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Ofcial Corel Painter TM Magazine

Create
digital art
today!
Official Magazine

Inspirational walkthroughs
Creative guides to art skills
Tools and options explained
Quick start PDF on the CD

Issue thirteen

Artistic project

Paint like

Klimt

Make your own


gilded masterpiece

Over

40

Pencil
portraits

pages of
tutorials

Cr ea ti ve
brushes
Discover which brush
options will give you the
perfect painting tool

Turn photos into a


tonal drawing

8-page practical guide

Prime photos
Edit your images and create the
ultimate base for cloning

ac
nd M
PC a

Visit us online www.paintermagazine.com

FREE CD

INSIDE

TEXTURES | STOCK PHOTOS | HUMAN REFERENCE FILES

Realistic water

Brush primer

The advice you need for painting


and colouring waterscapes

The best options for getting


the most from Crayons

001_OPM_13 COVER.indd 1

Draw horses
Helpful techniques for drawing
and shading believable horses

ISSUE THIRTEEN
ISSN 1753-3155

6.00
13

771753 315000

www.paintermagazine.com
10/1/08 16:29:53

Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist

Brush Controls:
General

Get perfect brush tips


with the powerful
options in here

Pg 42
Paint like:
Gustav Klimt
Luxuriate in the golden
glory that is Klimt

Pg 66
Drawing 101:
Horses
The tips and tricks you
need to get perfect
equestrian results

ISSUE THIRTEEN

Pg 56

If you are using photos in


your artwork, a bit of time
spent manipulating the start
image will help you achieve
far better results. With just
a few adjustments, you can
create the perfect base for
whatever style of art you like. Is watercolour
your thing? Reduce the brightness, apply some
Blur and then get painting. Prefer oils? Boost
the shadows, enrich the colours and slap on
your digital paint. For more ideas on how to
prime your photos, turn to our great feature on
page 20.
Klimt is a favourite artist for many, and this
issue we show you how to re-create his style,
including some ideas for embellishing the inal
image in order to achieve the sumptuous gold
inish of the original. See whats involved on
page 42. Other skills on the menu this issue
include monochrome pencil art (page 30),
painting water (page 52), drawing horses (page
66) and using the Brush Creator (page 38).
Enjoy your painting!

Visit our website!


If you find that the magazine isnt enough to satisfy your Corel
Painter appetite, you can always visit our website. Pop on over to
www.paintermagazine.com and register as a user. Once this is out
of the way, explore the pages and enjoy great content such as:
Downloadable resources
Online galleries to share your work
Special forum for meeting other Corel Painter users

Jo Cole, Editor in Chief


jo.cole@imagine-publishing.co.uk

005_OPM_13_welcome.indd 5

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NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM

The graphic novel has


an ever-growing cast of
characters and an everevolving universe of plot
twists, explains Webster

Webster is an illustrator living


in North Carolina. His work
has appeared internationally
on book covers, in magazines,
posters and packaging

There is a light

Dazzling new graphic novel showcases Corel Painter talent


PORTFOLIO

Despite its
sophistication, Light
Children is Websters
first graphic novel,
in collaboration with
Horner. A planned
trilogy is expected
to take several years
to create

newly published graphic novel,


from renowned illustrator
Kyle T Webster (www.
kyletwebster.com) and
writer-creator Andy Horner, is already
attracting many admirers. Light Children,
the irst part of a planned trilogy, is
a haunting story that combines solid
storytelling with stunning artwork
created solely in Corel Painter. No other
application comes close, in my opinion, to
replicating the feel of natural media, says
Webster. The degree of control available
for each tool is incredible.
The major undertaking is likely to
consume several creative years, so Corel
Painter is the ideal tool for Webster to
lay down this widescreen epic. I am
comfortable with drawing and inking on
paper, but with the added convenience
of Undos, layers, multiple versions of

the same image and the lack of an actual


physical mess, working digitally has
become the only way for me to go.
More used to single-image editorial
illustration, the creation of Light Children
(www.lightchildren.com) has also
set new challenges for Webster. Not
only must the art be a pleasure to view,
but it must also transport the reader
successfully into another world, help
move the plot forward, remain consistent
in terms of character likenesses and
behaviours, and the list goes on.
As for the future, Webster is extremely
optimistic and hopes that eventually a
much wider audience than comic-book
fans will see Light Children. We have big
plans, a ilm adaptation for instance, and
I know that Andy has some other stories
in the works. For now, it is a thrill to get to
work on something so fantastic.

10

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ts
info n ews eve n ts res our ces letters web site info n ews eve n
RESOURCES

In short

Ecstatic about Etsy

Website for handmade creations offers opportunity to sell your Painter artwork
f you have ever wanted to sell your
Corel Painter creations without the
fuss of setting up your own online
shop, then Etsy (www.etsy.com)
is for you. Founded in 2005, this online
marketplace for buying and selling all
things handmade is a hive for creative
talent. As well as art, Etsy offers sellers
a place to showcase just about anything
from clothes and accessories, books, toys
and home furnishings. Setting up your
shop is free, although youll need a credit
card for Etsy security reasons and ideally
a PayPal account for receiving customers
payments. Listing an item costs 20 cents
per item and theres a 3.5 per cent sales fee
on any goods sold. For buyers and those
looking for inspiration, Etsy is an Aladdins
cave of wonderful creativity.

LEARNING

Broadcast
your skills

Creative happenings from


around the world

Print and publish your


own work with Lulu

Etsy is an online marketplace for


buying and selling items, including
work created with Corel Painter

Lulu (www.lulu.com/uk) is a
cost-effective way of professionally
self-publishing your own artwork,
calendars and books. With more than
4,000 new titles added each week, its
also a great marketplace to sell your
work. Lulu prints and dispatches each
item as its ordered, and you collect 80
per cent of the creator revenue.

Its in the post


CONTEST

Watch and learn with Sclipo

Show your skills and win at


MAiLmeART
AiLmeART was created by
Darren Di Lieto, the founder of
the wonderful illustration portal
LCSV4. This collaborative project
involves drawn or painted submissions being
sent on envelopes or packages through the post.
Designed to test your skills, make you some
money and give you the chance to have a bit
of fun and win prizes, MAiLmeART has so far
received hundreds of submissions. I needed
to have something tangible from the
artists and illustrators
involved in order to be
able to sell the product
and make money for the
artist, explains Di Lieto,
and in the early months
of 2008, MAiLmeART will
be holding an exhibition.
Artists will receive 70 per
cent of any sales as well as
some great exposure. View
submission details at www.
mailmeart.com.

ne of the best ways to learn


anything new is to watch
others showing you how they
work. Sclipo (www.sclipo.com) is a
excellent free social utility that allows
people to share skills and knowledge
through video and webcam. If you
wanted to learn a language or Corel
Painter, you had to ind a teacher or
school in your neighbourhood. Sclipo
changed the rules of the learning game,
by integrating an easy-to-use webcam
teaching system, enthuses Sclipo CEO
Gregor Gimmy. The team also offer
SclipoLive, a webcam-based system for
live teaching and learning.

Grunge is good
Grunge Textures offers users over 600
atmospheric textures for personal and
non-profit projects, free of charge.
High-resolution, well-worn textures
include aircraft aluminium, asphalt,
brick, concrete, graffiti, metal, paper,
cardboard, wood and tombstones.
This is a great site if you want to add
some textures to your creations. Visit
www.grungetextures.com.

Worldwide free stock


photo search
Woophy (www.woophy.com) is a
funky photo-sharing website where
members can put their photos on
a world map. With around 30,000
cities so far covered, its a great way
to explore the world without leaving
cyberspace. With an excellent forum
for sharing photos and tips, this is an
online community well worth joining.

FEB

Sclipo is a video site that lets users post short


instructional videos relating to a number of topics

With hundreds
of wonderful
submissions so
far, MAiLmeART
is planning a
major group
exhibition for
early 2008

14 of
OPM on sale!
28 Issue

Pay a trip to your local magazine shop


and pick up the latest issue to hit
the shelves. In addition to the usual
inspirational tutorials, youll find a great
feature on garden art and will be able
to discover how to turn your own
garden into a masterpiece.

11

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Welcome to the part of the magazine where you can com
and share your thoughts on anything you fancy!

Send your
letters to...
Ofcial Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond
Hill, Bournemouth,
Dorset BH2 6EZ, UK
If youd prefer to contact
us via email, send your
message to opm@
imagine-publishing.
co.uk

The power of panoramas

Like a lot of people, I have come to Corel


Painter after time spent using traditional
art materials. I never got to the stage of
making my own canvases, so would have
to rely on whatever was available in the
shops. My daughter bought be a copy of
Painter a couple of years ago and I started
dabbling in different-shaped canvas
sizes. One of my friends is a panoramic
photographer and I decided to try the
format in my paintings. Now its all I do!
I ind it liberating to be able to capture
the whole of a landscape and make the

viewer feel as though they are in there.


Sometimes I will curve the reference
panoramic photo to suggest the bend
of the Earth. Its something I encourage
everyone to try.

Readers tip

Share your Corel Painter wisdom

Frank Michaels

Thanks for your letter and we completely agree


with you. The panoramic format is a fantastic
way of widening the scope of the viewer. As
you said, it works well on landscapes but is
also good for full-body portraits, sections of
still lifes or just abstract shapes. It does mean
investing in a large-format printer, though!

Squint and see


I teach watercolour techniques as a hobby,
and one problem that a lot of students
encounter is being able to decide on tonal
range. The best thing to do (at least its what
I nd easiest) is to squint when looking at
what you are painting. The colours become
simplied and its easier to nd the shadows,
mid-tones and highlights.

Audrey Taylor

In the abstract

Experiment with different


formats. Youd be amazed
at what using a different
canvas size can achieve

Incredibly complex or photo-realistic


images has never been my forte, so you
can imagine that I have been drawn
towards abstract art. I wanted to send
you a couple of pieces that I have done.
Im particularly proud of the cloudscape,
where Ive relied on the texture and
brushstrokes to hopefully stop it being an
image of some random shapes!

Sean Church

Good to see you flying the abstract flag, Sean.


Its a style that a lot of people overlook, mainly
because they arent too sure of where to start.
I like that you have taken a thing in your cloud
image and then applied abstract principles
on it. When you paint in the abstract, you

Featured gallery
Our favourite readers gallery this month

John Boam

www.paintermagazine.co.uk/
user/taz
Our beautiful cover this issue put us in
the mood for some illustration. Johns
gallery helped satisfy that need and
we wanted to showcase the images
with you. As you can see from these
examples, John has a diverse portfolio,
but with a very strong sense of colour.
Even in the more traditional paintings,
he injects strong saturation to catch the
eyes attention. Our favourite image is
Ruby. After a couple of attempts, John
settled on this striking creation (see
right). Visit his gallery today!

Ruby
First flight

The golden tree

John Boam

John Boam
John Boam

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14/1/08 12:06:47

Shun the shackles of realism and start to explore abstract. Thats exactly what Sean has done

are more free to explore colour and texture


without worrying about making something
recognisable. Are there any other abstract fans
out there? We would love to see your work
and can run a tutorial if anyone is interested.

I want issue two!

Is there ANY way I can beg, borrow or


steal a copy of issue two? I have managed
to get my hands on all the other back
issues but that one eludes me! I have tried
eBay, I keep checking out your shop to
make sure I dont miss it, but its always
out of my reach. Can you help?

Noel Murphy

This is going to look like a complete setup, but


we are working on archiving issues that have
all sold out. It might be in place by the time this

Gone but not forgotten soon you will be able to


get your hands on sold-out issues!

issue is on sale, but if not, keep checking on


the website blog as it will be announced there
the instant we get it up.

Traditional skills

Ive noticed that your Drawing 101


section seems to be popular with people
and so I thought Id let you know about a
website I found. Its called Art Graphica
and has a decent supply of free lessons
that show how to paint and draw. I only
found the site myself a couple of weeks
ago, but have already downloaded some
of the tutorials and have tried my own
interpretations of a couple of them.

www.paintermagazine.com

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Come and join our


forum and website
Make yourself known!
www.paintermagazine.com
Not only do we deliver inspirational and practical
tutorials on your favourite program every month,
we also have a dedicated Corel Painter website that
you can visit to get your artistic ix while you wait
for the next issue. From here, you can join up for a
free account and then create your own gallery for
the world to see! You can explain the process or
inspiration behind each of your images, and you
can also comment on other members artwork,
share your wisdom and take part in regular
challenges. Theres also an area to download
tutorial iles from previous issues in case your CD
has gone missing. If you feel like a bit of creative
interaction, we also have a forum for you to come
and leave your thoughts on the magazine, ask Corel
Painter questions and also pass the time with
other digital artists. So what are you waiting for?
Visit www.paintermagazine.com today!

Sadie Appleby

Thanks for the heads up, Sadie. We went along


to Art Graphica and were also impressed with
the help on offer. If anyone else is interested,
the address is www.artgraphica.net. As
an aside, the site also sells some really nice
journals. If anyone is feeling generous, I like the
compact sketchbook!

ENTER T
WEBSITHE
CHALLE E
NGE
Dont be
shy

welcome everyones
www.pa to enter! Go to
int
co.uk/co ermagazine.
mpetitio
ns

Cant get enough of painting? Pick up some new


skills at this site

13

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Interview Jeremy Sutton

WEBSITE
JOB TITLE
CLIENTS

www.jeremysutton.com and www.paintercreativity.com


Artist, author and educator
Corel Corporation, Sir Richard Branson, Barry Bonds, Apple and Sony

An interview with

Jeremy Sutton
Among the impressive surroundings of Londons Tate Modern, Nick Spence
meets Corel Painter Master and all-round nice guy, Jeremy Sutton
resources, the new DVD-ROM covers reallife case studies from beginning to end,
sharing along the way Suttons worklows,
organisational systems, creative
processes, decision-making strategies,
techniques and tools.
You started working with computers way
back in 1991. How has creating artwork
changed digitally since then?
The digital art tools I started off with back
in 91 were the following: a Macintosh IIfx
with 128MB RAM, 40MHz speed, 160MB
hard drive space, which seemed big at
the time; a variety of painting programs
that included SuperMacs PixelPaint Pro, a
very smooth painting program; ArtMixer,
a French program that did wild and

Peggy Gyulai

Peggy Gyulai

Below and below-right


Nick Spence sits for a
quick portrait at the
hand of Jeremy Sutton in
Londons Tate Modern

pending the afternoon in the


company of Jeremy Sutton,
visiting London from his home in
San Francisco to see family and
friends, is a heart-warming experience
on a chilly winters day. Although weve
only just met, Im welcomed as an old
friend and soon become the subject
of one his much-admired portraits.
Suttons enthusiasm for life, art and Corel
Painter is so contagious, youll quickly
ind yourself eager to start drawing and
painting. Artist, author and educator,
Jeremy has just produced a lavish
tutorial DVD-ROM, How to Paint from
Photographs Using Corel Painter X: Creative
Techniques with Jeremy Sutton. Taking a
different approach from previous training

wonderful things; TimeArts Oasis that


John Derry helped create, and which had
a great interface; Fractal Design Painter,
and a Wacom 12 x 12-inch tablet.
My average inal ile, often saved as
PICT ile, was typically about 600KB or
500 x 600 pixels. A complete project may
have included ive to 15 versions, adding
up to a few megabytes. I backed up my
images in duplicate onto CD-ROM. My
prints were typically either Scitex Iris
prints up to 24 inches on watercolour
paper, or large Vutek billboard prints on
vinyl, some four by six feet. Most of my
early digital work was live portraiture,
reminiscent of the thousands of pastel
portraits I had made over the years. When
I used photographs as reference, I painted
them from sight, not using cloning. My
prints were the inished artwork; I didnt
work onto them with other media.
I now use Corel Painter X with a variety
of computers, still all Macs and mostly
about ten times faster than my old IIfx,
such as the MacBook Pro. I use a range
of different Wacom tablets, from the
Intuos3 6 x 8 to 12 x 19, and the Cintiq
12WX to 21UX. My work is a mixture
of live portraits and photograph-based
paintings, in which I use a variety of
techniques including cloning, and collage
portraits. My average inal ile, usually a
TIFF ile, is about 80MB, or 4,500 x 6,500
pixels. A complete project now includes
30 to 70 versions, occupying about two

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All original artwork by Jeremy Sutton

A portrait of Picasso
from 1993. Drawing
since a small child,
Sutton had his first
major one-man show
in 1989 at the Gordon
Biersch Restaurant in
Palo Alto, California

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Interview Jeremy Sutton

Flamenco Jam
is a 2007 mixed
media on canvas
creation, inspired by
seeing professional
Flamenco instructor
Virginia Inglesias
perform at the Thirsty
Bear in San Francisco

Antonio Stradivarius is
a 2007 pigment ink and
acrylic on canvas mural. This
striking, large format mural
was custom-designed to
suit the Stradivarius Suite at
Chenery House, residence of
Robert C Pritikin

An early portrait,
Glyn, from 1991. Born
in London in 1961,
Sutton has lived
and worked in San
Francisco for many
years, returning home
regularly to visit
family and friends

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San Francisco Heart is a


tribute to the adopted city
Sutton now calls home.
Every image, including the
fireworks and the central
heart, contained within
this artwork is a scene from
the city and is based on
photographs I have taken
over the last few years

to three gigabytes. I back up in duplicate


onto DVD-ROM. I output my work
primarily on canvas, typically up to 40
x 60 inches, and work onto my canvases
with a variety of traditional media. So, in
summary, creating artwork has evolved
technically to be faster, more powerful
and versatile, and yet at the same time
the creative process of painting remains
much the same.

This striking painting is based on a photo Sutton


took of professional Tango dancer Christy Cot
and her partner Darren Lees, performing at
Pachamama restaurant in San Francisco to the
live music of Trio Garufa

player, to name but a few. The only thing


typical is that every Corel Painter user I
have come across cant put their Wacom
pens down once they start using Painter.

And how specically has the Corel


Painter software changed?
The irst time I saw Fractal Design
Painter 1 at a Macworld Be-In event in
January 1991, I wasnt that impressed.
I didnt like the multiple circles that
seemed to follow each brushstroke. At
that time, PixelPaint Pro was much better.
Now Painter is in a league of its own that
far surpasses anything else I have seen.
The level of control, the variety of brush
looks and effects, the versatility, etc, is
breath-taking.

Although you offer help, advice and


inspiration via your DVDs and books,
whats the best bit of Corel Painter advice
youve ever been given or read?
The eloquent words of Walter Murch,
legendary sound editor for ilms such
as Apocalypse Now, in his fascinating
book In the Blink of an Eye (Silman-James
Press): You may not always succeed, but
attempt to produce the greatest effect in
the viewers mind by the least number of
things on screen. Why? Because you want
to do only what is necessary to engage the
imagination of the audience. Suggestion
is always more effective than exposition.
Past a certain point, the more effort
you put into wealth of detail, the more
you encourage the audience to be come
spectators rather than participants.

You have taught workshops and given


presentations throughout the world is
there a typical Corel Painter user?
I have taught Painter to ages ranging
from seven year-olds to people in their
eighties, to professional photographers,
artists, lawyers, doctors, policemen,
retirees and a Major League baseball

Several famous subjects have sat for you


when painting traditionally. Is it possible
to do the same when working digitally?
All the more so. My live portrait subjects,
who have sat for me and been depicted
using Painter, include Sir Richard
Branson, Barry Bonds, Graham Nash,
Clarence Clemons, the list goes on.

