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Official Corel® Painter TM Magazine

digital art
Official Magazine

Record actions with Scripts
Using Painter’s brushes
Quick start guide on the CD

Issue ten




Get creative
with cloning

Create your
own gallery

Produce sophisticated
paintings with the Cloners,
whatever your skill level

Sign up to our website and
show the world your work!

Get started with

Visit us online –

PC a
nd M

Make light work of complicated
landscape scenes by using the
Image Hose in your workflow
Turn to page 36


Achieve convincing drawings
with our guide to pencil marks

001_OPM_10 COVER landscape.indd 1

Cloud study
Practical advice for painting
different types of clouds

Creative strokes
Add interest to your images by
creating a painted background

ISSN 1753-3155



771753 315000
17/10/07 10:44:21

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

Using Scripts
Learn how you can
record all of your Corel
Painter actions

Pg 60
Create fantasy
The tricks to creating
imaginative illustrations

Pg 56
Art study:
Painting clouds
Discover the techniques
and equipment needed
to paint realistic clouds


Pg 46

Out of all the features in Corel
Painter, the Clone tools are
the ones that cause the most
discussion. To some artists,
they are seen as cheating – no
better than tracing over an
image and colouring in. But
we think that they are a fantastic way for users
to get used to the program and can actually be
used to create very sophisticated images.
Our main feature this issue looks at cloning,
taking you through three projects, each for
different skill levels. You’ll learn how to use
multiple brushes, introduce textures and also
how to clone ‘freestyle’. Turn to page 22 and
�ind out more.
Elsewhere this issue, we take a good look at
the Image Hose, speci�ically as a way of creating
better landscape paintings. You’ll �ind that on
page 36. We also have a brilliant art study on
painting clouds (page 56), a tutorial on the
Scripts function within Corel Painter (page 46)
and an in-depth look at what marks to make in
your sketches and drawings (page 68).
Have fun!

Visit our website!
If you find that the magazine isn’t enough to satisfy your Corel
Painter appetite, you can always visit our website. Pop on over to 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


005_OPM_10_welcome.indd 3

19/10/07 11:29:49


pg 50
Loose strokes
pg 22

Fea ture

Achieve striking
images using the
various Cloner tools

Get creative with the





Regulars in every issue
08 Subscriptions

Take out a subscription to
the magazine and save money!
For non-US subs, see page 89

10 Corel Painter community
The best sites, services and
resources for creatives

14 Interview

See how professionals are using
Corel Painter. This issue we look
at Andreas Rocha

34 Painter showcase

The first of our special pages
dedicated to outstanding art

74 Art class

Another merry gaggle of artistic
problems sorted out

92 Readers’ gallery
Discover more about what a
fellow reader is getting up to

96 Website challenge

Haven’t entered one of
our challenges yet? Turn
to this page now!

98 On the disc

A full breakdown of the
content on this issue’s
free CD

Original artwork by
Ata Alishahi

Clone tools


pg 96

82 Wacom Bamboo Fun
Picking your first graphics tablet
can be a stressful thing, but Wacom
have tried to make things easier
with this entry-level product. See
how it shapes up

84 Olympus [mju:] 820 camera
On first glance, the [mju:] 820
looks like any other compact,
but then you discover it has eight
megapixels, boasts a 5x optical
zoom and is waterproof. It even
manages to take good pictures!

86 Book reviews
No person is a lone island and
there’s nothing wrong with looking
for inspiration and advice in other
places. Books are the perfect
source and so we have brought you
another collection of the best titles
for artists


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19/10/07 13:20:05

pg 60
Fantasy creations

pg 14

Original artwork by
Andreas Rocha


pg 36
Get started
in landscapes

Inspirational artists
14 Andreas Rocha

Discover how this talented artist incorporates so many
different styles into his portfolio and learn his tips for
creating stunning digital art


Create inspirational art
36 Get started in landscapes
Quickly build up your
landscape scenes by using the
Image Hose

42 Painted borders
Give your paintings the
perfect setting with this guide
to creating borders

50 Loose brushstrokes

Drawing 101
Traditional artistic techniques
68 Mark-making
To get the perfect drawings, you need to master the skills of markmaking. We take a look at the best ones here and demonstrate
the best situations to use them

Relax your style and build up
a loose but very effective
digital painting

56 Art study: clouds
Make your skies the best they
can be by learning how to
paint realistic clouds

60 Fantasy illustration
Tips for illustrating fantastical
scenes in Corel Painter

Visit our
website now!



