winter landscape using Assets materials.
- STORMY WINTER PASSAGE -
For this landscape I started by painting the background. As I explained in a previous section, stormy winter landscapes are usually filled with grey tones. I also painted a small hill where the trees will grow.
The brush I will use will be this one:
It is a brush that has a wide variety of snow-covered trees:
- DEPTH -
I placed each tree on an individual layer, this allows me to modify each element more easily. The composition is as follows:
➀ The trees are arranged in such a way that they look like they are behind each other. At this point it is important to avoid the root of one tree being aligned with the root of another.
- ATMOSPHERE -
To indicate how an object moves away from another and at the same time blends into the background, we will use haze. To apply the typical haze of distant elements I did the following:
➀ First I blocked the transparent pixels with the corresponding function.
➁ Now, using the «Soft Airbrush» brush and selecting the color of the snow, paint each tree. The ones that are further away will be almost whitened, their silhouette is barely perceptible and as they get closer to the foreground it becomes more translucent.
- RAYS OF LIGHT -
To simulate rays of light passing through the trees, paint diagonal lines on a new layer above the snow and below the trees that simulate following the direction of the light with a yellow, almost white color. I changed the blending mode of this layer from «Normal» to «Add». And finally, I blurred the edges of the rays a little. Done.
- RESULT -
- BLIZZARD -
We can also find brushes that simulate falling snow. For example:
Farewell
I hope that what you see here helps you to make your own snowy landscapes. It would be very helpful if you share it and give me a like. Thanks for coming here! See you another time! (⌒‿⌒)
Bye bye.
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