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Interview Jeremy Sutton

Sutton based this


impressionistic scene
on a visit to the Great
Gatsby afternoon at
Dunsmuir House in
Oakland, organised
by the Art Deco
Society of California

I love the huge time-saving capacity of the


new workspace management system
You supply your own custom workspaces
including your Corel Painter preferences
and settings with your DVDs and books.
Do you think everyone should customise
their settings, and if so, why?
There are no right and wrong ways to do
these things, just ways that work more
effectively and powerfully. My goal is
to empower myself creatively, to make
the tools disappear so I can be totally
focused in the painting process. My
settings help me achieve this and have
been found very useful by many other
people. I always encourage everyone to
try things out and adapt them to their
own personal worklow and habits.
The short answer to the question is
yes, I think everyone can gain a more
ergonomically eficient and creatively
powerful way to work if they take the
time to load my customised workspaces
which include my settings, extra brushes,
art materials and short-cut palettes or
develop their own.
As someone who knows Corel Painter
inside out, what are your favourite tools
and features?
Thats like asking me to choose favourites
between children! I like to challenge

myself by purposely using brushes I


dont usually use. Having said that, I
love the Sargent brush, Dens Oil Funky
Chunky, Square Chalk, Sherrons Blender
Wood, modern art in a can, and Jeremys
MishMash Scumble. I also love the
huge time-saving capacity of the new
workspace management system and the
fun of seeing what the Kaleidoscope plugin layer reveals on any painting.
Finally, as a Corel Painter Master, what
would you like to see from the next
version of Corel Painter?
My wish list includes adding an
explanation to the Liquid Ink and
Watercolor error messages that helps
people know how to proceed when they
are told they cant paint with a non-Liquid
Ink or non-Watercolor brush on those
layers; making the Digital Watercolor and
Impasto appear in the layers list rather
than act as mysterious virtual layers; the
addition of a Drop Impasto command,
similar to the Dry Digital Watercolor
command that drops the Impasto texture
into the background canvas and allows
you to paint over it, and having the
Option/Alt short cut be dedicated to the
Dropper tool.

My one greatest wish for the next


version would be for Corel to pick up
the scripting and animation capability
where it was left off many versions ago,
and remains to this day, and develop it
so it is truly integrated into the program
and becomes a reliable and easy way for
users around the world to record, play
back, animate and share their complete
painting processes, including those that
make use of multiple clone sources.

A portrait of Albert
Einstein by Sutton,
who regularly offers
training seminars
in Painter from
beginner to advanced

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Feature

Prep photos for painting

Prep photos

for pa in tin g
Editing photos before cloning can reap
rewards. David Cole shows you some techniques

20

020-27_OPM13_Photos.indd 20

Imagine Publishing Ltd


No unauthorised copying or distribution
14/1/08 16:34:29

n the Seventies, a high-end hi-i equipment manufacturer


used the expression Rubbish In, Rubbish Out to help sell
its expensive equipment. The message was that the music
coming out of a hi-i system could only be as good as the
signal irst introduced into the system. This pretty much
goes for photographic manipulation too; in general, bad photos
make bad paintings.
You can, of course, hope to salvage an unexciting photo in the
painting process, but it is much easier and much more fun to start
painting from a photograph that looks right and stimulates you.
You dont want the painting stage to feel like a chore.
While what stimulates us visually is a matter of individual
taste, there are a few ways in which photos created or retouched
for painting differ, or should differ, from photos made to be seen
primarily as photos.
First, and in general, paintings do not have the same level of
detail across the image that photos have. Painters use detail
creatively so when we manipulate photos for painting, we need
to get the best imitation of simpliication we can using Painters
selective blurring and sharpening tools. This is important because
in painting we also need simple areas where brushstrokes can
breathe and be read clearly. This is why Painter Xs Smart Blur is a
very useful development.
Second, we ought to chew away at the composition until
its right. Of course, photographers are just as concerned with
composition as painters, but in photos for painting we need to
use cropping in tandem with simpliication to get the base image
settled. There is no excuse for poor composition in painting where
the painter has control over what appears on the canvas.
Thirdly, dynamic range. Paintings have a very wide range of
tone and hue and this degree of subtlety is really only seen in
HDR (higher dynamic range) photographs. HDR is often produced
by combining three photos with different exposure ranges in a
composite that looks quite painterly. Painter does not yet have
native tools to do this, but you can approximate it using three
differently exposed but otherwise identical photos as clone
sources for a single painting. If you check out some HDR images,
youll see what can be done. HDR really helps getting a photo
ready for painting.
Finally, colour. This is, of course, also related to dynamic range
and hue intensity, but in colour cloning it is also about producing
colour harmony in the photo to be painted. In Painter, this can be
achieved by using two or three versions of the source photo as
clone sources, each with a different but harmonious hue. These
can then be brushed into the painting. Or you can use the Adjust
Selected Color tool to play around with individual colours in your
source photo to achieve a colour scheme you like.
So this article is about selecting and editing photos for painting.
It will suggest some preparatory steps that you are probably
familiar with, but should also give you some ideas you not have
tried before.

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21

14/1/08 16:38:37

Feature

Prep photos for painting

Getting the
composition right
Often, the problem lies within the framing of
a photograph
This photo of a duck is poorly framed.
The duck is the subject, but it is lost
in the picture and the dark waterfall
overwhelms it. We need to decide on
a better angle of view and the right,
tighter crop. Luckily, the image has
sufficient resolution that we can
choose quite a tight crop if we wish.

Original Photo

Fixing the brightness and contrast


Bring out detail in your shots
The exposure is not
bad on this photo but
it is a little overdone
and the colour is rather
bleached. We also need
to add some contrast
to make it read better.
Why not look at the
original photo on this
issues disc and then
download it to try out
the techniques covered
for yourself?

01
Reducing the

brightness This

doesnt require a
vast reduction in
brightness, enough
to make the lighter
tones more distinct.
We dont want to
lose shadow detail.

02 Adding contrast

Contrast
can add sparkle and punch to an
image by making darks darker and lights
lighter. Ideally, strong contrast should be
concentrated in the centre of the image
but we will add some contrast all over and
if necessary, remove it selectively later.

Cropped Photo
In this instance, we are going to crop the photograph just enough to
make it clear that the duck is the subject, and to get it to fall on a third
node (regarding the rule of thirds). To achieve this, we used the Crop tool
from the Tools palette.

03 Dodging to lighten selectively

We need to lighten the ducks head,


around the eyes particularly, using the Dodge
tool found in the Photo brush category. This
should be done carefully at a very low setting.

Basic editing

Control the size


and angle of your
canvas to get te
best composition

22

020-27_OPM13_Photos.indd 22

Painter has many effects and tools that can be


applied pretty easily to help photos before you start
to clone them. Broadly, there are tools that change
the anatomy and orientation of an image, ones that
change the tonal values in an image, ones that change the images
focus and ones that change various aspects of the photos colours.
When preparing a photo, its wise to start with the big things
do I like the image? Is the subject too close? Not close enough?
Does it need to be cropped? Is the horizon straight (if you want
it straight)? Is the subject too central (remember the rule of
thirds)? Do you need another tree to the right or some hills to the
left to make the composition right? If you do, source them from
another photo and paste them in before you start painting. We
need to get comfortable with the basic image before we start
painting. Take your time over this.
The main tools for changing the physical dimensions and
view angles are in the Menu bars Canvas and Effects drop-down
menus. Under Canvas, check out Resize and Canvas Size, under
Effects see Orientation and also the Crop tool in the Tools palette.
Having got the basics of the photo the way we want it, the
next thing to look at is whether it has the right tonal values. Are
the highlights blown? Not bright enough? Are the shadow areas

too dark, to the point where they are losing detail? Or are they
not dark enough? Is the overall arrangement of light and dark
pleasing? Once you have made your assessment of which changes
are needed, or if you just want to experiment, you can change
darks and lights and the relationship between them in a number
of ways.
The easiest way is to change the values is with the Brightness/
Contrast function at Effects>Tonal Control>Brightness/Contrast.
Brightness determines how bright an image is and Contrast
adjusts the difference between light and dark values. We
can adjust these parameters to taste and try out a number of
different values. A rough rule of thumb is that we want to avoid
wherever possible blown-out highlights very light areas
that are so bright, no detail remains in them, and also shadow
areas that are so dark there is no detail in them. Broadly, blown
highlights and solid black shadows that are like this in the
original image cannot be salvaged, and we want to avoid blowing
highlights and losing shadow detail when we adjust Brightness
and Contrast.
Changing the brightness and contrast will, of course, affect
your colours. But we may also want to add colour intensity to the
image to make it come alive this is adding colour saturation. Or

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Enhance the colour


Make your hues sing
Are we happy with the colours, or are they too intense? Not intense
enough? Do they fit the subject? In this case, increasing the contrast has
already given the colours a push but we can add impact by increasing the
colour saturation. We may also want to adjust individual colours.

01 Adding colour saturation

We can add additional colour


saturation very easily. Go to Effects>Tonal Control>Adjust
Colors and choose Color Saturation . We dont want the colours to be
garish but we do want a little more intensity.

Changing
a specied
02
colour

We want to
desaturate the sky
reections in the water a
little. Select the water so
only it is affected. Move
the cursor over the second
tool down on the left
in the Tools palette and
select the right-hand tool
that looks like a key ring.
Make a selection with this.

We want to avoid blowing highlights and losing


shadow detail when we adjust Brightness/Contrast
we may want to change the overall nature or hue of the colours,
for example, to cool or warm our picture. Painter allows you
to change all colours or just one colour, and in this article we
will look at the one you will probably use most often Adjust
Colors. This can be found in Painter on the path Effects>Tonal
Control>Adjust Colors.
Finally, it is worth mentioning some of the developments in
tools for photo preparation since Painter 9. Initially, Painter 9.5
introduced photo-painting palettes and then Painter X improved
on that by added an Underpainting palette that includes colour
schemes based on various media styles, such as Impressionist,
classical, modern, watercolour, sketchbook and chalk drawing.
If it suits your need, you can also choose a colour scheme that
matches the colours of any open image. These are very valuable
tools when preparing a photo to become a painting and are
worth checking out.

03 Completing the saturation reduction


It may look odd,
but Painter
Xs automated
schemes are great

Now we go
to Adjust Selected Colors at Effects>Tonal Control>Adjust
Selected Colors. Move the cursor in the main picture on some skys
blueish water reection. The cursor becomes a dropper. Now click in
the reection area. In the Adjust Selected Colors box, change the value
of S Extents to 139 per cent and lower the bottom Saturation control to
-125 per cent. Thats it. Deselect the area and were ready to paint.

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020-27_OPM13_Photos.indd 23

23

14/1/08 16:39:57

Feature

Prep photos for painting

Using focus changes to set


up a loose painting

Super softening
We used the Super Softener
tool to throw the azaleas into
relief. We used two versions of
the photo to paint the (slightly
sharpened) original and the
super-softened one (setting: 50).
With both versions open and
the original version active, we
brushed with the Straight Cloner,
then used the softened version
as the clone source for the
background around the flowers.

Keep the
flowers in focus

In this walkthrough, we will use the Glass Distortion effect at Effects>Focus>Glass


Distortion to prepare a photo for some loose brushwork and a vigorous treatment.
Painter has plenty of brushes to help simulate loose brushstrokes, but sometimes
its hard to know where to start. Using Glass Distortion will make the process a little
easier by getting the starting photo closer to a loose-brushed treatment.

01 Poppies

We duplicated
our photo layer, set a Gel
composite mode with a value of
52 per cent. Drop the layer and
select Adjust Colors. Set Hue Shift
to 0 per cent, Saturation to 11 per
cent and Value to seven per cent.

Soften and blur


the background

Original photo
Put the two together for a stronger
impact for your painting

Changing focus
In photography, particularly in portraiture and
sports, selective focus is used to isolate a subject
and draw attention to it. Adjustments in depth of
ield can blur areas, such as the foreground and the
background, of a photograph that the photographer feels are
distracting viewers from the main subject. By keeping only the
subject in focus sometimes just the eyes in a portrait and in full
detail, the photographer ensures that the viewer is not distracted
by what is happening beyond the subject. This selectivity operates
in the same way in painting, except that painters can choose either
to create the look of a blur, for example, with a large brush or a
palette knife, or actually simplify the detail in an area but keep the
boundaries and colours in that area distinct.
Real in-camera simpliication maintaining outlines but
simplifying colours and contours is impossible to achieve, but
we can get a good distance towards it in photo-retouching using
digital tools. Throughout its advancements, Corel Painter has
recognised that this is an important feature, the process enhanced
by its Selection tools and Blur effects. Simpliication of this sort
is rather different to the effect of blurring. Painters may use it
because they actually prefer to see their image broken up into a

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020-27_OPM13_Photos.indd 24

pattern of shapes with just a few points of detail and one focus
of attention. There is just something satisfying to the eye about
reduced detail.
Simpliication can also help to create the illusion of distance. So,
crudely, things that are closer to us are more distinct in that they
have sharper outlines. Therefore objects that are miles away in the
distance are softer.
Blur can also be used to give the impression of speed in action
photos, with motor racing for example. This can be achieved in oils
with just a swipe of a palette knife and by photographers by handtracking a moving object. It is also straightforward to achieve
this with digital tools like Painter where the single movement of a
palette knife can be easily simulated.
In Painter, the Focus tools are found at Effects>Focus. There are
a range of blurring and sharpening tools. The purpose of Camera
Motion Blur and Depth of Field are self-evident; Motion Blur
simulates camera shake moving your hand while taking a photo
and Depth of Field creates a blur similar to the distance from the
plane of camera focus in photography. Sharpening Focus heightens
contrast by intensifying highlights and shadows. This creates the
illusion of greater sharpness. Softening Focus blurs the transition

Play with focus


using Corel
Painters dedicated
tools and options

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04 More colour
02 Changing the paper texture

We
want a paper to interact with Glass
Distortion for a heavily textured treatment. Open
the Papers palette in the Tools palette and choose
Hot Press (this is a smooth paper for watercolour
but it will not look like this at all in our treatment).

We want this
to have intense colours
so we need to add a little
more colour saturation.
Go to Effects>Tonal
Control>Adjust Colors and
increase Saturation to 11
per cent.

03 Applying Glass Distortion

Go to Glass Distortion and apply


the following: Using to Paper, Softness to
35.9 per cent, Map to Refraction, Quality
to Good, Amount to 1.44, Variance to
17.00 and Direction to 49 degrees.

ready
05 Nearly

Apply
Glass Distortion again
to Poppies B . Use the
same settings as before,
except change the
Amount to 1.22. This
will remove some of the
waviness of the previous
treatment and you are
now ready to paint.

The Sharpening tool


One of Painters hidden gems

By keeping only the subject in focus, the


photographer ensures the viewer isnt
distracted by what is happening behind

We use sharpening subtly all the time to make an image more distinct. Here we use the
Sharpening tool flat out to create an interesting variation of the contrast effect. The effect makes
an image suitable for use as a clone source for a pen-drawing simulation. The settings in the
Effects>Focus>Sharpen box are Gaussian, maximum for Amount, Highlight and Shadow, and Red,
Green and Blue all checked. Load our start photo from the disc to try.

from one element to another in an image and Super Soften just


does more of it. It takes time but gives you full control over the
result. Zoom Blur unsurprisingly creates the effect of zooming in
with a zoom lens, basically making a tunnel of blur with an area
of distinguishable image at the end. You will notice that a number
of these effects offer you different types of effects creation that
is, effects based on Gaussian or Circular Aperture options just
experiment with these.
Painter X has a ine new simpliication tool. Smart Blur is
quite successful in softening and generalising a subject while
maintaining its boundaries. It gets closer to real simpliication
than the other Blur tools and does not stray so far beyond the
boundaries of the area you are trying to simplify as the other
Painter blurring tools might.
Finally, there is Glass Distortion, which is one of the most
interesting focus effects and one used for the main worked-up
photograph. It rather unpromisingly offers the effect of images
seen through a range of glass between the image and the viewer
like a pebble bathroom window, for example. But in fact, this
is a surprisingly useful tool to get a loose painting effect started,
which we will explore in a moment.

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020-27_OPM13_Photos.indd 25

Altering the settings in a


photograph can give the
composition an entirely
different effect

25

14/1/08 16:41:15

Feature

Prep photos for painting

Portraits with impact


Create a classical painting effect
This photo is not a bad starting point for a
painting simulation, but it will need some
help. There needs to be more focus on
the eyes and the background needs to be
simplified so as not to distract attention
away from the face. To achieve this, we will
darken the area around the face, the side
of the face not facing the light and also
simplify the colours.

Original photo

01

Create a duplicate layer Open up

the start photo from this issues disc.


Select All>Copy>Paste in Place. Make sure that
Pick Up Underlying Color is checked (near the top
of the Layers palette). Pick Up Underlying Color
enables you to see the image below where you
erase on the image above.

02 Apply a composite method

We
need to intensify and slightly darken
the overall image, so we now need to set the
composite method to Gel . This is rather like the
Multiply blending mode in Photoshop. However,
the resulting image is too dark and we should
reduce the Opacity of the layer down to 25 per
cent, or thereabouts.

03 Lighten the face

Now we use the


Eraser tool in the Tools palette set to an
Opacity of 15 per cent to return to the lighter layer
below and cover the right-hand of the face the
upper cheek and eye and just a little round the
left eye. Be gentle and brush evenly.

Create a mood

Create mood with


the colour tools as
well as Painter Xs
Underpainting tool

In this section, we will look at how to choose and


enhance the mood of a photograph for painting.
There are, of course, all sorts of moods that relect
different emotions happiness, loneliness, anger,
innocence, etc but we will go for a portrait of a young man with
the sort of quiet intensity and simpliied palette common in
Seventeenth Century portraits for example, see Rembrandts
self-portraits. We will not be using primarily earth colours as
he did though, we will allow ourselves a slightly larger range of
colours, but we will try to get something of his sense of dramatic
light and shade.
Moods are about emotions and it is dificult to create an
affecting image with a photo that is lifeless, banal or with very
lat lighting. As a starting point, there really needs to be a subject
with which we sympathise and to which we respond. So the irst
point is that the photographs subject is important. It doesnt
have to be a portrait look at some of Andrew Wyeths pictures
of objects and scenes to see what a brooding quality the everyday
can have but it has to create an atmosphere.

There really needs to be a subject with which we


sympathise and to which we respond
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020-27_OPM13_Photos.indd 26

Once you have a photograph with a suitable subject, you can


enhance the mood it creates. Obviously what we do to it depends
on the emotion it invokes. The elements to consider are the
composition, colour palette, the intensity of the hues and the
values how dark, how light and the sharpness of focus. At the
risk of stating the obvious, bright saturated colours from a wide
palette will usually be associated with spontaneity, or childhood
and happy situations, while dark, mainly unsaturated colours
from a limited palette are likely to invoke a sense of brooding,
mystery or thoughtfulness. However, dark, warm colours could
work well with a positive or romantic subject, and a vibrant
colour palette can be associated with war and chaos. So there are
no rules here!
The trick is to make sure that the elements of the photo, and
the painting derived from it, are consonant with its mood. That
way, the emotion carried by the image will be consistent and
congruous.
In the following walkthrough, we will use the tools available
up to Painter 9.5. However, we have to note here that within
Painter Xs Underpainting feature, there is a very useful tool
for photo preparation. Indeed, the inal result of the photo
preparation we will go through can be achieved easier and
quicker using the Underpainting tools; the photo colours we will
be aiming for can be approximated pretty closely simply by going
for the Classical Color Scheme. Such is progress!

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this
picture
04 Save

To
reduce the two layers
to one, use the Drop All
Layers command from
Layers. Save this as a TIFF
and call it Tim1. Close
the le and reopen it
the image now has
only one layer.