Get up and running…
32 Brushes: Cloners
See what effects this mighty
brush category gives

Feature focus

Get to know your tools
46 Using the Scripts command
Did you know that it’s possible
to record every action you make
in Corel Painter? You can even
record common tasks to apply
on new images


006-007_OPM_10_contents.indd 7

19/10/07 13:25:51

Tutorial xxxx

n ews eve n ts res our ces letters web site s


Corel claims you can now create a masterpiece
from a photo in as little as three simple steps.
Try it and see for yourself!

Corel Painter
Essentials 4
out now
Entry-level software adds new
intuitive workspace and more!

Corel has worked
with customers to
rethink the user
interface, simplifying
and streamlining for
a more intuitive and
productive experience

ith a host of new features,
Corel Painter Essentials
4 has been launched for
both PC and Mac users. A
slimmed-down version of Corel Painter,
this latest upgrade is ideally suited to new
users and those on a budget.
Version 4 introduces two distinct
workspaces, Drawing and Painting and
Photo Painting, each of which gathers
the media, paper and brushes relevant
to the task at hand from a recon�igured

toolbox. A new Brush Drawer makes
brush identi�ication and selection a breeze,
while new Color and Mixer palettes allow
users to pick a colour with just one click.
The Photo Painting System with Smart
Stroke Technology has been redesigned
and enhanced to ease the path from photo
to artwork. Brushes within the Photo
Painting System now act as cloners that
take their colour from the source image.
Introduced in Corel Painter X, the new
RealBristle Painting System authentically
reproduces the sensation of the interaction
between paint, canvas and brush. New
pens and paper textures offer more choice
and �lexibility, and 32 undo levels means
you have plenty of scope to experiment or
correct brushstrokes.
For those in need of direction, builtin video tutorials by John Derry, noted
Corel Painter Master, guide users through
a variety of digital art projects. “By
further simplifying the user interface

Brushes are organised into types (thick, wet etc) and
include some RealBristle effects

and including new training videos and
tutorials, our goal is to educate and
inspire our customers while giving
them the creative freedom to develop
something truly unique,” enthused Robert
MacDonald, product manager, Corel
Painter. Wacom tablet support is also
improved, including compatibility with the
recently launched Bamboo and Bamboo
Fun range. With a suggested retail price
of £39 for the full version and £29 for the
upgrade, you can �ind out more at


010-011_OPM_10_news.indd 10

18/10/07 12:11:14

ews eve nJet
info n ews eve n ts res our ces letters web site info nPerma
Inkjet Paper
& Canvas

Expose yourself at
Online gallery offers worldwide showcase for artists, illustrators
and photographers


Picture perfect
stock from Pixel
Perfect Digital

“As we’re not directly
involved in the sales
process, all sales are
commission free,” says
site creator Taylor

original artwork by Maureen Andrews

Love illustration? You’ll
love Illustrophile!

