So let's create a new layer. Here I'm painting the cracks on a different layer because if I make some mistake or if I need to change something, I can easily add it that. So let's get this cracks happening inside the shadow and outside the shadow portion. Now it's pretty much just repeating the process when painting this cracks like pick the background color, we're still working on the background a little bit. We are still going to create a different light effect for the background 40 area outside the cliffs. So we're probably going to have to adjust this because I'm using the background color to paint the cracks, but this color will not be correct since we are going to change the background color, but this is going to be easy to adjust. You can see now that our bridge is becoming pretty convincing that it's like old, and worn out, and a lot of things happened here and it's cracking. Yes. I'm trying to be like subtle with the cracks but I also want to give the impression that the bridge is fragile. I don't want to give the impression that the cracks or just a correlative. They're there because they are affecting the structure of the bridge. So that's why I'm creating the secondary cracks and the smaller ones. So when you look at that, you'll see this whole thing, this whole structure is condemned or not. You have to cross it if you're a player. Now we can move on to create some of the cracks inside the shadow. This is all part of the set dressing. You remember from our actually first module when I talked about the set dressing of the environment, the elements you can put into your environment to make it more believable, to make it more interesting. So this can be either actual objects such as the pirates chess we use, or the coconut tree we used. But in this case, we're trying to make the set dressing by adding this detail. So this is also very important and you need to think about those. So now I'm creating the tiles and the cracking inside the shadow. Again, I'm using a warm color because all the light which is inside the shadow comes from another source. It's just ambient light which is bouncing back and giving us the impression of being warm. So I'm trying to keep with the logics of light and all these relationships I'm creating. It is going to be much more convincing if I'm able to do that effectively, just a little bit more detail here. Again, notice that I'm working on a separate layer for this. All this cracks, all this details are done on a separate layer because if I have to, I can easily add it down. Try always to keep your process flexible. So that's why we use a lot of layers. Sometimes we even create layers we are not going to use, but it's good to have options. You never know also what your art director can ask you to do. He or she can ask you to create something different to make a variation, to like get rid of some detail or something, and you need to be able to do that in a quick manner. So that's why we keep things flexible at all times. Here I just got rid of one portion of the shadow which should not be there because this would be floating in the space. So I just selected that and just erase that from the shadow layer. So no big deal. So let's go back to our main layers. So I created a new one and at the clown pass, now I selected that cliff in the background. So let's work on the cliff in the background. New layer. I have my selection made, and again, the cliff is subject to the same laws of shadow and light we had on all other objects in our scene. So we got to have shadows, we're going to have light portions of it, and we're going to have the cool shadow reflecting off of the ground. So you need to be aware of the shapes and how the shapes relate to each other, and how the planes actually relate to the light source. So that's pretty much what I'm doing now. I'm darkening some shapes to bring them back or to move auto ones forward. I want to have this more drastic jagged shape on this cliff. That's what I am emphasizing right now. I'm creating variations, and once again just by picking up colors from existing areas. So I'm not introducing anything new, and if I do, I will merge this with existing areas. So yeah. You can see now that the cliff is much more visible. The geometric aspects of this cliff are much more interesting now. Let's create some cracks on the top surface of the cliff, following the same rules and the same style of what we have been doing so far. But of course, it's a much larger structure, so the cracks must be much bigger, much more visible and much more noticeable, but I'm trying to follow the same visual style I established before on the bridge. Just a little bit more here. Some details, that will make this actually believable. You don't need to be to regular because the treaty actually gives us a very regular surface, but we want to keep this organic and want to keep this alive so to speak. So a little bit of unevenness and imperfection will make everything look more natural.