05 Tint the image

Having opened Tim1,


we duplicate its only layer using Select
All>Copy>Paste in Place. Double-check that Pick Up
Underlying Color is checked. Use the Fill tool from the
Tools palette to ll the new layer with a warm, dark
brown (R:94, G:60; B:30).

06 Reduce the brown

Next you will


need to reduce the Opacity of the
brown layer until you can see the face below.
Now use the Eraser at 20 per cent to start
removing the brown from over the face. Set the
composite method to Multiply and the Opacity
to 19 per cent.

07 Reduce brightness

We just need
to reduce the brightness of the picture
a little this will give it a bit more atmosphere.
First reduce the image to a single layer with the
Drop All command. Then save it as a TIFF calling
it Tim2. Close the le and reopen it. Reduce the
brightness by a smidgen.

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020-27_OPM13_Photos.indd 27

08 Sharpening

Nearly there. Well


include a little sharpening to add a little
bite to the eyes in particular. You can also use a
touch more contrast but be careful not to overdo
it dont lighten the left side of the face too
much. Save as Tim3.

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14/1/08 16:42:56

Primer Crayons

ERASERS

BRUSH CATEGORY

Use the Erasers to create highlights


and open up areas back to the white
paper or ground. The size of the
brush and opacity will determine a
soft vignette or a sharp line

Crayons

Get back to basics with your childhood


friends crayons!

PRIMER

h, crayons! Do you remember


the days when you didnt
worry about what you were
drawing or painting? You
just grabbed your crayons and started
colouring! Perhaps even writing on the
walls as some young artists did; yes, the
original grafiti medium! We all fell in love
at one time in our lives with the waxy,
paper-covered sticks in their multitude
of colours, now long put away for more
sophisticated tools.
Well, check out the Crayons in Corel
Painter and be a kid again. There are more
colours now than you could ever imagine,
and the paper never needs to be peeled
back. We have a few digital varieties
to choose from today, not only thick
or thin but with all the texture and
transparency you could ever dream
of in a crayon.
In this months Primer, were
going to wax lyrical (sorry!) about
the Crayon tools and reintroduce
you to our coloured companions from
the past. Youll rediscover that they are
effective tools for sketching out ideas,
that theyll give you vibrant colours
without endless tweaking, as well as
yielding fantastic results with minimal
effort. Youll only be regressing in your
mind by revisiting crayons, youll be
adding another skill to your artistic
repertoire. So without further ado, switch
on your computer, load up Painter, then
go forth and rejoice in the artistic tools of
your youth!

SOFT TONES
Unlike the boxed version, these crayons
are able to give you sweeping vistas
of colour in just a few strokes. A large
Waxy Crayon at a low opacity can create
beautiful, soft tones

FINE OUTLINES
Use the Pointed Crayon to create
sharp, uid lines. This variant can
add nice accents to any image
as a strong outline or the tiniest
of details

Lightly does it

Mixing colours
Choose and use them wisely

Treat the stylus as if it was a feather


Colour-mixing with crayons
is more transparent in
Painter than the ones we
used out of the box. You can
achieve brilliant greens,
oranges and violets simply
by using the primary colours.
But be careful, its so easy to
make brown if you use too
many colours, and quicker
from brown to black than you
can imagine.

When colouring in large areas,


its best to use a large crayon
and a low Opacity, perhaps 20
per cent, and press lightly. The
colour builds fast and in order to
achieve a light, washy look with
the crayons, youve got to have a
delicate touch. Work on multiple
layers as you draw. This way, if
you get carried away and get too
dark, you can always toss a layer
away and try again.

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Primer

Crayons
Understand the different variants

BOLD SHAPES
The Basic Crayons work nicely for
all-round drawing. Let this be your
steadfast companion in drawing fat,
bold strokes. Adjusting the Grain will
give you more textural variety in the
edge of the stroke

No white crayons?

Basic Crayons

Med Dull Crayon

Basic Crayons 100 %


Opacity

Med Dull Crayon 100%


Opacity

Dull Crayon

Pointed Crayon

Dull Crayon 100% Opacity

Pointed Crayon 100%


Opacity

Grainy Hard Crayon

Waxy Crayons

Grainy Hard Crayon 100%


Opacity

Waxy Crayons 100%


Opacity

Crayons

Corel Painter offers the choice of six different variants of Crayon


brushes to choose from, each style yielding a different effect. For
instance, the Pointed Crayon is good for thin, precise lines, whereas
if you wanted to introduce some soft tones into your scene, then you
would be best off using the Waxy Crayons. To supplement the Crayons,
the Eraser can be used to introduce white areas or highlights.

Sketching

Erase and experiment

Simple but effective


By the way, there are no white
crayons! An easy way to get white into
your crayon art is with the Erasers.
Something we couldnt do as kids!
After your drawing is done, or even
in the middle of it, use soft or sharp
Erasers to add detail or soften clouds
in the sky. You must erase directly
onto the crayon layer, so make a copy
if youre not sure of what the outcome
may be. Experiment; these are fun
crayons after all!

Crayons are a great


sketching tool. When
you would like to
doodle or dont want
the pressure of a big
project, this medium
can be the perfect
choice. Just remember
how much fun crayons
were when we didnt
worry so much about
the end result.

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14/1/08 13:57:56

Tutorial Pencil portraits

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Tutorial
Pencil portraits

Pencil portraits
In this tutorial, we will show you how to create a pencil drawing in Painter X that merges
traditional techniques with digital tools
Tutorial info
Artist

Wen-Xi Chen
Time needed

One to two hours


Skill level

Intermediate
On the CD

Start photo and


final image

ainter tools are extremely versatile and make


creating a pencil drawing simple and fun. We will
show you how to create a pencil portrait using
primarily the Pencil and Conte tools. These mimic
the natural grain of graphite on paper, and once you have
applied a paper surface texture to the whole thing, you can
convey a sense of traditional pencil drawings. But we also
have a few time-saving tricks up our sleeves
Artists have been divided over the question of to smudge
or not to smudge for some time now. There are pencil artists
out there who will swear by cross-hatching and would
religiously refuse to smudge a single line; they create all
their subtle tonal changes by tiny cross-hatchings with
a sharp or a mechanical pencil. This achieves amazing
accuracy but is time-consuming and takes lots of patience.

There are also others out there who smudge their lines to
achieve smooth tonal shading, using tissue paper, blending
stumps or cotton swabs.
There isnt a right or wrong way to create a pencil
drawing, especially in an environment as versatile as in
Painter. Blender tools are analogous to traditional blending
tools, specially the Soft Blender Stump. The problem with
this tool is that it causes loss of tonal values and loses pencil
grain, thus making the area look lat and too digital. There
are, however, some good effective alternatives.
This tutorial will lead you through all the things you need
to do to create realistic pencil drawings, including building
up tone through cross-hatching, smooth shading, creating
highlights using the Eraser and a useful little short cut for
those of you with perhaps not so much time on your hands.

Outline your intentions


Roughly sketch out your subject, ready for transformation

Choose
your
03
texture

01 Sketch

The rst step is to start with a


rough sketch of your subject. We used
the grid and a sketching pencil to capture the basic
proportions of our reference image onto the blank
canvas of 2,835 by 3,543px at 300dpi (A4). You
can trace the photo on the CD.

02 Details

Once you are happy with the rough sketch, start to draw in
some more details; in the case of this portrait, the facial features. We
did this part on a new layer so we could erase any reference lines on the layer
below once we were happy with the placement of the features. Only a simple
outline will sufce at this stage of the drawing, as tonal detailing will come at
a later stage.

Clicking on
the Paper Selector
icon brings up a
drop-down box full
of paper textures.
These textures show
up when you start
to draw and give
the picture a really
authentic feel. In
Painter, brushes that
react with paper
texture have a grainy
method. We used a
basic paper texture.

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Tutorial Pencil portraits

A shady character
Use cross-hatching and smooth shading to get the right tonal values

05 New layer
04 Drop layer

Once we were satised with the sketch (ip the image


horizontally to check for mistakes in proportion) and had erased
the reference lines, we dropped the layer with the details so that all our line
sketches were on one layer.

We then created a new


layer to work on for the following steps.
Once you use a 2B pencil on this layer, change the
Layer composite method to Default and not Gel,
which is the setting Painter automatically sets a
layers composite method to if you paint on it with
a brush that uses the Buildup method.

06 Dening dark areas

The Conte tool


was used to dene the darker shadowed
areas in the picture. In Painter, using Conte
creates a lovely grain, especially on rough paper
textures, and helps to really dene shadows. Use
sweepingly along dark edges to create a loose yet
dramatic look.

08 Eyes
07 Basic cross-hatching

Cross-hatching is commonly used in pen


art as well as pencil drawings. Tonal effects are created by layers of
lines (hatching) at an angle to each other. We used a small (size 3.6) 2B Pencil
for this. For the face, careful cross-hatching will allow you to create a realistic
and accurate skin surface if you have the patience.

Eyes are
the windows to
the soul, and a favourite of
many pencil-portrait artists
to draw. For the eyes, we
started cross-hatching
using a small 2B Pencil.
It is important to get the
shape of the eyeball and
surrounding muscle and
skin correct in order to
retain realism.

highlights
09 Eyes

Next we picked out the


highlights with the Eraser
tool, just as you would
with traditional media.
The Pencil mainly denes
the details of the iris,
but more detail can be
created using the Eraser.
It was also used for the
eyelashes and moisture
effects.

10 Smooth blending

You may go on to do the whole picture with


cross-hatching. Your traditional pencil artist, if the kind inclined to
smudge, would use a blending stump, tissue paper or cotton swabs, etc, to
create smooth shading. This sounds sacrilegious, but the same effect can be
achieved when using the 2B Pencil like an airbrush; set the size of your pencil
at a high value and press lightly on the tablet. It avoids looking digital by
maintaining a grain and looks like smooth shading on paper.

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hard-edged Eraser tool is used to create


highlights for the lips to give them a glossy, lifelike
feel. We highlighted the top of the lips and the left
edge where the light hits it. Also, highlighting the
bottom lip at the centre gives it some plumpness.

12 More about shading skin

Since skin
is such a big part of drawing portraits and
pencils are such small tools, it may be tempting
for some to just leave it blank. To help get the
subtleties of skin, we desaturated our reference
photo and turned down the brightness of it so the
tonal values showed up clearly.

13 The choice is yours

We used a
combination of smooth shading and
cross-hatching to achieve the tonal values on the
face. Smooth shading can be used as a base upon
which cross-hatching can then be used to dene
more detail.

Basic shading
techniques in use
today are linearhatching, crosshatching, scumbling
and soft shading.
Scumbling involves
the build-up of tonal
value using small
scribbles. This method
tends to give a
different texture to
an image than the
more conventional
drawing techniques.

Pencil portraits

11

Highlights Same as the eyes, a

Tutorial

Shading
techniques

Hair we go again
Let your wrist flow with the brushstrokes

14 Hair basics

Normally in
traditional pencil art,
unless youre a whizz with
an eraser, you wouldnt
draw hair in layers from
dark to light as you might
in paint. We used the Dull
Conte at 50px to mark
out the vague shape
of the hair, and then at
11px to mark out more
detailed sections.

Backgrounds

Long hair is
subject to
15
gravity
As is short
hair sometimes. In
this case, the ow of
your strokes should
follow the ow of the
hair. Start from the
root to the tip and let
your wrist movement
guide you.

When drawing
portraits in pencils
(traditionally or
digitally), it is a good
idea to keep the
background simple; a
complex background
is a big investment
of time and weve
lost track of all the
drawings we have
lying around with halffinished backgrounds.
It can also make the
picture look cluttered,
as it draws attention
away from the main
subject. Leaving the
background white, or
with a faint wash of
shading, is often much
more effective and
focuses the attention
of the viewer.

Contourhatching

16 Hair highlights

One method is exclusion; the highlight is the


natural paper colour as you simply leave that area empty. This is
commonly used in traditional pencil drawing where achieving highlights is
quite difcult every other way.

17 Think of the hair in sections

If you want to draw it strand by


strand, you will be there forever. Using the Dull Conte at 30px, we
drew in several strokes that followed the curve of hair and fans out from the
ends of the sections of hair, but fades out at the middle of the sections.

Contour-hatching is
similar to linearhatching but the lines
follow the contour
of the object you are
depicting rather than
being straight. It is
sometimes easier to
show a 3D structure
using contour
shading than with
the other techniques.

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Tutorial Pencil portraits

Textures and textiles


Use the Apply Surface Texture command to give the impression of paper

19 Flyaway hair

18

Detail We then used the Dull Conte (although many tools are

appropriate for this part) at a much smaller size of two pixels and did
the same as in the previous step.

Traditional pencil artists


pick out highlighted strands of yaway
hair using a hard-edged eraser or by scratching
away at the paper. We used the Eraser at a very
small size of about one to two pixels. Loose hair at
the sides of the head was drawn with the Tapered
Conte as the size of the tip is pressure sensitive.

20 Zoom out, ip horizontally

Hopefully by now, youve done this a


few times and since the end is nigh, this is about
the last time to check and overview the drawing.

Get your
reference
just right
If you are taking
your own reference
photo to draw a
pencil portrait from,
look for interesting
lighting such as from
the sides or top and
bottom. A straight
frontal light can seem
like a quick and easy
option, but more tonal
values, shadows and
highlights should be
achieved from the
start, often making it
more fun to draw.

21 Clothing

We wanted to keep the clothes simple and sketchy so we


used the Dull Conte to block in some black, and again the Dull Conte,
this time in white, to mark out the highlights in the folds of cloth.

22 Skin textures

We zoomed right in and with a white Conte set to


very low opacity, drew some dots over the lighter areas of the skin to
add texture and a dewy look.

Desaturate
the reference
photograph
Creating a greyscale
pencil drawing from
a full technicolour
reference photo can
be daunting and
difficult. One easy
way around this is
to simply turn your
photo into greyscale
as well! Simply go
to Effects>Tonal
Control>Adjust
Colors and move the
Saturation slider all
the way to the left.

last
of all
24 And

23 Paper texture

So far, the parts of


the drawing that have been drawn on
should already show a paper texture, but the
white, untouched areas do not. To apply a Surface
Texture, go to Effects>Surface Control>Apply
Surface Texture. You can view the texture in a
preview window. We turned down the Amount
slider to 20 per cent.

Since pencil drawings


are normally more
grey-looking that what
we have got here,
go to Effects>Tonal
Control>Brightness and
Contrast, then move
the contrast slider to
the left. There, now
it looks just like a real
pencil drawing!

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2B pen cil

Con te

Pencil portraits

While you might obviosuly plump for the Pencil brush


category when it comes to getting a pencil effect, there
are other tools and techniques that you need to consider.
Using a pencil brush alone wont deliver good results!
Incorporate blenders and Conte brushes and always use
traditional mark-making for ultimate authenticity.

A bit about the tools available to you

Tutorial

Achieving the pencil effect

Basic
Paper
,
Artists
Rough Paper
Cha rcoal
Paper

The 2B Pencil can be used small for cross-hatching or


sketching and used big for an airbrush-like effect. The
Sketching Pencil is perfect for creating the initial line
sketch. Any sort of Conte tool, such as Dull Conte or
Tapered Conte, is great for really dramatic dark shadows
at the beginning stages of the drawing, and also for hair.

CROSS-HATCHING
Cross-hatching is the fail-safe mark within markmaking it covers all evils, flaws and errors. You can
count on it when you arent quite sure what mark to
use. It can be very effective for furry or fluffy objects.

Thick handmade Paper


The Pencils belong to the Dry Media Brushes family alongside others including Chalk, Pastels and Crayons.
These work by depositing pigment on the surface of whatever it is you are drawing on, so its important to
select the right surface texture. The Grain slider controls how much colour penetrates into the paper texture.
Lower settings show more of the grain. If you are using the 2B pencil primarily, grain is not very important but
for the surface texture to show through with Charcoal or Conte, set the Grain value to about 10-20 per cent.

TONAL RENDERING
Tonal rendering is the epic means of creating subtle
tones and shadows on flat or smooth surfaces. Use
the pencil as above, but apply pressure for added
depth and take the pressure off to lighten it. Always
shade at the same speed.

DIRECTIONAL MARKS
Directional shading is a very expressive type of markmaking, a representation of the way and length you
feel the mark should be made. It is great for fur and
vegetation, such as grassy tufts and tussocks.

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Tutorial Pencil portraits

Cloning method
Painters Charcoal tools create a great alternative image
Although a lot of what has come so far is
to do with making marks and shading,
you might feel as though it is above your
sketching abilities. In which case, bring on
the cloners!
In this small walkthrough here, we show
how the pencil and charcoal cloners can
achieve a decent pencil effect, only you are
free from the burden of having to be able
to draw. Desaturate your photo and then
build up the detail bit-by-bit. The biggest
trap you can fall into is trying to get all the
detail in the irst sweep of the brush. Keep
your movements light and dont be afraid
of having areas of white. Keep toggling
with the Tracing Paper to see how its
coming along if the photo is always
visible, your marks will look weaker than
they are.

03 Draw along the edges

Outline the
main features of the photo. This gives the
nal picture a more authentic pencil-drawn look,
as well as giving the image denition early on.

01 Desaturate photo

At this stage, we want to make the


photograph black and white. Go to Effects>Tonal Control>Adjust
Color and turn Saturation down as far as it will go. The reference photo is now
desaturated and ready for cloning!

02 Quick Clone

Now follow the path


File>Quick Clone. A new window will
open, at which point you should select the Pencil
Sketch Cloner as your Cloner tool of choice.

04 Charcoal

For the face, we went


over the darker areas lightly with a
large Charcoal cloner; as long as you dont press
hard on your tablet, this tool picks up the tonal
values from the photo while maintaining a
convincing texture.

05 Hair

Whatever
tool you use on the
hair, do it in large
chunks as to not give
the game away! We
used the Charcoal
cloner again. This
eliminates the ne
detail contained in the
original photo and
is extremely quick.
Follow the natural
ow of hair or else the
picture just doesnt
look convincing.

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Feature focus Brush Creator

Brush Creator
If youve been shying away from this
powerful Corel Painter tool, get ready for
some creative fun!

FEATURE
FOCUS

ainter comes with such a varied


palette of default brushes that
just about anyone could paint
happily ever after with them, using
only the General Brush Controls to tweak
them as needed. But weve also been given
a wonderful tool for creating an ininite
array of new and specialised brush variants.
Creating your own variants can push your art
to a new level, and because theres an element
of randomness about it, you also have some
happy surprises in store for you, which
may in turn inspire you to try new painting
styles and techniques. Would you like a
watercolour brush that paints drier edges,
a softer background brush for oils, a crayon
that looks greasier? Theyre all in there, just
waiting for you to discover them, give them a
name and begin painting.
The irst time we open up the Brush
Creator, it might be slightly intimidating
with its sliders and rows of tabs and
controls. We may click on a few of
them, decide to wait until later, and
back quietly away, but its an intuitive
tool once you learn a few basics. So go
ahead, open Painter and follow along
with this walkthrough. We wont end
up with the same brush variants, but
well end up with some new variants
worth saving, and we also reckon that
afterwards, you will have the conidence
to pop it open at any time and create a new
batch of variants to enhance your current
painting style. What more could you ask from
your favourite magazine!

SWEEPING STOKES
A mixture of the Sargent brush and F-X
Hairspray gave us the ideal shape for these bold
and sweeping elements. The Hairspray variant
is a good one to use when you want something
that is softer at the edges.