Photography news, great links
and free stock images
ith over 5,000 free images,
online Pixel Perfect Digital
com) offers the budding artist plenty
of inspirational choice for your Corel
Painter creations.
You can browse an A-Z of categories
from abstract, animals and architecture,
to textures and transportation, and
view recently added images all on one
page. Signing up is free and permitted
usage is pretty relaxed but as always,
read the terms of use and disclaimer. As
an added bonus, the site includes some
useful links and plenty of photographyrelated news.


f your Corel Painter creations have
advanced beyond the basics, you
might be looking for a suitable place to
sell your work. Galleries and art fairs are
�ine but offers a potential
worldwide audience for your artwork.
Created by James Taylor, the site has
been attracting artists and art lovers,
with over 3,000 images available to buy.
As an additional incentive, sales are
commission-free. “Buyers contact the
artists directly through our message
system on the site, which brings the buyer
and the artist together,” explains Taylor.
Sign up for free or get a premium
account for between £25/£50 per year at

is the perfect
place for
illustrator fans
to get inspired

New illustration blog offers source
for artistic inspiration
llustrophile ( is
an inspirational new blog for lovers of all
forms of illustration. Officially launched
in September by illustrator (and Corel Painter
Magazine contributor) Charlene Chua, the site is
updated daily with profiles and interviews.
Chua’s aims are to both raise the profile of
individual illustrators and to prove to some
aspiring artists that there is more to illustration
than Japanese manga and concept art. “Over
the last couple of months, Illustrophile has
featured a wide range of artists, ranging from
new graduates to seasoned professionals,”
explains Chua. “I check various illustrationrelated websites to find people to feature, and
we try to showcase a range of different styles
and mediums throughout the week.” With new
features uploaded almost daily, Illustrophile is
certainly a site you should come to love!

original artwork by Mau



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What’s more, we have put
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To take advantage go to:
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Call: 01926 493 632
010-011_OPM_10_news.indd 11

18/10/07 12:11:44

n ts res our ces
n ew


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

Send your
letters to...
Official Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond
Hill, Bournemouth,
Dorset BH2 6EZ, UK
If you’d prefer to contact
us via email, send your
message to opm@

Which Wacom?

I’m interested in buying a Wacom tablet
but really have no idea as to how to go
about it. Have you any advice on what one
is best? It would be really good if you could
have a special tutorial or something about
using a tablet with Corel Painter. I’m sure
there are lots of ‘newbies’ like me who
would appreciate it!

Jennifer Crouch

Hmmm, we’re going to need a bigger space
than this to answer your question Jennifer!
Picking the perfect tablet depends on so many

different factors, such as what you want to
use it for, what kind of desk space you have
and obviously what budget you have! We
can recommend the Intuos3 range as a safe
bet if you can afford it, as it has professional
functions for you to develop and grow into.
You may have also heard that Wacom has
recently released its Bamboo range, which is
perfect for complete beginners. At the risk of
looking like we’re fobbing you off, keep an
eye on this magazine in the future. We will be
reviewing the new Bamboo offerings (starting
this issue) in addition to providing a guide to
using the Wacom tablets to their full potential.

Reader’s tip

Share your Corel Painter wisdom…

One brush wonder
I always experiment with different painting
techniques and recently tried one that’s so
simple I can’t believe I didn’t do it before.
Try painting with just one brush. You’d be
amazed at how many different effects you
can get just by changing the brush size, yet
the image looks unified because of the similar
strokes. It’s definitely changed how I paint!

Timothy Hutton

More techniques please

Out of all the tutorials you have, I must say
that I prefer the art technique ones the
most. I never went to art school and so it’s
really useful to learn about the rules so I
can apply them in my own work. Please
do more of these tutorials!

Kevin Cleaver

Thanks for your email, Kevin. You can rest
assured that we will always have traditional
art techniques in the magazine, as we enjoy
reading all the tricks too! We notice you’re in
the US, so you may not have seen our new Art
Study section. This will incorporate traditional
techniques for painting certain objects and
translate it into Corel Painter’s language. Over
each issue, these pages will build up into

Choosing the right
graphics tablet for you
requires more advice than
we can fit in here!

Featured gallery
Our favourite reader’s gallery this month

Hilarie McNeil-Smith

www.paintermagazine. or visit www.
Hilarie was one of our early sign-ups to
the magazine website and with just over
20 images uploaded, at the last count
she has had over 2,000 views – though
that will probably shoot up now as there
is no doubt that she has earned her spot
as this month’s featured reader. She has
certainly impressed us with her range of
artwork. Living in Canada, her subject
matter ranges from stunning natural
scenery through to perfectly candid
travel shots.

