Let's continue our tree on the hill project. This is what we have from the previous project. From now on, we don't actually need any of these reference photos anymore. As the illustration we'll have a stylized look. If we need to hide them, as we discussed earlier, we can go to the View menu, and then turn off the show reference images option in here. But because you can download the previous file project that still contains these reference images, I will just remove them all to make the file size smaller.
To do that, we can click on the reference images tool and just click on this clear all button. Now all of the reference images are gone. Okay. Next, we need to reduce the sketch opacity so it will not abstracting too much when we add shading colors. Select the sketch group layer and right click in here, type 20 and then enter. Now as we can see, the sketch lines are now less noticeable, but we can still see them.
In this lesson video, we will focus on adding local shadings to our illustration. Now you might be wondering, what is local shading? Well, local shading is just my own term of describing small detail shadings on objects inside our growing in computer graphic term. This type of shading is also known as a whole or ambient occlusion. They are subtle shadows exists in crevices and corners and in areas where objects touching each other. You can see this effect clearly in overcast sky environment where you have uniform soft lights coming from every directions.
This type of light is called ambient light So, again in other words, Indian light is a type of environment light, which uniformly flood fill the entire scene with certain brightness and color, ambient light makes outer surfaces uniformly lit. But in this condition when light rays try to reach small holes or corners or crevices etc, they will bounce around more and lose their energy. That is why we can see subtle shadows on these areas. And that is why also it is named ambient occlusion because they are essentially shadows that exists in areas occluded from the ambient lighting. Now, in our workflow, we don't call this phase as ambient occlusion because we also add different type of shadows into the mix. Essentially, in local shedding face, we are adding small size shadows.
Okay, so let's start adding local shading on Return. For this, we need a new pain layer located on top of the base color layer inside the bark and Cliff group layer. rename the layer to L for local shading and turn on alpha inheritance. So everything we draw in this layer will not go outside the base coloration. And because this is for shadow color, we need to change the blending mode to multiply. Let's switch to outline selection tool.
We want to create shadow in this area because it is like corner area where the trunk and the route meet. Create selection like this. We also want to include the bottom areas as we can consider them also as contacting area. Press B to switch to brush toe and make sure use the airbrush preset. I am using only 50% opacity now and then press D to use black color Now for color, you can use color that match more with the base color, just like we did in the sculpt project previously, but I will just use black for all of the shadow colors to make things faster. And also because later, we can easily change the color of the shadows to any color that we like non destructively.
Just brush like this and add more to make the contact parts darker than the faraway parts. Clear the selection, then we can smear the shadows or just blurry or just blurry it for now. Next is this bark line. Now, just imagine if the light is coming from the top slightly to the right. Where do you think the shadows will be if this line is sinking into the surface? So let's create the selection like this And then brush with sorry, it should be the airbrush, not the blur brush.
Essentially we need to do this for the rest of the back lines. Another example, I think this bark line is more challenging than the previous one. You can see in this area, the selection is not at the same side as the upper one. Use the airbrush preset again. Then use the smear brush to smooth out the shadows Okay guys, essentially the process will be similar for all of the work lines. So I'll just speed up the video for now.
This is perhaps the most laborious process of all the processes in creating this illustration. If you need to know how long the three shedding process took about 25 minutes to finish in the real speed After we are done with the bar lines, let's move on to the rock cliff. The whole process is basically the same with what we did before. Basically, we need to imagine where the light source is create selection and then add shading color with the airbrush presets. And then use either a blur or smear brush to smooth out the colors for your information. The whole process of adding local shading to the Rockliff took about 10 minutes in real speed.
Next, we move on to adding local shadings for the grasses and the leaves. Again, just like before, there are no new techniques to discuss here. So I'm speeding out this part also, the grasses and the Leafs local shedding process took about nine minutes to finish Okay guys, so this is what we have so far. In the next video, we will add global shading to our three illustration