The Transposer tab

Lets transpose

A great place to begin

This is where the fun begins

To transpose can mean to change to the opposite position, but it also means to change
into a different form or state. The Transposer does just that by taking two of your
brush variants and combining them to create a new variant consisting of both their
characteristics. We explore the Randomizer on
these pages, but your results will be less random
if you use the Transposer, and the more you use
it, the better you will become at choosing variants
to blend into new ones. Go to Window>Show
Brush Creator or choose Ctrl/Cmd+B to open the
Brush Creator and select the middle tab. You may
choose variants that are closely related or vastly
different as you begin exploring the possibilities.

So weve chosen a couple of brushes that we want to experiment with by combining their
properties. For this one, were using two similar brushes, an Acrylic brush and a Gouache brush.
Click on Transpose Current Selection (the gear icon) and select from the list of variants displayed
between those two brushes and begin to make
strokes in the preview window. With the most
promising brush from those selected, continue
to click on the gear icon and new lists will
appear, and so the process goes as you hone in
on the characteristics you want in this variant.
If you would like to back up to a previous variant
then its no problem, you can find it in your
Brush Tracker.

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BACKGROUND BRUSH

Put Brush Creator to work


Feature focus

The Leaky Pen variant isnt normally one


applied in great sweeps, but in this case we
have utilised the Brush Creator to make the
perfect tool for depth and texture. The Stroke
Designer helped with this.

Let your magnolias blossom with the Brush Creator


Here is a fun exercise: create a painting and include some of the brush
variants you have created in Brush Creator. Lay aside preconceived
notions about which brush categories work and which ones wont. Be
adventurous and try some of those brush variants you rarely open.
Chances are, youll expand your thinking as well as your Brush Library.

painting
01 Magnolia

Brush Creator

For our
rst variant, we began with an
unlikely choice, the Leaky Pen
brush. Even if you use it a lot,
you may have never thought
of using it as a background
brush. In Randomizer, we
chose a variant we liked, then
moved to Stroke Designer and
added greater opacity and
some depth.

strokes
02 Sweeping

MAGNOLIA PETALS
The Sumi-e category has lots to offer
oral painters and in this case we took
the Thick Blossom variant as our starting
point. A blast in the Randomizer and Stroke
Designer created petal perfection.

For this
one, we began in Randomizer
with the Artists>Sargent
Brush and randomised until
it morphed into something
less graphic and lent itself to
sweeping strokes. We then
took it into the Transposer
and added F-X>Hair Spray to
soften the edges, then added
depth in the Stroke Designer.

03 Magnolia petals

To create a petal
brush variant, we began with
the Thick Blossom Sumi-e
brush in Randomizer and took
our best mutation to Stroke
Designer and added depth,
reducing the Plow to about
half and increasing Smoothing
to 25 per cent. The new brush
variants worked well to paint
these abstract magnolias.

BEST OF BOTH WORLDS


Using the Brush Creator to merge
the properties of two different
brushes can give interesting
effects. Do you like the thickness
of oil but want the transparency of
watercolour? You can get just that
in the Brush Creator!

Narrowing it down

A star is born!

Each selection makes it more personally yours

How to save your new variant

As you paint strokes in the preview window, zoom in or


out with the slider at the bottom or change the size of
your brush with the top slider, and when your window is
full of strokes, just click the Clear button and youve got
a new, white canvas. Move your Color Wheel over beside
the Brush Creator because some brushes automatically
paint as cloners, and for these, you will want to click off
the Cloner option and choose a bright colour that will
show the properties of your variants. The entire Brush
Creator can be enlarged by pulling down with your
cursor on the lower-right corner. This will allow for a
longer variants list with each click of the gear icon.

Youre bound to discover new brush variants


you would like to save, and thats easy, too.
Select Save Variant or Ctrl/Cmd+S, and a new
window will open up where you will type in
a name for this new brush. If the OK button
greys out, you will have to shorten the brush name. Click OK and it will
be saved in the first Brush Library, the one thats at the top of the Brush
Creator. Look in that library to see your brush. It will be at the bottom.
To put it in alphabetical order, choose Window>Workspace>Customize
Workspace>Brushes and click Done when you are finished. And now
youre all set either to begin painting or to spend some more time
creating brushes.

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Feature focus Brush Creator

FEATURE
FOCUS

Exploring the Randomizer


The Randomizer tab is a favourite for many digital artists
The Randomizer
delivers everevolving brush
variants in such
a serendipitous
manner, very wellsuited to those of
us who rely upon
the muse to inspire
and guide us. The
only problem here
might be deciding
how many variants
to save.

01 Lets get started

Select Ctrl/Cmd+B or go to Window>Show


Brush Creator and when it opens, choose the Randomizer tab. As the
name suggests, you are presented with random mutations of your chosen
brush variant. You may be like a kid in a sweet shop and end up with dozens
of exciting new variants. Keeping things orderly is a key to enjoying Painter, so
take time to grasp the process of creating and saving your variants.

02 Choose a variant to randomise

Underneath the Randomizer


tab, select a brush variant that you want to explore. Below the row of
brushstroke grid cells is a slider where you can control the strength and range
of the random variations. Set it between eight and ten; you can lower it once
you begin liking the direction your mutations are going in.

Get in the
habit of
naming
Weve said it here a
couple of times, but
it can never be said
too much. Whenever
you save your newlycreated brush, always
give it a recognisable
and descriptive name.
We find it best to
pick something that
explains the qualities
of the brush, such
as soft oils, watery
pastels anything that
will jog your memory
as to what the brush
looks like when you
stumble upon them
months after youve
created them!

03 Begin the process

For this example, we chose the Digital


Watercolor Broad Water Brush. Our aim was to nd a variant that
was soft and owing but with opacity and colour variations, and we slid the
random variation strength control all the way to ten to see just how far we
could go with this brush.

04 Fine-tuning

Here is another Randomization using the same


Broad Water Brush, but its evolving closer to the transparent,
backwash effect that we want, so we have changed the random variation
strength to eight to narrow down the choices.

Stroke Designer

Whats behind tab #3?

Where it all comes together

Discovering more options

Depending upon your own workflow, you may begin this


brush creation process in the Randomizer and go on to
the Transposer, or do this in reverse order or utilise only
one of those tabs. Whatever you feel comfortable with,
you may want to do some further fine-tuning of your new
variant, and for this, the Stroke Designer is the logical next
stop. You may already be familiar with most of the controls
because theyre in your General Brush Control palette
where you tweak your brush variants on the fly, but the
Stroke Designer gives us a room apart from our painting
in which to work with new variants, so use the Preview
window to really explore the results of your tweaking.

One helpful element to take note of here is that whatever


brush variant you place in the top spot under the tabs, that
same brush will appear as you move back and forth among
the tabs, making it easy to create, refine and then finalise
each of those sparkling new variants you create. A large
brushstroke and the shape of a single touch of the brush
are always displayed at the bottom of the Stroke Designer
screen to help us envision how changes will affect the chosen
variant, and will be displayed in either the current colour or
the colour you saved with your variant. Options in the brush
controls that are not available for your particular variant will
be greyed out.

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We continued to choose variants to try by


clicking on the Randomize Current Selection button (the cog icon).
Notice that your choice from each list of variants determines the direction of
the next set of variants. In this way, you are controlling the mutations.

06 A backup plan

If at some point you decide youre not pleased


with the direction the randomisations have taken, go to the Tracker
and scroll back a few steps. Click on one and the randomisation can begin
again, taking a new direction.

If youre not a member


of one of the larger
digital art forums like
Painter Talk or Paint
Outside the Frame,
you might not know
that John Derry posts
his own segment
where he explains all
the features of Corel
Painter in detail and
answers questions
from forum members.
Be sure to look out
for his informative
and interesting
forum threads.

Brush Creator

05 Taking control

Feature focus

Brush
Creator
in greater
detail

Is that your final answer?


We DO want to give you that!

Short cuts

07 Name that variant

After playing about and exploring your


options, you can use the Save Variant command to keep it for
future use. This works in the same way as in the Transposer walkthrough.
As always, descriptive names are best, otherwise you may be left later
wondering what you had in mind when you created it. If youre really pleased
with your creation, why not send it to us you never know, artists around the
world could be using your brush in the future!

08 Restoring default

After the new variant is saved and appears


in your Brush Library, you will want to restore the brush you began
with to its original state as its properties have been altered. To do this, choose
Restore Default Variant.

Greater versatility

Time to save

Who says we cant mix oil with water?

Just one more step

In the Thin Wet Oil Wash variant, we were


happy with the consistency of the paint it
laid down, but we decided to play some more
with the Color Expression set to Direction,
and we increased the Color Variability in
order to have a mingling of wet-looking
colours with each stroke, changing with its
direction. At this point, its looking more like
a Digital Watercolor brush than an Oil brush, but thats part of the beauty of
Corel Painters brush variants. In traditional pigments, we could never combine
oil and water media or substitute one for the other. In fact, youll notice in the
screenshot that both the Digital Watercolor and Impasto controls are available.

If youre using a mouse


with a wheel, you can
use this to zoom in
and out of the preview
window or use a
keyboard short cut,
Ctrl+0 (zero), to enlarge
to screen size. Keep in
mind that your mostused short cuts will
simplify your painting
workflow and leave
you free to create. To
find out more about
Painter short cuts and
learn how to customise
them, look under the
Help menu.

Now that our variant is refined just the way we want it,
all thats left is either to save the enhanced version as a
new variant or decide to overwrite and declare this as
the default variant by going to Set Default Variant. In
doing so, you will lose its earlier variant that you saved.
When you close the Brush Creator, all your workspace
palettes will go back into their assigned places. Now
youre familiar with the awesome controls in Painters
Brush Creator, personalise your brushes for your own
use and even share them with your Painter friends; the
more you use it, the more proficient youll become at
creating brush variants. Go create something amazing!

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Tutorial Paint like Klimt

Paint like: Gustav Klimt

In this tutorial we will show you how to create a portrait in Klimts style, with the most
characteristic features that are associated with his paintings
Tutorial info
Artist

Joanna Michalak
Time needed

Four hours
Skill level

Intermediate
On the CD

Final image

ustav Klimt (18621918) was


an Austrian Symbolist painter,
and a founding member
and president of the Vienna
Secession movement. While working
mainly in the style of Art Nouveau
himself, the group he headed welcomed
painters of all different styles, from
Realists to Naturalists.
Born just outside of Vienna in
Baumgarten, Klimt was from a large
family of three sons and four daughters.
All three sons showed early creative
promise, but after an upbringing in
which Klimt showed remarkable artistic
talent and went on to irst study then
work as an architectural painter, his
father and brother died when Klimt
was 30 and so he had to take over the
inancial responsibilities for both their
families. This era marked a change in
his style, painting more personal work
than following the rigid structure of
commissions. This new direction was to
shock as many as those who lauded it.
Klimt seemed fascinated by women,
both painting them and being with
them he fathered at least 14 children
throughout his life. It was his overtly
sexual depictions in his work for the
University of Viennas Great Hall in 1894
that led to public outcry and eventually
he ceased working on commissions

The light colours and smooth shading created


with the help of Painters Blenders should
re-create Klimts delicate strokes

Klimts paintings are famous and well-loved,


partly because of the variety of fantastic and
stylised patterns used

for the public. But far from fading into


obscurity, Klimt lourished under private
commissions, and at around the turn of
the century, he won widespread praise
and respect from critics for his beautiful
paintings that often utilised gold leaf.
In the following tutorial, we will try to
create a painting that would represent
the most important features of Klimts

Our image was based on the


beautiful Portrait of Adele Bloch-Bauer I,
commissioned by her husband Ferdinand.
Adele is the only model to have been
painted twice by Klimt, as he depicted
her in another portrait ive years after
the irst. At the last count, the original
Adele Bloch-Bauer I was the third most
expensive painting ever to have been sold,

Golden Phase ethereal but sensual


beauty, stylised decorative patterns
and the famous gold ornaments using
Painter IX (Pen tools and Blenders) and
gold paint on a printed image. His models
were made of soft, pastel colours, while
ornaments are also one of the most
distinguishing and recognisable features
of his style.

bought for around $135 million by Ronald


Lauder in 2006 to display in New Yorks
Neue Gallerie.
Klimt required lengthy sittings in order
to achieve his very deliberate painting
style. Whereas it took him three years
to complete this painting, were going to
attempt to emulate it in a matter of hours,
thanks to the majesty of Painter.

The group Klimt headed welcomed painters of all


different styles, from Realists to Naturalists
The gold ornaments are
very characteristic for
Klimts Golden Phase.
Even if created with
gold paint instead of
gold leaf, it still can give
artwork a real flavour
of Klimt

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Tutorial
Paint like Klimt
43

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Tutorial Paint like Klimt

Setting up the sketch


Begin with the figure

01 Sketch

This
is our sketch
based on the portrait.
You can trace over the
nal image le on the
disc or trace over a photo
of a loved-one. We
worked to dimensions
of 30cm high by 24cm
wide. At this point, its
irrelevant what brush
you use. However, we
knew we wanted darker
outlines so we have used
dark brown you can
blend it easily with other
colours of the picture.

02 Choosing background colour

Next
you need to choose the colours and
tones for your painting. We prefer to do it at the
beginning, because often the colours are blended
with the background. For this one, we chose a
darker yellow since we know the nal painting will
include lots of gold. We started our colouring on a
separate layer, with the line art underneath.

03 Making changes

As you see, we
allowed ourselves to make a few changes
to Adeles face as we didnt want it to be an exact
copy of the portrait. Using your imagination and
making your own choices is ne. It can make your
work more fun and you can learn from the great
masters and create something with your personal
touch at the same time.

05 Skin shading
04 Choosing colours

It can be hard to pick up the skin colours


when you want to re-create a certain painting, because there are
always different reproductions. The ideal situation would be to paint it directly
from the original, which is, of course, not always possible. We decided to use
colours from a lighter reproduction with lively colours. Create this palette on a
separate layer, so you dont lose them later on. We have used a pale skin colour
and some shading using the Fine Point Pen at 27% opacity.

Next we added
a few brighter tones of
yellow and blue to the
skin. We chose the Fine
Point Pen brush as our
tool (Opacity set to 27
per cent). Even if its a
Pen tool, you can imitate
many different mediums
when you use it either
with different opacities,
or else together with
the Blenders.

Shading skin
The bodies Klimt
painted are ethereal
and seem to be very
soft and delicate, yet
very sensual at the
same time. We tried
to re-create this feel
by delicately crossscratching with the
Fine Point Pen, while
blending different
skin tones that we
chose. Then we
softened the strokes
a little bit with the
Soft Blender Stump.
Its not exactly Klimts
technique, but the
effect is similar.

06 More shading and outlines

Here we worked some more


on shading the skin and overpainting the dark outlines with violet
(using the Fine Detail Airbrush), trying to make them more delicate yet still
visible (soften the outlines with the Soft Blender Stump, Opacity set at 37
per cent). The violet added a nice greyish shade to the dark brown lines.

07 Rough strokes

Now to work more on the details of the eyes,


nose and lips. Keep the painterly feeling by softening the rough
strokes a little, with a soft Blender or soft brushstrokes (Opacity at 18 per cent).

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We started off with Adeles


original haircut, but then decided to
make things more dynamic by adding some swirls
and strands of hair here and there. To nish, we
softened the edges with the Soft Blender Stump
again and also used a bit of Blur (from the Photo
brush category).

09

More colouring of the skin After

nishing the face, we moved on with


colouring the skin, still using the same tools and
methods as described in step seven and the side
tips. Here, you can see what the rough strokes
looked like before the delicate softening.

10 Geometrical patterns

For the dress,


leave the more realistic shading and move
to more abstract, imaginary parts of the portrait.
The famous geometrical patterns are one of the
most recognisable features in Klimts art. Here we
tried to be true to the original. We still used the
Fine Point Pen, but this time at a higher opacity.

One of the most


difficult things is
starting a painting.
Staring at a white
expanse of canvas can
be very daunting, so
you need to get some
colour down quickly.
One good way of
doing this is to flood
the entire area with
a base colour, as we
did here. Pick a colour
that establishes the
mid-tones and it will
make your other
colour choices easier.

Paint like Klimt

08 Hair

Tutorial

Banish the
blank canvas

Absolutely abstract
All hands to the dress

the
patterns
11 Shading

Even
if the colouring of the
patterns is rather at
and not realistic (like the
whole idea of her dress
and the background),
they still have got a
painterly feel to them.
We wanted to keep it,
adding a bit of shading of
brighter tones than the
base colour (we reduced
the opacity of our brush
and softened the strokes
with Grainy Water).

12 Hands

Adele in Klimts painting has beautiful hands in a great pose,


so we decided to keep them as close to the original as possible. Klimts
shading is very soft, almost invisible, but at the same time it denes shapes
very well. We painted the hands using the same technique as for the rest of
her skin.

14 The dress

13 Shading hands

However, we had to be more careful with the


shading and used more of the Soft Blender. The same skin tones have
been used, but with more light blue, yellow and orange on the ngers. The
outlines were a bit more visible too.

The neckline
has been done before,
so we started working
on the middle part of the
abstract clothing. First
we painted something
like a background,
using darker and more
greenish tone of yellow.
We did it on a separate
layer under our sketch.
When we were fond
of the colour, we could
draw the yellow, grey
and brown patterns over
the line art again.

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Tutorial Paint like Klimt

Entering the Golden Phase


All eyes on you

details
16 Adding

15 More patterns

We allowed ourselves more freedom with the


patterns this time. And again, they were painted with the Fine Point
Pen (Opacity 43 per cent), without Blenders this time, because we wanted
the painterly texture to be more visible and rough in contrast with the soft skin.

Here
we added the details to
the patterns, but still tried
to keep them as irregular
and rough as possible.
You dont have to be very
precise while painting
such objects, especially
when you like to use
a big canvas for your
paintings. Otherwise,
they would get lost after
resizing the picture.

17 Adding more details

Take a look at the previous screenshot, and


you can see that we also added a few darker and brighter random
horizontal strokes. We did them on a separate layer again (Fine Point Pen with
a lower opacity). Now the parts of them that ran over the patterns have been
erased. Then we collapsed the layers it simply creates less chaos and makes
the le much smaller.

18 The sleeves

The sleeves have different patterns to the middle part


of the dress, but the procedure of re-creating them was the same
rst we painted the overall shapes and lled them with colours, leaving the
sketch a little bit visible (Fine Point Pen, Opacity 43 per cent).

Photo Blur
Photo Blur is mostly
used by artists who
are into photorealism,
but you can use it if
you want to make
something look very
soft without blending
it or changing its
shape. Hair is a good
example of something
it works well on. For
our final image, we
have used a little bit
of Photo Blur on the
edges of the womans
hair and for single
hairs as well.

golden
elements
20 The

19 Working on details

Next we could
add the details. All the time we tried to
mix various shades of yellow, grey, brown and a
bit of olive green in order to create an interesting
diversity. The colouring of Klimts patterns might
look at compared to the realistic painting style,
but the colours certainly arent.

In some places we also


added a bit of brighter
yellow. The main
problem with re-creating
Klimts painting style
via digital mediums are
the golden elements.
Because we couldnt
make them really gold,
we chose to mark some
of the golden parts with
a light yellow tone.

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nearly nished and we could work on the


background. Again, we created a new layer under
the collapsed layers with the gure and drew a
sketch of the background patterns.

22

Sketching swirls We lowered the

opacity of our sketch layer and added a


new one above it. Using the Fine Detail Airbrush,
we drew the swirls on the left and right side of the
woman. Then we added some over her head, too.

23 More swirls

Next, we changed the


brush to the Fine Tip Pen (Opacity at 29
per cent) because of its ow and softer edges.
The swirls were softened and smoothed. Then
we removed the rough parts using the Eraser at a
low opacity.