© Hilarie McNeil-Smith

© Hilarie McN

© Hilarie McNeil-Smith

© Hilarie McNeil-Smith


012-013_OPM_010_letters.indd 12

19/10/07 13:08:07

Looking to traditional art techniques will enhance your Corel Painter experience

an essential resource for painting different
elements in your projects. These pages join our
popular Drawing 101 section.

Clone come good

Here is my latest image. I have been using
Corel Painter for a couple of months and
am just starting to feel con�ident with
using the Cloners. When I started, I ended
up with a photo-realistic look but now I
mix up brushes and am much happier!

Jeffrey Hamilton

Perfect timing, Jeffrey! You may have noticed
that our feature is about using the Cloner tools
in different ways, so hopefully you can use this
to work your way through the options and
create even better images.

The big picture

I’m a professional artist from Holland,
traditionally trained at The Royal
Academy of Arts and Design in ‘sHertogenbosch, Holland. I got my degree
in 1982, so it was some time ago! I’m 50
years old and a daily user of Corel Painter.
I believe the �irst version I bought was
Painter 4. Since then, I’ve been hooked
on the program; it is the largest box of
inspiration I could ever imagine, and as
fast as a wizard’s wand!
This week I sold my �irst painting for
an entrance of a company , and I’m very
happy with it – so happy that I thought
you might like to see it. It’s all created in
Painter. For more information, just take a
look at my home page. Visit my website at

Ad van Bokhoven

Bloody hell, that’s some painting you’ve
created there! A very impressive piece of
art and you must be proud that it’s being
displayed in such a wonderful way.

Proof that the
Cloners can be used
to create interesting
and textured paintings

bsi te info
ces letter

Come and join our
forum and website
Make yourself known!
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. There’s 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 today!

Don’t be

welcome – everyone’s to enter! Go to
int ermagazine.

Have you got an example of artwork you have sold?
If so, let us know!


012-013_OPM_010_letters.indd 13

19/10/07 13:08:25

Interview Andreas Rocha

Sci-Fi Channel, Pinnacle Entertainment Group, The Enigma Factory

An interview with…

Andreas Rocha
With a passion for digital art, Andreas Rocha has won many admirers for
his work, ranging from matte painting to conceptual art, illustration to erotic
portraits. Nick Spence catches up with him

Leaving Home
Rocha’s Leaving Home
started as something
completely different.
Rocha was aiming for
a 1960 sci-fi wasteland
with UFOs in a distant
planet. It ended up in an
African fantasy setting,
displaying a tribe leaving
its home

iving and working happily
together with his wife and dog
in Lisbon, Portugal, Andreas
Rocha has been painting
digitally for ten years. Having �inished
an architect degree, Rocha worked in an
architecture of�ice for two years, then a
3D architectural visualisation company
for three years. During this time, drawing
and painting digitally had always been a
hobby, but Rocha had hoped to turn it into
a full-time career.
Now successfully working freelance,
his work covers matte paintings,
2D illustration and 3D architectural
visualisation. Rocha has produced
illustrations for books, CD covers,

advertising and games promotions.
His work has appeared in prestigious
publications including 2DArtist, and
Exposé and Exotique from Ballistic
Publishing. Rocha works predominately
with Corel Painter and Adobe Photoshop,
often combining the two to stunning
effect. A number of free tutorials are
available on his website.
Do you have a typical workflow when you
paint digitally?
My typical work�low is not to have a
typical work�low. I learnt through the
years that each subject has to be dealt
with in a different way. I cannot paint
a landscape the same way I paint an