This tool doesnt look


like there would be
much potential in it,
but sometimes its
the best way to paint
something that looks
like trouble. Here we
used it to paint the
background irregular
patterns, which could
have taken ages if
we tried to do them
by hand. But we also
found the Sponge very
helpful by painting
more realistic works
you can use this brush
to create a wonderful
skin texture (on the
right side of the
image). Just lower the
opacity and try it out
with different colours
and tones.

Paint like Klimt

21

Background At this stage, the lady was

Tutorial

The Sponge

Sponge
24 Using

Its
a perfect tool when you
want to create a lot of
undened splatters. We
painted the left border
side of the picture brown
and then added many
yellow Sponge strokes.
Youll nd that this is one
of the easiest parts to do.

25 More background patterns

Next up were the yellow and red


squares. Again, we used the Fine Point Pen at a higher Opacity of
between 43 per cent and 57 per cent to dene the gures. Later, we drew a
few darker strokes (after lowering the opacity of our brush) in order to create
an effect similar to the canvas texture on the real painting.

Now your Gustav is a must-have


Keep going with the patterns

27 Jewellery

26 And even more patterns

The next two steps dont need much


of an explanation we painted the grey and violet gures over her
head, lots of little brown, orange, grey and yellow squares around and the
oval elements in the middle. We used the Fine Tip Pen at a high opacity for the
squares and the Fine Point Pen for the ovals. The swirls inside the bigger ones
have been painted once then copied, since theyre very much alike.

The nal
addition was the
jewellery. The bracelets
were created the same
way as the dress. We
painted her necklace
with the Fine Tip Pen,
mostly by adding more
and more short strokes
of grey, very bright blue
and a bit of the skin
tones. As a nal touch,
you can also add a
texture that will give it
the look of a real canvas.

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Tutorial Paint like Klimt

Learn how to
embellish printouts
One of the most distinctive features,
almost a trademark, of Klimts art are
the golden elements. The value and use
of gold was heavily inluential within
Byzantine imagery, which inspired him
and was prominently featured in his
paintings during his Golden Phase. Using
the digital mediums, we are admittedly
able to create an optical illusion of gold
and silver, but its still not perfect. Still, we
can improve our picture with traditional
techniques and let the golden Adele
really shine.
Klimt used gold and silver leaf for the
decorative elements in his paintings, but
we chose an easier way to add a bit of
shine to our picture gold paint. You can
also use a pen, however, the paints layers
resemble the leaf better.
Finishing an image in this way is a
really fun project. Invest in some ine art
paper for your inkjet printer and then you
can experiment. The trick is to not go too
overboard. In our example here,
we have picked out small sections of
image to cover. This picks up the light
and produces different shimmer
depending on where the viewer
happens to be standing.

Using paint or gold pen


This will really make your painting stand out

01 Making a print

We printed the
nished picture on white
watercolour paper with
an ordinary inkjet printer.
When the ink dried up, we
could start painting. We
used Maimeri Polycolor
acrylic paint (rich gold), but
you can use any that you
ne. Go for a lighter gold
if possible and acrylic does
work best.

02 Painting the gold elements

Because our print format


wasnt very big, we had to pick rather small brushes and paint
very carefully, which isnt always easy to do since our paint was thick
and dried very quickly, even when thinned with water! This kind of
acrylic paint also becomes water-resistant when its dry, so you need to
be careful and remember to clean the brushes quickly, or keep them in
water all the time.

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showcase

CHRISTOPHER W PRICE
TITLE
WEBSITE
JOB TITLE

Shadow
www.studiochris.us
Digital artist

Christopher, along with Painter Magazine regular


Karen Bonaker, is involved in the excellent Digital Art
Academy. This is an online school founded by Karen,
whose mission is to deliver the very best in digital
art training to students around the globe. Being
an online school, students have access to course
materials 24 hours a day and may work at their own
pace. Classes begin on 18 February 2008. Dont miss
out on this exciting opportunity to learn from the
best! See www.digitalartacademy.com for more.

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Art study How to paint still water

pa in t s till wa ter
How to

Introducing water into your landscape paintings will add life and sparkle to the final
image. Heres a roundup of the best techniques for painting calm water, ensuring
tranquil results every time

What works and what doesnt


Sometimes we stop short of painting water because it
presents its own set of challenges. We will discuss how to paint
calm, quiet waters, sometimes motionless, at other times

Successful

softly rippling. You will see how to describe this seemingly


clear liquid on a digital canvas and how to indicate its gentle
movements, how to paint its edges and what colours to choose.

SNOW BLUE IN THIS SKY

We usually think of using blue for water,


but the blue we see in natures water
is, of course, the blue reected from
the sky. This painting is of an overcast,
snowy day, and theres no blue in the
sky so the colours seen in the water are
shades of charcoal.

REFLECT ON THIS

Because were facing the snow


bank on the far side of the
water, you would expect more
reections there.

SEEN IT? USE IT!

Its tempting to grab a blue


hue and start painting that
pool of water. Whatever
colour you choose for the
water should be one you pull
from the surrounding scene.
That way, the whole thing is
cohesive and the pool looks as
if it belongs in the painting.

CAREFUL BLEND

Here we used the Just


Add Water blender. Its
very useful in painting
water, but in this example
we went way too far
and blended out all the
character. Its opaque,
boring and featureless.

Unsuccessful

ADD PRESENCE
And how to describe the
waters edges? Shadows were
applied to anchor objects to
the piece.

COLOUR CONTROL

Calm water may be


smooth, but a painting
with great expanses of one
hue without textures just
doesnt work. .

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CURRENT AFFAIRS

How to paint still water

Everyone is at least a little


mesmerised by reflections in the
water, and they add so much to
our paintings. When painting a
photograph, its easy to paint an
existing reflection and just as easy to
add them where there were none.
Lets get started!

Art study

Even if there are none, imagine


deep, gentle currents in the
water, and these will guide you in
distorting your reections. Paint
with a broad brush and resist the
urge to ddle around with details.

Reections

MIRROR SHIMMER

In this, the surface of the water


acts as a mirror of the entire scene.
Remember that its not a perfect
mirror image; everything within it
will be slightly softened, distorted
or rounded as the water undulates
beneath it. Take the waters
movement into account.

REFLECTION SELECTIONS
Your reections neednt be scientically
veriable. Were more concerned with
composition, so if your cloud needs to be
larger to balance out a space, then make
it larger. Not sure those trees would cast a
reection? Its your painting. You decide.

Step-by-step
Create realistic
reflections by
selecting areas of
your photograph
and applying
them to the
water, so that
you get a true
mirror image
that you can then
paint and distort
as much or as
little as you want

01

First, take a deep breath and step back


from your image and consider where
there might be reections in the water or where
they might enhance your composition. Choose
the Lasso tool and loosely select an area of the
painting. By selecting loosely, youre leaving
yourself room to decide later what to keep and
what to brush away.

02

Now copy and paste, and it appears


on its own layer ready to move into
position. Choose Layer Adjuster and hover the
cursor over your selection while right-clicking,
then select Free Transform. Now to move it into
the water; drag top to bottom and reverse the
image. Hold down Ctrl/Cmd and you can rotate
the selection by dragging on the handles.

03

Once its in position, right-click again


and choose Commit Transform. Find
a soft Eraser and begin removing the unwanted
edges. Now drop the layer, and the selection
is part of your canvas and ready to be painted.
Repeat the process for other areas you want to
convert to reections and paint them all at once
for a better ow.

Reecting on puddles
Puddles are great for a suggestion of water but
mean you havent got to paint great expanses.
The priciples are the same as any water take
colours from the sky and keep things soft. Use
shadows at the edge to give a sense of weight.
The puddles in the rst image have formed in
asphalt tire ruts and form the basis of an abstract
image. We can see the sky reected in the puddle
closest to us, but the ones nearer the sun reect
only light.
The leaves lying in the water and the ones
reected from overhead make a beautiful mosaic
in the third puddle.

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Art study How to paint still water

Painting ripples

Even still water has the suggestion of movement and


so ripples are an important skill to master. They arent
complicated but there are fundamental rules. For the
most part, our process of painting water digitally is
the reverse of painting it traditionally. In a traditional
painting, we would save the white areas and paint
around them, but in digital painting we paint medium
values first and then paint darks and lights over those.
Step-by-step

01
The Airbrushes set to less than 50 per cent Opacity are a great way
to begin painting water ripples, glazing layers as you go in sweeping
horizontal strokes. Brushstrokes and textures can be added later.
Using medium value hues, begin describing watery ripples, keeping
them smooth; think of painting satin as you go.

02

03

Now youll begin to see the shapes forming


into ripples where darker hues will add depth.
Drop Airbrush Opacity to less than 30 per cent
and begin dening those darker areas that will
be the depths of your ripples, always keeping
in mind the direction of your light source.

Time now to brush on the highlights, areas where


the sunlight, moonlight or even harbour lights
would touch the tops of the ripples with white.
You may want to stop here or you might want to
add bristle brushstrokes or some harder lines with
the Pens or Pencils to indicate smaller ripples.

Painting water over rocks

For this, take a rock painting and then use transparent layers and the
Gel composite method to introduce the water feel. In these examples,
the water looks slightly green and grows more opaque where the water
is deeper (you might choose blue or yellow ochre).

01

Patches of pale blue


suggest the sky
peeking through
tree branches and
add shimmer to the
surface; exaggerated
shadows between the
stones add dimension
and interest to our
watery scene.

02

We can add more


depth by painting
oating ower petals,
leaves or foam above
the stones. Here,
the white and blue
pattern icks on top
of the water as an
interesting element,
as they dene the
waters current,
leading our attention
into the painting.

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Lets see what happens when water takes on vibrant colours not generally
associated with water. We decided to paint a sunset reference photo with
even more vivid colours. However realistic or abstract we go, the images in
a sunset more or less become symbols, because of extreme lights and darks.

Where water
meets the shore

Art study

Painting water at sunset

How to paint still water

It just takes a few straight, imperfect lines


to suggest the waters edge. If that edge is in
shadow, then paint a dark line, but if it would
catch sparkles of sunlight, make it white. For
this edge, we used the F-X Fairy Dust brush,
set to a very small size, and painted loosely on
a separate layer.

Step-by-step

01 Abstract art

02 Fence

The fence
adds interest, so
we kept it in our painting.
Because the suns rays are
so concentrated, the fence
becomes little more than
a silhouette, so we dont
even have to worry about
describing depth in the
boards. We began painting
in the rectangle that will
be the suns rays across the
water, starting with palest
yellow near the horizon
and going darker near the
lower edge of the painting.

We began with
an abstract of random
brushstrokes, using
various brushes from
Acrylic Captured Bristle
to Watercolor Wet Wash,
preparing for the sun and
its rays on the water. Take
your time; even if you later
paint most of it away, it
remains the most painterly
part. While were laying
colours in the appropriate
areas, we dont want them
completely segregated.

03 Sparkle

The rays of the


setting sun would sparkle on
the water, and weve brought out the FX Fairy Dust brush for this. Our brush size
is very small, about ve, and the Opacity
is less than 50 per cent so it remains
somewhat transparent. Choosing
colours from the rest of the image,
we brushed Fairy Dust in randomly
horizontal strokes, painting onto an
empty layer so that we could play with
opacity and blending modes.

04 Final details

We liked the
sparkle of the Fairy Dust so
much that we added light touches of it
to the sun, the fence and the horizon.
This is where we decided to say our
painting was nished, but you could take
it further and bring in more touches of
realism if you like. The vibrant colours
work well with either style because
theyre not really exaggerated.

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Primer General Brush Controls

BRUSH CONTROLS

LINE AIRBRUSH

The brush engine is Painters heart and soul,


with settings in the Brush Controls palette

Another great variant, and


we havent even got out of
the Dab Types yet, but this
one is a favourite, still using
the Variable Oil Pastel. It gives
a soft colour wash to hard
edges where we want to lose
the hardness. Lets go check
out more sliders!

General

PRIMER

ainters brushes makes the


program what it is. In order
to make full use of them, we
ought to get acquainted with the
Brush Controls palette. Thats where the
answers to many of your questions about
brush behaviour live.
As we begin our exploration of the
Brush Controls palette, well focus in
on the attributes of each tab separately,
beginning with the General tab. In this
walkthrough, we will attempt to help
you digest and assimilate the wealth
of information about Brush Controls
weve been given in the Painter
manual, in the Help feature, in
books and online, through our own
understanding of them. We wont
try to reinvent the wheel, just gain
some basic understanding of how
it turns.
Brush Controls provide quick-as-awink access to brush settings without
disrupting our worklow. Did you know
theres a boost slider that instantly
enhances your brush speed? This is
great to know when one of the more
complex brush variants drags a bit. Did
you know that with some brushes you
can choose alternate colour sources like
gradients and patterns? We knew youd be
interested. How about tweaking a variant
so that it interacts with paper texture?
We can do that, too. Banish your anxieties
regarding tabs, sliders and pop-up menus,
and get ready to do some exploring!

ONE BRUSH, MANY VARIANTS


We did the entire painting using one brush,
the Variable Oil Pastel 10, but with the
adjustments in the General Brush Controls,
the possibilities are nearly innite. Save your
work often, and when the time comes to
experiment with a new variant, you can
revert to the last saved state

Brush Controls at work

Painting with a pattern

Settings in the workspace

Choose to use your source as a background

We all arrange our workspaces differently, but you will


most likely want to keep the Brush Controls palette showing
all the time. Go to Window>Brush Controls>General, and
when you click on General, all of the tabs in that palette will
appear in your workspace. You may decide to leave them all
there or keep only the ones you plan to use most often. Or
you might want to leave only the General tab showing for
now and add the others as we cover them in future issues.
If the controls seem alien to you at first, this will pass, and
soon you will know immediately and intuitively which of the
sliders you need to create or tweak brush variants for the
job at hand.

Heres what can happen when you choose Pattern as


your source. You wont likely use it for anything as bold
and vibrant as this, but it does open up another world
of possibilities. This one began with a pattern we had
painted and saved in the Pattern library, and then it
was available as a source when we chose a Variable Oil
Pastel brush. It might be the beginning of a painting
background, or you could select areas of your painting
and fill in with your own patterns. Pattern as Opacity
paints with the pattern at a reduced opacity. The whole
process is similar when you create your own gradients
and use them as the source for brush variants.

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STATIC BRISTLE

General options

Primer

The Variable Oil Pastel brushes give


a smooth paint stroke that, as the
name implies, varies in opacity, but
just changing the Dab Type to Static
Bristle gave us an interesting loosegrained variant whose paint depth is
continuous and deliciously rough so
that it balances out our soft strokes

Discover what each setting does

General Brush Controls

01

02
03

05
06

ERASER HIGHLIGHTS
The Eraser Dab Type with the Opacity set to six per cent
or lower resulted in a useful variant for creating highlights
throughout the painting. A handy rule of thumb is that when
you think the painting is nished, go back and nd areas that
need more shadow or light

08
09
11

04

07

10

12
PALETTE KNIFE
Weve got lots of Palette Knives, but the
challenge here is to create everything
we need from one native variant, and
the Palette Knife Dab Type option works
beautifully with this one. If youve never
painted with a traditional-media palette
knife, thats a painting style all on its own

01: Dab Type

Describes the shape of the


brush tip

02: Stroke Type

One of four Stroke Types (if


available) determines how media
is applied to canvas, whether its
a Single pixel, a Multi (multiple
dabs around the line made), a
Rake effect or a Hose picture
from another document

03: Method

Painting with the Plug-in method


Experiment with the controls available
There are far too many choices residing behind the
General Brush Controls tab for us to discover them all in
one brief article, but here is a fun method youve just got
to spend some time playing with if you havent already.
Choose a brush that will allow you to select Plug-in as a
Method in order to try out all those interesting options
in the Subcategories list 27 in all. Here, we chose the
Dull Grainy Chalk 30 brush, created a new canvas, filled
it with a gradient and began playing. Some of the Plug-in
variants add colour, some remove it, some add texture,
sharpen or darken, while others distort the media that
has already been laid down.

07: Expression

Pressure and Velocity relate


most closely to painting in
traditional media

08: Direction

Try Artists Oils>Dry Clumpy,


with Impasto set to Direction and
notice how painterly your strokes
become as you play with the
Direction slider

09: Grain

Gives a brush the same


characteristics as another one

Push the slider to the right for


less grain and to the left if you
desire more

04: Subcategory

10: Expression

Refines the Method chosen

05: Source

Only apply to some Dab Types,


and specifies whether we choose
colour from our primary or
secondary colour swatches, a
Pattern or a Gradient

06: Opacity

Sets the maximum opacity


and determines if it paints
translucently or opaquely

This control relates to the grain


attributes of our variant

11: Direction

In traditional media, the support


grain will affect the amount of
media laid down in one direction.
So does this slider

12: Boost

Not available for all brushes but


when it is, drag to the right and
see your brush gather speed

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Tutorial Create your first caricature

Create
your first
caricature
Discover how you can adapt
Corel Painters tools to the task of
creating a simple, yet traditionalstyle caricature

Tutorial info
Artist

Steven Samuel
Time needed

30 minutes
Skill level

Beginner
On the CD

Original photo

his tutorial is a step-by-step


approach to creating a digital
caricature in Corel Painter.
This simple process should
take around 30 minutes, although with
practise it can be done in around 15
minutes.
Before we proceed, it is important to
understand what a caricature is. Quite
simply, it is an exaggerated likeness of
someones face, with emphasis on all
the victims redeeming features such

as ears, eyes, nose, face shape, etc. Be


warned, caricature art is a powerful
tool that has been used by political
satirists remember the Spitting Image
television programme in the Eighties? So
choose your victim very carefully, and
just make sure that they have a sense of
humour there is a very ine line between
exaggeration and insult.
Any photograph you use should show
as much detail as possible. This allows
you to have lots of visual hooks to work

on, and gives you the opportunity to do


some serious caricature. When producing
one for someone you know, have a think
about what facial feature is their most
prominent and then accentuate that in
your portrait. Essentially, we are warping
an existing image and training ourselves
to spot the sorts of features that really
lend themselves to exaggeration. Eyes and
lips was the obvious choice here. Creating
a caricature is a trial-and-error exercise,
so dont be afraid to experiment. But most

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Work on the photo

Open up the start photo


from the disc. We cropped into the girls
face but feel free to use the entire gure. Now we
get straight to the fun bit! Click on Effects>Surface
Control>Image Warp.

02 Why the long face?

You get three choices for the Image Warp.


Pick Linear for this image. You also have a couple of choices when
it comes to making the warp. For a free-form approach, click and drag out in
the preview window. This will make the face warp. Use the slider to decide
how strong to make the effect.

Create your first caricature

01 Start the edit

Tutorial

Warp speed anyone?

03 The nal base

Stick with the Linear


setting and work your way around the
image. Weve warped at the sides of the face and
either side of the chin to accentuate it. Weve also
used it at a larger size on the forehead. You can
also select an area and then go to Image Warp for
more control.

focus
05 Circular

04 Tidy as you go

With the warped areas all set (you can go


as mad as you like), its time to do some tidying. Pop down to
Effects>Focus>Sharpen. This will allow you to sort out the edges and add a bit
of denition to the eyes.

You
have different types
of focus to choose
from. For this task,
select Circular and then
adjust the Amount to
around 82 per cent. Set
Highlight and Shadow
to 100 per cent and then
click OK.

Getting the
best from
Image Warp

06 Easy shading

So far we have been preparing the photos for


painting. We have the basic shape sorted now, but theres a handy
trick we can employ to make the painting process easier. Go to Effects>Tonal
Control>Posterize.

07 Apply Posterize

Once you have chosen the Posterize command,


a window will open with a Preview window and an area to add a
setting. For this image, pick a setting of eight and then click OK.

It could take you a


while to get used
to the Image Warp
command. When you
are starting out, stick
with the Linear option.
This allows you to
move pixels around
in quite a fluid way
and is particularly
good at elongating
or squidging areas of
your image.

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Tutorial Create your first caricature

Starting to clone
Go from photo to fully fledged caricature

time
09 Clone

08 The results

When you run the


Posterize effect, you simplify the image.
As you can see here, the nal result looks blotchy
and the colours have been evened out. As a photo
it is disastrous, but hopefully you can see how it
has an illustrated feel already.

We
cant leave the image
as it is, so lets apply
some paint. Start off by
going to File>Clone. If
you have room to place
the image to be cloned
next to the source
image, then do so.

11 Clone variant

10 Erase the work

Making sure that you are working on the clone


le, pick the Eraser tool and then erase your image. Honestly, we
promise this will make sense in the end! Once its all gone, pick the Cloner tool
from the toolbox.

Pop up to the
Cloners variants menu
and then pick the Bristle
Brush Cloner. Set Size
to 48.2, Opacity to 21
per cent, Resat to 48 per
cent, Bleed to 26 per
cent and Feature to 3.4.

Posterize
effect
The Effects menu is
a useful place to visit
before you start to
clone a photo. The
choices here allow
you to tweak images
and make creating
a cloned piece of
artwork much easier.
The trick is to stop
looking at the image
as a photo. When we
posterised the photo
in this tutorial, it
looked terrible, but
once cloned it gave
a great base for an
artistic finish.

12 Start to clone

Begin by loosely
brushing in the hair. Because you have the
clone le next to the document you are cloning
from, you can easily see the area the Cloner is
picking up. The low opacity setting allows you to
apply a good base.

13 More dened

As soon as you get


to the more intricate areas such as the
facial features, start to make the brush follow the
contours of the face. If you just scribble the brush
you will blur all detail, but trace the features for a
more convincing effect.

14 Carry on until youre happy

Here,
we have covered the entire image using
the Bristle Brush Cloner. You can see that it is still
quite faint, but we will sort that in a minute. The
key is to cover all the area and provide a base for
the next application.

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Build some more

Cloners variants, this time selecting the


Camel Oil Cloner. Set 21.5 as the Size, 37 per cent
as the Opacity and 27 per cent as the Resat. Bleed
needs to be 49 per cent and Feature is 2.2.

16 Dene areas

The Camel Oil Cloner is


quite a sharp brush and allows you to give
the impression of carefully applied paint. In this
case, use it to dene the main facial features such
as the eyes and lips. Its also worth sharpening the
edges a bit.

Create your first caricature

15

Camel Oil Cloner Go back to the

Tutorial

Layer the paint and then sharpen

17 Review the progress

Here you can see the nal image against


the clone source. Weve used the Camel Oil Cloner all over, and added
denition to the forehead and chin in addition to the facial areas mentioned in
the previous step.

Deciding what to accentuate Work with a plan in mind


While the best caricatures are loose in
style, it pays to spend a bit of time looking
at your subject before you start making
marks. Weve put together a quick guide
to how we approached the starter file for
this tutorial, pointing out the best areas to
accentuate with the Image Warp tool.

FOREHEAD
Our model has quite
a large forehead
and this can be
accentuated for the
good of the caricature!
We used Image Warp
to extend it upwards

EYES
The model has nice big eyes, which
weve emphasised. We could have
made the actual eyes a lot larger (think
of the cat in Shrek) but decided to stick
with altering the eyebrows. By doing
this, we have given the nal image a lot
of character

CHEEKS
We havent done much to the actual
cheeks, but have brought the area
above the cheeks in a bit, which has
given more attention to the area

LIPS
The mouth is one of the rst
things to be accentuated in
a caricature, and we used
the Image Warp to drag
the bottom lip down and
therefore make it bigger

NECK
CHIN
To go with the large lips, we also dragged the chin down.
Traditional caricatures tend to look a little pinched, meaning the
forehead and chin need to be enlarged in order to make the eyes
and lips look compressed

To nish the exaggerated feel, we


also made the neck longer. This made
the head look bigger and nished the
comic expression

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Tutorial Storyboard results

Storyboard
competition
results
The results are in! Issue sixs storyboard competition is
now at an end, the results have been judged and we have
a presentation of the winners here
Graham Purvis
Script used:
Lounge Singers, Kid

Prize won:

3RD
PLACE

Wins Painter X can

Limited edition Corel Painter X paint can


Grahams entry impressed the judges with its depth and
adaptation of the script. Even with no knowledge of the story
line, the clear illustrations and notes for each meant anyone
could follow it and still understand what was going on.
Style-wise, it hit the nail on the head. Using red as the only
colour gave a Sin City feel, and you could almost hear the
slow jazz and pouring rain in the background. A great entry
and deserved win.

Ian McCaughrean
Script used:
The trail of Five-Ton Mary

Prize won:
Limited edition Corel Painter X paint can
Graham Thomas, the man responsible for the scripts supplied for the
competition, looked at this storyboard and was blown away by how it
illustrated exactly what was in his mind. The characters Ian created
brought the script to life, and he managed to tread the ne line between
fantastical without entering into ludicrous.
As a storyboard, the judges felt as though this one gave an instant
avour for the mood and style of the lm. It dictates the colours, scale,
type of characters and pace, which culminates in a useful product to take
along to pitches. From an artistic point of view, the characters are sublime
and the muted tones used to paint them work really well.

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Competition

2ND
PLACE

Wins Painter X can

Corel storyboard competition results


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Tutorial Storyboard results

Winner: Leighton Johns


Leighton Johns
Script used:
The Last of the Broken-Tokyo
Ghost Hunters

Prize won:
Wacom Cintiq 21UX
Although it has become a competition
standard to say how hard it was to decide
upon a winner, in our case it really was.
Each entry brought something valuable
to the table but Leightons storyboard
combined them with the most aplomb.
Art-wise, its clearly successful. The
storyboard is just beautiful to look at,
and we liked all the little details such
as the stylised arrows and elements
coming out of the frame. In terms of
what a storyboard is supposed to do, it
was equally as successful. A director or
camera operator can clearly see how
to position shots and move around the
action. It clearly shows the pace of the
story in addition to setting the mood of
the scenario.
So a massive congratulations to
Leighton. He is rightly crowned winner
and we hope you enjoy your Cintiq!

Prize
Wacom
Cintiq
21UX

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Competition
Corel storyboard competition results

1st
place
Wins Wacom
Cintiq 21UX!

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Drawing 101 How to draw horses

How to

draw horses
Kick-start your unbridled passion with this tutorial designed to give your
drawing skills a little extra horsepower
here is a mysterious magnetism
surrounding these equestrian
mammals even without any
form of external encouragement,
many people are completely enchanted by
them. So why is it that horses evoke such
passion?
There is something wonderful
about their faces: the liquid eye with
the amazing rectangular pupils and
supermodel eyelashes (with sickeningly
perfect applications of eyeliner); the
loppy, hairy, wobbliness of the bottom

lip; the soft, inquisitive or invective curve


of the ear; the whorls of hair as they
converge under the forelock, and so forth.
There are many reasons why people
draw horses; historically, they represent
power, strength and beauty. European
Kings are often found astride a rearing,
prancing stallion with lowing mane
and tail, and a feisty look in their eye to
enhance the impression of power. They
have been portrayed in every conceivable
colour, style and canon with love and
varying degrees of accuracy.

Proportions are proportions are


proportions. This pony has the same
proportions as a racehorse, and the ratio
is the same for Shetland or Shire. With
enthusiasm, dedication, practice and a
little help from this guide, your advance
along the road of the equine artist should
be a little more turbo-charged. Or if you
are just twiddling your thumbs for an
hour or two, try this tutorial and join a
thousand other keen drawers around the
world who are probably drawing horses
right now!

Drawing the head


Examine the head as if youve never seen it before

SKETCH

Draw a slanting vertical line to show the space


between the end of the nose and the bottom
of the nearest ear. Divide this in half with a
horizontal line that is half the size of the vertical
line. A rough circle in the top half and two at the
bottom represent both ends of the jaw.

REFINEMENT

Now you have the basic form of the head,


focus on accurately recording the details of
the features and the outline. Particularly
challenging are the eyes, nostril folds and the
shape of the ears. They must be accurate to
convey the expression, feeling or thoughts on
the horses mind.

POLISH

Firmly use an H pencil to shade in the darkest


areas, notably the eye. Then, feature by feature,
use a range of marks to convey the texture
and direction of the hair: the tufty ears, the
shadowing on bones and muscles. Quick and
expressive directional marks will work well for
the mane, giving it energy and life.

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Drawing 101

Drawing the body


Define then refine

SKETCH

How to draw horses

To begin, draw a
square. Divide this
horizontally with a
line that slants up to
the horses bottom. A
triangle, representing
the neck, cuts off at
the head and joins
the top half of your
square. The legs
follow the two vertical
lines that drop from
the top. Block in the
curvaceous body
parts, checking the
proportions and
relationships carefully
as you go.

REFINEMENT

Now double-check and confirm the correct outlines and shapes with a
confident line. Trouble spots will be different for everyone. Take great care
with the ins and outs of the foot and fetlock, and the positions of the ears, eyes
and nostrils. Once these are in place, the rest of the image is a lot easier to
make convincing.

POLISH

Tone, shadows, shading and the direction of your marks rely on close
observation is that shadow really that shape, or is the hair flowing in that
direction for quick marks or the other for slow? Which curvy mark should you
use to create the muscles or the pot belly? Bear all these in mind.

Horses have been


portrayed in every
conceivable colour, style
and canon with love
and varying degrees
of accuracy
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Drawing 101 How to draw horses

Different poses
To begin with, we are going to look at three different poses
(we found two on www.morgueile.com, a website which
is full of wonderful and weird free photographs to use as
secondary source material). If you are lucky enough to have
access to real horses, study them from life to practise your
observational skills. However, these poses give you a chance
to ine-tune your drawing ideas and skills. Find an image that
really appeals to you and enjoy tweaking it until it works.

SHADOW PLAY
Shadows are really important
for suggesting the bend of
the legs

GESTURE MUSCLE
Although covered by the
mane, make lines to indicate
neck muscles

PERSPECTIVE
Dont assume
how the legs will
look take note
of the back legs
and their size

LYING DOWN

This is a challenging pose because of a slightly raised perspective. This means you must focus
on the shapes, curves, tones and spaces between that make up the horse, distorting its normal
proportions. At first sight, the head looks vastly oversized and the neck bulges awkwardly as
it bends. Try to ignore the whole image; work on detail and this should prevent you making
assumptions about proportions that may compromise the accuracy of your drawing. As with the
first pose, begin by sketching out form and blocking out the shapes before refining your drawing
with texture and tone.

GALLOPING ALONG
Describe movement by leaving
white areas, with less shading
than more stationary body parts

GRAZING

Analyse the relationships between the legs, for instance, the hocks are
slightly higher than the knees. Look at the curves of the body, muscles
and joints. Start your drawing by blocking out the form with very simple
shapes. Tweak them for accuracy and gradually add details like the mane,
tail, fine bone structure and muscles. Polish with carefully graduated
tones, using your pencil to work up texture with appropriate marks. We
used an H pencil; cross-hatching in the direction of the form.

CANTERING

This pose is flowing, active and fun to draw with its flying mane and tail and you can clearly see the
horses anatomy. The higher the angle of the legs, the faster the pace is another tip to add to your
repertoire. One thing to remember is that this is the sort of pose favoured by artists to promote the
rider or the horse to give a sense of power, grace or strength and movement, so decide whether to
include the rider or not! Once again, briefly describe the shapes of the horse in sketchy blocks and
lines, and refine with textural marks and tonal variation.

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Drawing 101

Now have a
go yourself!

How to draw horses

Its time to work through the thinking


and practical skills you will need to draw
your horse. Take time to choose an image
that is absolutely right. This image is
quite romantic only a horn away from
unicorn, if you will. The horse, the pose
and the material will all affect the image
you create. We chose pencil crayons to
give our image colour while maintaining
the drawing technique we have been
exploring, but watercolour or acrylic
would be lovely too.

01
SKETCH

First roughly block in the shape,


while keeping in mind the
proportions. The dotted lines on this
drawing denote the head lengths
marker. Because of the angle of the
horse, it appears slightly shorter at
five rather than the aforementioned
five and a half, so be careful when
making assumptions on proportions.

02

HORSE
PHOTOS
ON THE
DISC!

03
ANALYSE DEPTHS

REFINED OUTLINE

Really look hard at the image


and work out the darkest
sections. Draw these in, crosshatch them lightly to see the
muscle and bone structure.
Ensure steps three and four
are done very lightly, to really
get to know your image.

This step is once again about confirming the shapes of the


parts and the outlines of the whole. Rub out any parts that
you dont need any more and focus on really asserting the
outline. Begin to add details like the mane, tail and muscles
so you feel completely confident to work on the shading.

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Drawing 101 How to draw horses

04

05

ANALYSE MID-TONES

Analyse in microscopic detail


the areas that are definitely not
highlights and not deep shadow,
then experiment with your pencil
to give these mid-tones texture
and life. Experiment with the
shape, strength and power of
your marks. Remember, after a
few practices, completely miss
out the guidance of steps three
and four.

DESCRIBE DEPTHS

Now you need to select the colours you are going to use.
We have used black and grey for the majority, and then
two others very delicately to give it a little extra life.
This step deals with describing the depth of shadow
you have analysed in step three. Use pressure to
intensify the shading and a variety of marks to suggest
three dimensions.

06

07

POLISH, VA-VA-VOOM AND X FACTOR!


Always consider what can be done to give your work the
X factor. We saw brown in the tail and a bit of blue on the
face so we added a hint here and there, and even
a suggestion of peach to evoke the sandy
ground. That little something at the end is
a risk if you think you have finished, but
worth it for the reward.

DESCRIBE MID-TONES

Now for the fun bit! Use the grey pencil to describe the
subtle shadows and dappling on the fur. The mane flies up
and the power in the hind legs is accentuated with faded and
dynamic greys.

Free reference photos


Practise the skills shown here using
the photos on our disc

SOURCE
FILES
ON THE
CD!

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showcase
072-73_OPM_13-artspread.indd 10

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TITLE
WEBSITE
JOB TITLE
CLIENTS

Stanleys Pepper character is much-loved in the deviantART community;


so much so, he is producing a book to showcase other artists
interpretations of his heroine. Called The Pepper Project, the book will
debut some exclusive Pepper creations by Stanley in addition to artwork
from professional artists and fans. If you have your own take on Pepper,
visit Stanleys deviantART page and follow the link for the submission
pack. Its free to enter but all entries must be submitted by 1 March 2008.

Pepper Smile
http://artgerm.deviantart.com and www.imaginaryfs.com
Professional artist
DC Comics, Electronic Arts and MTV

STANLEY LAU

Your

questions answered
Faery folk
I want to be able to paint a faery
character without going down the
usual cutesy route. Have you got
any advice for me?

R B

On this issues panel


Cheryl
Blanchard

Fresh from her gallery


exhibition, Cheryl reveals
some of her ways of
tackling your problems.
Forests, dusk colours
and rain features.

Charlene Chua

An accomplished
illustrator, Charlene took
care of some interesting
questions, including how
to draw glass, work with
gradients and produce
shiny metal.

What youll find in this section


Software Dont get bogged
down in a Corel Painter black hole
write to us and well help you
work harmoniously
Fine art

When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out

Illustration Make sure


your illustrations are in top form
by following our advice
Send in your queries to
Official Painter Magazine Q&A, Imagine
Publishing Ltd, Richmond House, 33 Richmond
Hill, Bournemouth, Dorset, BH2 6EZ.
Alternatively you can email us at
opm@imagine-publishing.co.uk

SHARE
YOUR
PROBLEMS!

Send in your questions


for our experts to answer
at opm@imaginepublishing.co.uk

The whole idea of faeries being cute is


actually fairly recent. Faeries stem from
the mythology of Western Europe, and
feature particularly strongly in folk tales from
Britain, Ireland and Scotland. Traditional faeries
were more well-known for their mischievous,
sometimes malicious habits. Many folktales
feature faeries playing tricks and causing all
kinds of grief for people who happened to
cross their path, including theft, leading them
astray and knotting the hair of sleepers into
elflocks. It wasnt until fairly recently that
illustrators decided to romanticise the wee folk,
depicting them as cute miniaturised people
with angelic features. If youd like to draw a
faery that doesnt look as cute as a button, just
try mixing up the main faery features (usually
an elfin face, pointed ears and iridescent
wings) with anything that doesnt look cute!
You could try giving your faeries different
dress styles (think punk or grunge) and lose
the greens and soft pinks of typical faery
clothes. Some artists like Susan McKivergan
(www.cosmosue.net)) create fantastic digital
paintings of faeries based on real-life models.
For more inspiration, try hunting down these
art books at the bookstore: The World of Faery
and The Art of Faery, both from Paper Tiger,
and Faeries by Brian Froud, arguably the most
distinguished fairy artist alive.

Black and light


Id like to try my hand at some
silhouette art, but at the moment I
am having trouble getting anything
good. Can you give a struggling artist a
helping hand?
N W
A silhouette is an image consisting
of an outline and usually a flat
nondescript interior, often black.
Though lacking in facial expressions,
silhouettes were a popular means of portraiture
before the camera was invented. Those who
specialised in this art could cut a close likeness
out of black paper in moments and at very little
expense, thus its popularity. This term extends
beyond the human portrait now to include
just about any image with a light background
and dark foreground or vice versa; landscapes,
objects, a dark bird against the sky. They are
still seen as effective, used everywhere from
television advertisements (iPod and iTunes) to

films (oft-used in the opening titles for James


Bond films). Here is a different approach to
this technique, one that uses a light outline
on a black background to create an unusual
silhouette. Oil Pastels are good for this kind of
effect, as theyre soft and illustrate the edge of
light quite nicely.

Above
Fairies dont have to be
demure, cute or childlike.
You can draw fairies
that dont look cute by
avoiding features such
as rounded faces, large
baby-like eyes and soft
pastel colours

Left
For an outline silhouette,
start with a dark
background and softly
brush in the outline
on a layer above the
background. Paint some of
the dark background back
into the light to blend the
edges. Add some colour
and shape to the interior
to add some interest

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Q&A

Tears from heaven

Art class

How on earth do I get the look of


rain on windows without them
looking randomly inserted?
M N
The look of rain on windows is not
too difficult to create if you approach
it with an open mind. When you look
at rain droplets on a window, youll notice they
reflect the colours around them. Usually the
base colour of the drops will be lighter than
the colours around them. So, if youre painting
a stormy grey scene, make the initial drops
a lighter grey to create the illusion of space,
to set them apart from the background. The
surrounding colours can be added on top of
the drop shapes to reflect and add volume.
Really though, you dont need much detail. A
few specks of colour here and there will give
the illusion of reflections.

Start by painting the


shapes of the rain drops.
Are they round and
stationary or elongated
and dripping down the
window? Then add the
bright highlights that
reflect the nearby colours

Descending darkness
Im trying to capture the feeling of dusk
but am having trouble choosing the
correct colours. Can you advise me how
to achieve the right swatches?
M P

01 Experiment

Use your favourite medium


and experiment with some colour. Often,
the colours of dusk are cool and dark. You dont need
to always add black to create dark colours; try more
saturated colours for a rich effect.

Initially this may sound unhelpful, but


the colours of dusk are so varied. They
differ depending on what time of year it
is, and also what the atmospheric conditions are
like. At times, dusk has something of a green tint if
there is a storm on the horizon, or a pink hue from

02 Atmosphere

Layering colour adds


dimension and depth to help create a thicker
atmosphere. With whatever medium you use, work at
some level of opacity from 30 per cent to 50 per cent to
allow underlying colours to blend and show through.

a brilliant setting sun, sometimes even lavender


bursts through. However, the best colours to use for
depicting dusk may well be the blues. From a vibrant
deep French Ultramarine to a soft blue grey, you
should be able to find the perfect hues and values to
set the twilight mood you desire.

03 Blue dusk

Here are some perfect blues


to start you on your way. Keep in mind that
each nightfall is different to the next, so the best way to
choose your colour is to start by observing nature and
then experiment.

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Q&A Art class

Photo opportunity

The final frontier


Are there any tips lurking about for painting space
helmets? Im having trouble in particular with the
glass visor.
L H
Unless tinted, glass in reality has no colour to speak of.
When painting it, the main thing to remember is that
it does have a colour that of whatever it sits in front
of. For a space helmet, the glass visor of the helmet allows the
wearers face and possibly some of the background to be seen.

in
01 Roughing

Is there a particular type of


photograph that is best for
referencing when painting?
M L
It all depends on what you want to
paint and what you hope to achieve.
A sharply detailed photograph is a
necessity if you want to include all the details
in your painting. There is much to be done to
a photo before its ready to be used either as a
cloning source or simply as a reference point.
When cloning, it can be helpful to increase the

contrast of a photo; when you clone, the value


range will most certainly be reduced. Crop,
contrast and colour-correct to enhance the
photo before you begin to paint. Try capturing
images out of focus or move the camera in
order to create motion. At the end of the day,
your choice of photo should be based on what
your ultimate intent is, the style of painting you
have in mind.

Set a
background for your
image and start by
roughing in basic colours
for your painting. In this
case, the general outline
for the helmet is loosely
dened by some grey
brushstrokes. The glass
inherits the colour of
the background and of
the face.

in
colour
02 Filling

Paint in lighter shades


of grey and some
highlights (white or
whatever colour your
light source is). We
used the Gouache
brushes and the Just
Add Water brush for
blending. Gently blend
the colours, but dont
totally obscure the
background colour.

A blurry scene lends itself to a soft


mysterious image. A high-contrast
image works well for a bold painting and
cityscapes are always winners. A portrait
with some background interest will aid in
developing a balanced piece

03 Rene

When the
general painting is
complete, use small
brushes to apply small,
sharp highlights to
suggest the reective
nature of the glass.
Deepen the shadows
where the glass meets
the helmet. Dot some
off-white highlights
around to suggest the
extra shine of the glass.

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Fruits of the forest

01 Foundation

Block the basic


colours in to give a sense of space
and proportion to the canvas. This will also
give you the chance to get a feel for the scene
and plan ahead for the details.

02 Movement

Try to paint with bold,


swift brushstrokes to show movement
and create some energy. With a simple painting,
the brushstrokes become the vehicle that conveys
the message.

fashion, this energy is more likely to translate to your


finished piece. Work in layers, adding your smallest
brushstrokes at the end. Theres a lot going on in a
small area, but if you add details then this will create
some defined areas of attraction, enriching your
painting. Be careful not to overwork the painting,
and also be mindful that you dont blend the
brushstrokes too much.

Art class

C C
Painting a woodland scene can be
particularly challenging because its usually
a very busy place. There are lots of leaves

and branches, not to mention all the foliage, with


much more detail than other painterly depictions
that you need to simply express the feeling of the
woods. The best thing to do is to consider the
abstract shapes of colour and block those in to start
with. Try to paint the movement of the branches
in a suggestive way, using loose, expressive
brushstrokes. If they are painted quickly in a spirited

Q&A

I want to paint quite a simple woodland


but am not sure how much detail to go
into. Can you help?

03 Details

Keeping with the loose strokes, add in detail here and


there. Dont overdo it or smooth them out too much. View your
painting at a distance to consider the overall effect.

Pastel problems
I have a good friend who is a
traditional-media artist who uses
real pastels, and he has lots of
pads of different coloured paper. Ive tried
different coloured backgrounds in Painter
but cant seem to get any good colours. Can
you give me some colour values that will
work well?
K P
Youll find that some of the best
background colours for pastel
paintings are neutrals. If you happen
to be using a photo reference, think about
selecting a tone from the photograph to use
as a background colour. Doing it this way will
support and complement the image as you
select the rest of your colours from the same
image. Use a colour that is mid-range so that
it can be used to complement both lighter
and darker paint. This way, it also becomes an
integral part of the painting and there is no
need whatsoever to completely fill in the
whole canvas.

A dark paper is good for night scenes an indigo or a black works well. Tans and greys from warm to cool are the best selections for just about any
pastel paintings

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Q&A Art class

Graphical gradients

I was wondering if its possible to


make illustrations using gradients as
the shading technique?
J E

Yes, it is possible. Before the advent


of digital paint programs, gradients
were popularly used in airbrush
illustrations. Today, gradients are used in both
vector and raster graphic programs to embellish,
supplement or in some cases, construct the main
artwork. There are different ways to work with
gradients depending on what kind of look you
are trying to achieve. The use of pure gradients
to construct artwork usually results in flat,
graphic-looking work. Illustrators like Leo Kundas
(www.annaleo.com) use this to great effect to
create Art Deco-style pieces. One trick is to use
gradients to add colour to imported photos in
Painter. By applying different coloured gradients
on different layers and then tweaking the layer
composite modes, you can turn drab photos into
interesting collage dreamscapes.

In this image created for issue


sevens Feature Focus: Gradients
,
the butterflies and backgrou
nd were
colour-treated with various grad
ients

The light fantastic


Ive got a idea for a painting in my
head, but Im inding it hard to really
get it out of my imagination and onto
my digital canvas. Whats a good way to give
the impression of lots of lights, the kind youd
expect to see in a street scene at night?
L T

01 Colour scheme

Choosing a colour
scheme is a good place to start. City
scenes and night scenes are generally cool. With
the addition of warm-coloured lights, a nice
contrast can develop in a painting.

You can create the impression of lots of


lights by doing just that painting an
impression rather than exact, precise
shapes. What happens is that light glows out from
its source into the night, so try to simulate that in
your painting. If you are accustomed to working on
layers, you can build the lights gradually, painting
the underlying street scene in first and then

02 Basic shapes

Which direction do
the lights go? Are they bright or dim,
warm or cool? Start by suggesting the shapes
and placement of the lights theres no need for
much detail, just block them in.

brightening the lights as a final touch. Make sure


you keep a soft look for the lights and let the colour
blend out into the surroundings to create a decent
sense of depth. By using rich, deep colours in the
background areas, this will help to make the lights
stand out, simply by contrasting dark with bright.
And there you have it! Now you should be able to
bring your vision to life.

03 Sparks of interest

Finally add some bright highlights and


accenting shapes to make the lights sparkle. You dont need to
do this everywhere. Some selectively placed brushstrokes will catch the
viewers eye.

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For a bit of a throwback to the Seventies, how do


I paint a realistic mirror ball? I realise each little
mirror bit relects light differently.

B H

S O

A simple band of grey can be made to look like polished


silver by adding deep shadows contrasted with bright
highlights. This creates the illusion of reflection

A real mirror ball is made up of hundreds of little square


mirror bits. However, if youre looking to create a
mirror ball for a backdrop, you can make use of some
of Painters effects to help you generate a good-looking prop.
The idea is to create a circle with a texture that appears to make it
seem shimmery. This you can do by making use of Weave fills and
changing layer composite methods.

of your light source. Similarly, if you are using


more than one coloured light source, a shiny
metal will bounce back the respective colours
at the angle at which the light hits the metal.
Painters Blender brushes can help to soften
the shadows slightly, while the Airbrush tool
can be used to add tiny sparkles and accents.

a weave
01 Applying

Select Waves on the


Beach from the Weaves
palette. Use Edit
Weave>Get Color Set
and Put Color Set to
change the colour of the
weave pattern. Select
the Paint Bucket tool
with the ll set to Weave,
and ll the canvas with
the weave.

Glazed over

How do I achieve a transparent,


glazing look with Artists Oils? Ive
tried, but the colours often look dull.
M M-E

The trick here is to work in lower


opacities. To start a painting, try
working at 80 per cent Opacity and
blocking in the major colour areas. Create
multiple layers and build the colour a little at a

Art class

Time warp

How would I be able to get the


impression of metal, silver jewellery
for example?

Metal can be a tricky surface to paint. It


can be expressed differently depending
on its state. Highly polished metal
tends to gleam and sparkle, whereas tarnished
metal appears dull and rough. Likewise, metal
jewellery will appear different depending on
how it is used in the context of the picture. Shiny
jewellery can adorn characters or elements to
give them an air of elitism, while tarnished or
matte-finish jewellery might help lend an air of
menace to other characters. To help bring out
polished metal, you can try painting it with heavy
contrasts. A base shade of grey would establish
the general silver colour. Emphasise the metallic
aspect by alternating between dark shadows and
very bright highlights to produce a chrome-like
effect. If you are using a coloured light source,
the light reflecting off the metal will match that

Q&A

Heavy metal

time. Be sure to check the Pick up underlying


colors checkbox in the Layers palette so
they will blend together somewhat. Work
at 50 per cent on mid-layers. Finally on the
top layers, paint with 20 per cent Opacity
to blend any hard edges. Traditionally, light
passes through layers of paint to bounce off
a white canvas and back to the viewers eyes.
The same effect can be achieved with semitransparent layering.

Warp
02 Quick

Use Effects>Surface
Control>Quick Warp.
Hit Sphere and adjust
the settings to t. Draw
a circle, copy and paste
the pattern onto a new
layer, then discard the
original layer. Rightclick the circle layer,
choose Select Layer
Transparency and
create a new layer.

twinkle
03 Twinkle

Dont be too concerned with


smoothing all the brushstrokes
out as you go. When you have
multiple layers of transparent
oils, the viewers eye will blend
the colours together

Select Emerald Dawn


from the Gradients
palette and ll the
selection with the Paint
Bucket tool. Move the
gradient layer below
the weave. Change the
weaves layer mode to
Screen. Create a new
layer. Move it to the top.
Use the Airbrush tool to
spray on highlights.

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Reviews Wacom Cintiq 12WX

Wacom Cintiq 12WX


From 829 | Once in a while, a product comes along that is instantly
desirable. Wacom achieved it once with the Cintiq 21UX can it be done again?
espite Corel Painter being as close to
real media as you can get (without
being actual real media!). the one
thing that leaves you in no doubt that
you are tied to a computer is your input device.
With its Cintiq 21UX, however, Wacom dazzled
the art world with draw-on-screen technology.
Put simply, you could draw and paint on a
digital device as you would on paper or canvas.
Since the Cintiq 21UXs release, the company has
been taking on the comments of users, resulting
in the glory that is the Cintiq 12WX. This beauty
is smaller, cheaper and more portable than its
sibling so is it input heaven or is it just a pared
down version of the original?
The two screens share an almost identical
technical proile. The 21UX featured the same
technology as the Intuos3, with a 1,600 x 1,200pixel screen and a wide 21.3-inch drawing area.
The 24-bit tablet came with 1,024 pressure
levels, 60-degree pen tilt support, ExpressKeys,
Touch Strip and a lightweight, battery-free
cordless Grip Pen. Its tools can be conveniently
transferred across different Intuos tablets,
including the new Cintiq 12WX.
Wacom technology automatically recognises
tools coming into contact with the tablet,
keeping all settings intact. You just need to
touch the tablet with your pen and go to System
Preferences>Wacom where it will show up,
ready for further setting.
The new Cintiq 12WX goes a step further
down the short Cintiq line of evolution, injecting
the element of mobility. Unlike its heavier
predecessor, this newcomer was created with
portability in mind. It can safely be described
as Wacoms attempt to simulate a real-life
sketchbook; one that is freely moved around a
creative ofice environment for sharing ideas
and notes. Weighing just 2,000g and measuring

ExpressKeys

Touch Strip

Display area 10.3-inch


wide x 6.4-inch high

Resolution
1,280 x 800

40.5 x 27cm, this 24-bit tablet has a 170-degree


viewing angle, 1,280 x 800 screen and
naturally carries the famous Intuos pressure
and tilt sensitivity.
It comes with an adjustable stand that can
lay lat on your lap or at an angle for on the
ly sketching. When placed on your desktop, it
can be rotated freely on a pivot to simulate the
way you would move a paper sketchpad around
while drawing.
It has a neat Converter Unit that cleverly
limits the number of cables to a single one,
which makes for a refreshingly fast tablet
connection. This unit houses USB, DVI video,
pen cable connector, DVI/VGA switch and

On Screen Display controls such as colour


calibration, contrast and brightness.
The Cintiq 12WX carries the 21UXs
functionality, including ExpressKeys and Touch
Strip. Designed to perform oft-used tasks, these
features improve overall worklow and are well
thought out. They reduce the need to turn to
the keyboard, though a simple one would have
complemented the 12WX beautifully.
The tablet is easy to move from desk to lap,
carry and rotate but the mobility issue can be
misunderstood. Some users have mistakenly
taken the word portable at face value, assuming
that Wacom technology has now produced a
laptop-like, battery-operated gadget.

Pressure and tilt sensitivity


make for realistic pen,
brush and Eraser strokes

Impasto
Pen
Wacoms technology allows for
tools to be used across different
tablets. Each is automatically
recognised as the tool touches
the screen

Certain features
benefit from being
able to draw on the
screen even more so
in Painter. Simulation
of a real-life
process is perfectly
demonstrated with
the Impasto brush

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Specifications

The Eraser
can be used by
flipping the pen

Wacom Cintiq 12WX


Price

829

Website

www.wacom.com
Operating systems

PC and Mac

Resolution

1,280 x 800 pixel


Stand adjustable

PC requirements

Incline 0 degrees, 25
80 degrees

Mac requirements

405mm x 270mm
x 17mm

Windows 2000, XP
or Vista

Super-light pen,
cordless and
battery-free

Display area

261mm x 163mm

OS X 10.3.9 or higher,
CD-ROM drive,
powered USB port

Overall dimensions

Pen pressure

1,024 levels

Screen size

31.0 cm (12.1 inch)


Tablet
control Once you
select the tablet,
pen and application
settings through
System Preferences,
you are ready to set
ExpressKeys with oftused functions

Erase
The Eraser is an essential part of the Wacom stylus. Artists should
view it as an additional creative tool, not as a remover of badly
applied strokes

effortlessly its in a multi-monitor setup, so you


might, for example, dedicate it to Painter work
while leaving another screen to everything
else. Experience, however, does indicate that
one tablet soon takes over and becomes your
primary tool. As you become more luent
with the stylus, you feel at ease using it for
anything from email to image manipulation and
word processing.
Calibration is simple and straightforward, but
can be a touch awkward. On occasion, the pen
failed to activate the Mac Control Strip, even
though calibration instructions were followed
to the full. Although to be fair, this could have
been a result of using a test machine or some
weird combination of commands.
Other than this small issue, though, the tablet
performs lawlessly. The screen is smooth and
colours as accurate as you could ask for. The
drawing space is wide, enabling long, lowing,
lifelike strokes. Of course, this also means that it
syncs perfectly with widescreen monitors. The
Cintiqs greatest strength is, however, the ability
to draw directly onto the screen. This feels
natural and, coming from the Intuos, requires
no adjustment or settling in period. This feature
alone is addictive and is almost guaranteed to
ensure the Cintiq becomes your primary tablet.
Wed even say that it is enough to make you
forget that it costs over 800!.

What we like

Easy to install and


move around
Accurate colours with
superb real-life
stroke simulation
Addictive draw-onscreen technology

Another winner
to embrace
and add to
the already
superlative
range of
Wacom tablets

What we dont like

we say

This is not the case. This tablet still needs to


be connected to the computer. You can move
it freely from desktop to lap, but should you
wish to share a brilliant drawing moment
with a colleague at the other end of the ofice,
you will need to connect the unit to his/her
machine. Its neat size and dimensions mean it

Stroke
The wide drawing area and the ability to draw on screen
come together to create a more lifelike experience. The
draw-on-screen effect in particular sharpens the senses
and enables greater overall sensitivity. This is evident
throughout, but even more so with fast drawing

Features

verdict

The Wacom name itself has over the years become


synonymous with digital creativity, and the companys tablets
burst with innovation and new technology

Calibration could be
better; occasional
difficulty reaching
Mac control strip
LED lights top-left
of tablet are too
bright and could
cause a distraction
Needs a simple
keyboard to
make this a more
independent,
sketchbook-like unit

9.0

Ease of use

8.5

Quality of results

10

Value for money

9.0

Overall
score

9.0
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Reviews Ultimate 2.0 Denisa

Ultimate 2.0 Denisa


here really should be more resources
like this in the world. The idea of
having a collection of reference
photos on one easy-to-use disc is such
a simple yet good one, and we sincerely hope
it heralds an outbreak of similar products.
Although, it might be that Ballistic Publishing
and 3D.SK herald the revolution between
them, as this is the second disc born from their
collaboration. The irst was reviewed back in
issue eleven, so what does this one offer?
To put it simply, this is a photo disc of one
model in various poses. Three hundred poses,
in fact. You get facial shots (including close-ups
of facial features) in addition to body shots,
action poses and nude shots. For Corel Painter
users, the disc means you have a decent bank of
reference photos to use for cloning or drawing.
In terms of perfecting your artistic skills, the
photos available on the disc are the equivalent
of going to a life-drawing class, except you get
to revel in 16-megapixel quality and have the
choice of using TIFF or RAW iles. This allows
you to zoom, crop, delete and do whatever you
fancy to get the exact result you want.

Thankfully, it is extremely easy to browse


and access the images a substandard search
system would have tarnished the whole
experience. Simply load up the index.html ile
in your web browser and then you can access
the different categories. Clicking one of these
will display large thumbnails of the photos in
that category, and you can either make a note of
the reference number and get the image from
the disc contents, or click on the thumbnail for
it to open in a new browser window.
This disc excites us a lot. The quality of the
photos is exceptional and the high resolution
gives you the freedom to make some edits
without ending in a pixelated mess. But what
excites us more is the clear thought that has
gone into deciding what photos would help
digital artists the most. Every part of the
body is covered (and obviously uncovered
in the nude shots!), which allows you to ind
something of use, whatever it is you are
working on. We used the images for drawing
practice (especially when it comes to the face)
and have found it immensely useful. We have a
sneaking suspicion you will too.

specs

$65.00 | We take a look at a disc that offers hundreds of stock


photos for eager digital artists
Ultimate 2.0 Denisa
Company

Operating Systems

Price

Minimum requirements

Ballistic Publishing
$65

PC and Mac
Internet connection

Website

www.
ballisticpublishing.
com

Categories
Browse through the photos
using the special interface.
Simply click on the category
you want from the top

Practise textures

verdict

we say

Interested in painting figures


or characters? Enjoy the
photos focusing on clothes

What we like

Master the face


The range of facial
expressions means that
you can perfect your facedrawing skills

Modelling
Reference category
These images are great for
unusual compositions

What we dont like

Consideration has
It is just the one
gone into this with the model, so bear that
digital artist in mind
in mind
Extensive galleries
Easy to browse

This is a vital
resource for any
digital artist
keen to improve
their skills

Features

9.0

Ease of use

10

Quality of results

10

Value for money

9.0

Overall
score

9.5

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Reviews Books

Abstract and Colour


Techniques in Painting
18.99 | Let your imagination run riot by experimenting with the abstract

Its all covered


The book moves through the different aspects
of abstract art, diligently covering the skills,
considerations and techniques

hen it comes to art styles,


abstract is the one that
provokes the most
passionate outbursts. Some
will defend it to the hilt, while others
are quick to dismiss it as something a
child could do. This book aims to better
understand the abstract, and essentially
show how to create it.
The books author, Claire Harrigan, is a
practising abstract artist and you beneit
from her obvious love of the genre. The
book is packed with examples of her
artwork and is an instant indication of the
varied approach to this style.
Abstract and Colour Techniques in
Painting begins with a discussion as to
what abstract means, along with what
disciplines still need to be maintained for
successful images. All the major players
are discussed here composition, colour,
perspective and form which sets the
scene for the later chapters that look at
speciic works. What we most enjoy about
this section is the sense of possibility that
abstract art suggests. For the most part,
its still possible to recognise the objects
or scenes being painted, so it becomes
about interpreting them in a way that
doesnt rely on being able to draw or paint

perfectly. From that perspective, the book


is intensely inspirational as there is a real
sense of being able to have a go.
Weve mentioned the artwork displayed
throughout the book, but what we didnt
say was how useful the captions are. In
these, Harrigan gives a bit of background
as to why she painted what she did,
allowing you to see how some of the
concepts being discussed actually work
once painted.
Essentially, this is one artist explaining
why she loves the abstract style and
displaying some of her work. There arent
any walkthroughs to speak of and it isnt
loaded with speciic techniques, but the
range of work printed and the enthusiasm
displayed means that this book suddenly
becomes one of the clearest explanations
of abstract we have ever seen.

Learn from the artist


The amount of images used in the
book is very impressive, and covers
a wide range of different scenarios
and situations. This helps show how
abstract can be adapted easily

Where to begin
We liked the way the book dealt
with what to do when you are
thinking about starting a painting.
Its good to get some advice on how
to see in abstract

Author

Claire Harrigan
Price

18.99
Publisher

Batsford
ISBN

978-0-7134-9055-8

Real-life examples
There are some beautiful paintings
used throughout the book, which
help you instantly see how a
colour theory can be applied to the
painting itself

Building it up
There arent any real walkthroughs
in the book, but we did like the
couple of examples that illustrated
how the artist built up a picture
when working outside

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Digital Fantasy Painting Workshop


17.95 | Take a trip through other creative worlds
Author

Martin McKenna
Price

17.95

Publisher

Ilex

ISBN

978-1-904705-37-6

t is incredibly easy to go
horrendously wrong with fantasy
art, and instead of producing an
exciting glimpse of a new world that
previously only existed in your mind, you
can end up committing artistic clichs.
But this book makes sure you stay on the
right path and also beneit from useful
advice from some of the biggest names in
fantasy art.
A quick lick through the pages will
reveal a breathtaking array of different
styles and disciplines. Its basically
a collection of case studies of how a
particular artist created an image, giving
a brief walkthrough from the start to
inish. All sorts of programs and styles
are represented, including the stunning
Corel Painter works of Todd Lockwood
and Ryan Church. But whatever the
program being used and whatever your
favourite style, the amount of tips and
expert advice makes this title pretty
much essential for any fantasy fan.

Look and learn


Each artist has a brief
bio about how they have
established themselves in
fantasy art, before revealing
how they created an image

All styles
Its nearly impossible to get bored in the book, as each
page brings a different style of painting. This in itself is
very inspiring and provides plenty of ideas

Where to start?
One part of the book we particularly enjoyed was the
pages about how artists begin a painting and where they
get inspiration from

Photography FAQs: Lighting


14.95 | Shine the right kind of light on photos
Author

Chris Weston
Price

14.95
Publisher

AVA Publishing
ISBN

978-2-88479-101-4

hen it comes to painting,


lighting is one of the
absolute fundamentals. So
it therefore follows that
if you use Corel Painter to clone photos,
you need to get the lighting correct on the
source image. This book is excellent for
helping you achieve this, with easy-todigest nuggets of information. Covering
50 topics, it is presented in a questionand-answer format, which makes it really
easy to follow. It is divided into logical
chapters (equipment, natural light, low
light and so on) and is festooned with
photos to illustrate the concepts. It also
has its fair share of problem images,
making it easy to see what can go wrong
and how to avoid it.
The book is best for those who are
just starting to think seriously about
experimenting with lighting, and is very
clear to follow without being patronising.
Its small size also makes it perfect for
popping in a bag when you go out to take
your photos too!

Clear images
and illustrations
The example photos
are perfect for getting
a grip on a subject, and
often feature the same
image taken in different
light situations

Understand the equipment


Beginners will enjoy the chapter dedicated to lighting
equipment, both in-camera and extra hardware. There
are lots of technical illustrations to explain concepts

Nothing natural here


The section on flash was very useful, as we have no doubt
all killed a scene by flooding it with flash light. Thanks to
this chapter, you can avoid this from now on!

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Index Your guide to the first 12 issues

ISSUE 5

ISSUE 6

Interview
Bruce Dorn

Interview
Daniel Conway

Interview
Robert Chang

Feature
Use photos to create art
Discover how professional
artists use photos in their
artwork

Primers
Brush category: Art Pens
Effects menu: Esoteric

Feature
Making Painters identity
John Derry reveals how he
created some of Painters best
marketing campaigns

ISSUE 2

ISSUE 3

ISSUE 4

Interview
Heather Michelle Bjoershol

Interview
Philip Straub

Interview
Chet Phillips

Feature
Get to Know Corel Painter X
Learn about the new features
in this version

Feature
Get started with Corel
Painter brushes
Learn the best variant for
certain effects

Primers
Brush category: Artists
Effects menu: Surface Control

ISSUE 1

Primers
Brush category: Acrylics
Effects menu: Orientation
Feature focus
Layers
Tutorials:
Learn how to Quick Clone
Just started using Painter? See
how easy it is to create art with
this command
Chiaroscuro charcoal
portrait
Create dramatic charcoal
images with this tutorial
Paint like: Vincent Van Gogh
Re-create the iconic
Sunowers painting
Paint glowing skin
Discover the secrets to
capturing smooth skin
Drawing 101
Perspective
Understand the basic rules of
perspective
Q&A

Primers
Brush category: Airbrush
Effects menu: Tonal Control
Feature focus
Selecting colour
Tutorials:
Clone and glaze
Apply glaze effects to a cloned
photo
Using the RealBristle
brushes
See how this new feature in
Corel Painter X works
Create your own gallery
Join up on the magazine
website
Paint like: Edward Hopper
Re-create the Nighthawks
Drawing 101
Composition
Make sure your paintings are
always well-composed
Q&A
Reviews
Fujilm FinePix F31fd
HP Photosmart Pro B9180

Reviews
Olympus SP-510UZ
Intuos3 A6 Wide
Painter X

Books

Books

Output
Mount images to MDF

Output
Printing images to canvas

Readers Gallery
Jennifer Miller shares her work

Feature focus
Paper textures
Tutorials
Perfect portrait
underpainting
Use the traditional verdaccio
painting technique
Paint in low light
Create a stunning dusk scene
Paint like: Monet
Re-create The Water-Lily Pond
Colored Pencil still-life
Use the Colored Pencils for this
great scene
Create natural history art
Learn how Karen Carr creates
grand-scale projects
Drawing 101
Understand light and shade
Get to grips with this
fundamental skill
Q&A
Reviews
Samsung GX-10
Epson Perfection V350 Photo
Books
Output
Print to canvas
Readers Gallery
Rommel Bundalian shares
his work

Inde x

Inde x

Inde x

Inde x

Inde x Inde x

Primers
Brush category: Artists Oils
Effects menu: Focus
Feature focus
Selection tools
Tutorials
Paint a Victorian portrait
Discover how Daniel Cox
created his vintage image
Sketch with pastels
Have fun creating a loose
pastel sketch
Watercolour masterclass
Get to grips with the
Watercolor brushes
Paint like: Paul Gauguin
Emulate the colourful style of
Gauguin
Drawing 101
Facial proportions
Learn to divide and draw faces
Q&A
Reviews
Kodak EasyShare V803
Wacom Favo Comic Pack
Books
Output
Fine-art inkjet paper reviewed
Readers Gallery
Anna Thielke shares her work

Feature focus
Get the most from the
magazine website
Tutorials
Paint like: Constable
Turn a sketch into a classic
masterpiece
Illustrate with sketches
and oils
Use Corel Painter to make
great illustrations
Design a concept car
Have fun and create your own
vehicle
Create, load and save
brushes
Get to grips with using brushes
in Corel Painter
Use free resources to create
art
Generate artwork without
paying out a penny!
Drawing 101
The skills of still life
Valuable tips for drawing
still life
Q&A
Reviews
Pentax K10D
Wacom Cintiq 21UX
Books
Output
Create textured prints

Ind

Primers
Brush category: Blenders
Effects menu: Objects
Feature focus
Create with Patterns
Tutorials
Make digital mosaics
Get creative with the Make
Mosaic command
Paint like: LS Lowry
Re-create the timeless style of
this popular artist
Paint realistic fur
A great technique for creating
the impression of soft fur
Create metallic textures
Liven up sketches by applying
gritty textures
Drawing 101
Sketching hands
Bring realism and life to your
hand sketches
Q&A
Reviews
Canon EOS 400D
Pantone huey screen calibrator
Design Source CDs
Books
Readers Gallery
Tim Jessell shares his work

Readers Gallery
Cheryl Blanchard shares her
work

Readers Gallery
Jeff Johnson shares his art

ISSUE
01

ISSUE
05

ISSUE
03

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Index Index

Index

Index

Index

Index

Index
14/1/08 17:27:28

Inde x

Inde x

Inde x

Inde x

ISSUE 8

ISSUE 9

Interview
Maura Dutra

Interview
Jeff Nentrup

Interview
Rebecca Parker

Feature
Paint dramatic seascapes
The tools and techniques for
painting the sea

Feature
Painting portraits
Artists share their tips for
painting the perfect portrait

Primers
Brush category: Calligraphy

Primers
Brush category: Chalk

Feature focus
Gradients

Feature focus
Composite methods

Tutorials
Using blending techniques
Soften portraits by employing
some blending know-how
Paint like: Edgar Degas
See how the Pastel brushes
can produce a masterpiece
Paint with pen and ink
Use Painters brushes for a
traditional ink drawing
Paint the perfect sunset
Simple techniques for golden
skies

Tutorials
Limited colour palettes
Strip away colour for
maximum impact
Paint like: Edvard Munch
Re-create the iconic Scream
image
Paint a futuristic cityscape
Follow one artist as she creates
a sci- landscape
An introduction to
airbrushing
Learn about the Airbrush tools
in Painter

ISSUE 7

Drawing 101
Life drawing
How to approach this classic
discipline
Q&A
Reviews
Nikon D40X Zoom Kit
Pantone eye-one display 2
Books

Art study
How to paint trees
Essential tips for capturing
realistic trees
Drawing 101
How to draw eyes
The best way of drawing
stunning eyes

ISSUE 11

ISSUE 12

Interview
Andreas Rocha

Interview
Cliff Cramp

Interview
Eric Tranchefeux

Feature
Creating from the colour
wheel
An introduction to how to use
colour in your art

Feature
Get creative with Clone
Color
See how the Clone tools can
reap artistic rewards

Feature
Capture the seasons
Top tips for painting each
season successfully

Feature
The art of the self-portrait
Different artists reveal how
they paint their own portrait

Primer
Brush category: Charcoal

Primers
Brush category: Cloners

Primers
Brush category: Colored
Pencils

Feature focus
Photo-editing tools

Feature focus
Using the Scripts command

Primers
Brush category: Conte
Feature focus
Using a Wacom tablet

Tutorials
Impressionist landscapes
Unleash the power of the
Impressionist Cloner
Create ice-cool images
Turn winter colours into a
painting
Paint like: Henri Matisse
Loosen up by getting in a
Matisse mindset
Create concept art
See how one artist builds up a
retro space scene
Master the Sumi-e brushes
Create delicate art with these

Tutorials
Get started with landscapes
Use the Image Hose in your
artwork
Create painted borders
Set your artwork off with this
border idea
Relax your style
Experiment by painting with
loose brushstrokes
Create fantasy adventures
Capture the spirit of animated
lm with this tutorial

Art study
How to paint hair
Quick methods for realistic hair
Drawing 101
How to capture motion
Good advice for drawing
dynamic images

Q&A

Output
Order frames online
Readers Gallery
Dee Gordon shares her work

ISSUE
07

Reviews
Olympus E-410
Backups4All
Kata Panorama U Laptop Case

Inde x Inde x Inde x

Inde x

Q&A
Reviews
Corel Paint Shop Pro Photo X2
Casio EXILIM Zoom EX-Z1200

Books

Books

Output
Turn your art into objects
with the Bags of Love printing
service

Readers Gallery
Jan David shares her work

ISSUE 10

Art study
How to paint clouds
Top techniques for painting
different types of clouds
Drawing 101
Mark-making
Improve your drawings by
learning the best marks to use

Feature focus
Using masking techniques
Learn how to master the art of
masking
Tutorials
Learn to paint skin tone
Paint natural-looking skin tone
from scratch
Painting a still life
Use photos as a basis for
traditional still-life images
Sketch like: Leonardo da
Vinci
Create your very own da Vinci
sketch
The principles of speed
painting
Follow one artist as he talks
you through creating a speed
painting

Reviews
Wacom Bamboo Fun
Olympus [mju:] 820

Art study
How to paint fabric
Great techniques for tackling
different types of fabric
Drawing 101
Sketch cats
Techniques for drawing your
feline friends

Books

Q&A

Output
Turn images into wall art with
Memories On Linen

Reviews
Corel Painter Essentials 4
Ultimate Klara Medkova

Readers Gallery
Ata Alishahi shares his work

Books

Q&A

Readers Gallery
Sue Stevens shares her work

Output
Using the MyPublisher service
to create a photo book
Readers Gallery
Susi Lawson shares her work

ISSUE
08
ISSUE
07

Tutorials
Create a Japanese
woodprint
Re-create this traditional style
using Painters brushes
Paint like: Tamara de
Lempicka
Capture the spirit of Art Deco
and this inuential artist
Create realistic rays of
sunlight
Immerse yourself in a softly lit
woodland scene
Improve the background of
photos
Place subjects in better
surroundings with this tutorial
Art study
How to paint realistic
buildings
Essential techniques for
making buildings look 3D
Drawing 101
Portrait composition
Different ideas for composing
your portrait art
Q&A
Reviews
HP Photosmart C5280
How to Paint from
Photographs using Corel
Painter X
Books
Output
Embellish artwork using
traditional materials
Readers Gallery
Giovanna Gazzalo shares
her work

ISSUE
11
ISSUE
10

Index

Index

088-089_OPM_13_Index.indd 89

Index

Index

Index

Index Index

89

14/1/08 17:28:03

Readers gallery issue thirteen

Gallery

Ayjey Odom intrigued us with her strong and arresting images.


So we took it upon ourselves to find out more about her style,
and get more of a feel for what inspires her to create the
captivating work she does
freedom to use a variety of mediums. After
college I settled into a family life, and am
just beginning to really start a career in art
now, a few years later.
Whats your favourite Painter tool?
I use the Oils the most; I prefer the Wet Oily
Artists brush, with a brush preference of
medium daub. I alter the brushes a lot, and
opacities and layers are my greatest assets.

or some, Corel Painter allows


them to create traditional-looking
artwork on their home computer.
The subject matter might revolve
around classic subjects such as nature,
landscapes, portraits or still life. But the
software is perfect for those looking to
create illustrations and we decided to
catch up with one artist who is doing just
that.
When did you start using Painter?
I was only introduced to Painter by a
friend early this year, and began using
Corel Painter Essentials in June when I
purchased a Wacom tablet after killing
my wrist trying to paint digitally with a
mouse. I was hooked instantly!
What rst drew you to the program?
I was initially hesitant to use computerpainting programs because I was
a traditionally trained painter and
illustrator. I was barely able to save iles
or use the internet before 2004! However,
I just wasnt able to set up a full painting
at home. Once I started, I learned fast I
surprised myself, and was thrilled with all
the opportunities that became available to
paint and make art using the computer.
Had you been using traditional art
materials before Painter?
Yes, I have been drawing since I was little,
my mother is a graphic designer and I
attended art college in Savannah. I began
as a Painting major, and switched quickly
to Illustration where there was more

How would you describe your style?


I feel I have a very painterly style; I do
many portraits and consider myself a
portrait artist. I sometimes push them
to the caricature level, and I like to
incorporate a message or a personality
in each painting. I enjoy Painter for that
reason; it allows me to get a very textured

of Geek Art, sci-i, fantasy and books. I


have a journal with nothing but ideas for
paintings, and every day think of more.
Whats your favourite piece of Painter
work youve created?
I feel like I fall in love with whatever
painting I am currently working on. To
an extent, it becomes my only painting,
I tune out the others. As I paint them, I
imagine the characters, or real people; I
invent whole dramas and comedies for the
ictional characters I create! I hope those
feelings and stories are conveyed through
the brushstrokes. I have to say that
whatever is most current is my favourite
at that time. I love that friends and my
children have a unique painting from me, a
special memory made just for them.

Once I started, I learned fast - I surprised myself, and


was thrilled with the opportunities that became available
and daubed look. While I was somewhat
sceptical of the two-hour speed painting
I have read about, I was amazed at how
quickly it lowed, and inished it after only
two days. I also have a guilty pleasure:
velvet paintings. Yes, I love the Old Masters
like Modigliani, and the New Masters
like Marta Dahlig and Jonny Duddle, but
something about those deep rich colours
on black velvet and those giant-eyed
children and is very appealing!
Is there a type of style or Painter medium
you would like to try?
I would actually love to get my hands on
the full version of Painter X. I faithfully
get each issue of Corel Painter Magazine,
and have tried the trial; unfortunately,
I installed the trial right before a minor
computer meltdown. My computer was in
the shop and by the time everything was
sorted out, my trial period had ended!
Who or what inspires you?
Many things constantly inspire me.
Above all, my children, other artists
and music. I often get illustration ideas
from conversations, and am a huge fan

Whats the most helpful piece of advice


youve been given about Painter?
I have to say I learn a lot by looking at other
artists work, trying to igure out how they
did it, as well as trial and error. I am a big
fan of the tutorials and step-by-steps from
the magazine. After spending a month
poring over the magazine and researching
the artists, like Dahlig and others, I just
practice. Again, the feedback from other
artists on individual images is invaluable!

Share your art with


other readers
These pages of the
magazine are given over
to you, as a place for you
to share your creations
with readers all around
the world and also to
publicise your gallery
on our website. If
you have a gallery
that youre proud
of, send an email
to opm@imaginepublishing.co.u
publishing.co.uk.

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11/1/08 10:51:22

01

Title: Pinecone
A portrait of my daughter. My babies,
good friends and heroes inspire me daily.

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11/1/08 10:54:04

Gallery

Readers gallery issue thirteen

03

Title: Neil
This is a portrait of Neil Gaiman, the comic-book legend. I
sometimes push my paintings to the caricature level.

02

Title: Sunower Girl


This was inspired by a Japanese print of my
fathers; I painted it trying to remember what it
looked like hanging in the living room growing
up. When I had the chance to see it in person
again, I was tickled by just how different my
memory of it was different from the black-andwhite print of my Dads.

04

Title: Ugandan Boy


A picture for a friend who works with the Global Support
Mission in Nashville, TN, helping the people of Uganda.

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11/1/08 10:55:04

05

Title: The Rabbit


Just a real fun and free picture, so much fun to paint and
imagine this characters life! Also, I wanted to attempt
a different facial expression, as it seems most of my
portraits are serious.

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