erotic subject. On the other hand, I am
also always trying out new approaches
to starting a painting. Sometimes I start
with a line drawing, other times with a
speed painting. However, there are some
steps which I have learnt are crucial for
me in the painting process. Invest time
to collect references, as the brain works
much better from visual registries than
from memory. It’s amazing what our
brain can collect, but you shouldn’t trust
it too much. Take your time. Painting can
be a very passionate process, but that
can often lead to addiction, blinding you
from errors that are blatantly pointed out
by others. Make pauses, sometimes for
days, and when you think you’ve �inished
the painting, stop, leave it be, come back
the next day and you will most certainly
�ind one or two things to improve. Start
small and �inish big. Low resolutions in
the beginning help the creative process.
Higher resolutions midway allow you to
add details that enrich the painting.
Do you always start your work in
Photoshop, and then move into Corel
Painter, for example?
Most of the time, that is the order.
However, I tend to jump back and forth
between both programs. My policy is to
use the best of both worlds and not get
hooked to just one piece of software.
Sometimes I start in Corel Painter, and
do most of the painting there. Tools like


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18/10/07 10:36:13

All original artwork by Andreas Rocha

Fresh Meat
Inspired by a cold February walk through
one of Lisbon‘s most charismatic parks,
for this striking painting, Rocha scanned
sketches into Painter and worked on
them, gradually adding colour and detail


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18/10/07 10:36:36

Interview Andreas Rocha

In Thought
Created for CGTalk’s
Exotique 1 book, Rocha
didn’t finish this painting
in time. One year later, he
reworked it, correcting flaws
from the previous version
and sent it to the Exotique
2 call for entries. To his
delight, it got chosen to be
part of the collection

Alley In Barcelona
One of Rocha’s many
conceptual paintings,
Alley In Barcelona.
Others include cityscapes,
landscapes, seascapes and
mystical settings

Snow Mountain
An example of Rocha’s
conceptual painting


014-020_OPM_10_interview.indd 16

18/10/07 10:37:07

Home Coming
This is a work in
progress, and an
example of Rocha’s
working methods.
Several tutorials
showing other works in
progress are available
on his website

the Palette Knife and the Blenders are
unbeatable, and give results which are
just not possible in Photoshop. The tools
can infuse the painting with a different
character, which is great when you are
looking for new ways to paint.
And how do you think Photoshop and
Corel Painter complement each other?
Over the years I got used to doing speci�ic
things in each program, although they
can basically do the same things in
slightly different ways. I tend to use
Photoshop for the initial phase. I like the
clean-edged and easily customisable
brushes of Photoshop and the layer
system. For me, it is somewhat easier to
lay down wild marks and experiment.
I use Corel Painter a lot to smooth the
brushstrokes with the Blender tools. I
also love to do slight hatching in Painter
with tools that pick up underlying
colours. The Glow brush can also bring
some wonderful surprises sometimes.
You source a lot of material from your
picturesque surroundings, including
Lisbon, but the finished results often
look other-worldly. How do you use
photographs in your work?
I use photographs in two ways.
Sometimes I use them just as a reference,
where I’ll put one next to my painting
canvas – where it helps to have a large
monitor, of course. Sometimes it’s the
actual photograph that inspires me to

do a painting, as in the paintings Fresh
Meat and Home, where I was inspired by
some of Lisbon’s beautiful locations. At
other times, I incorporate photos into the
actual painting. However, I usually only
do this with matte paintings and speed
paintings; in matte paintings to achieve
a higher degree of believability, and in
speed paintings mainly to experiment.
As many artists have said before,
fantasy should be based on reality to
make it believable. If you mix reality with

your imagination, you achieve fantasy.
Take the painting Fresh Meat for example.
One day I was going to work, but I was
too early so I decided to make a small
detour through one of Lisbon’s most
characteristic parks. It was winter and
the trees were naked, and on top of that, I
felt like I was the only person in the park.
Suddenly, some of the trees struck me as
looking like groping claws. I don’t know
why I thought of that at the time, probably
the overall mood, but the truth is that

Umbrella Dance
Another example
of painterly work
from Rocha


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18/10/07 10:37:32

Interview Andreas Rocha
Padrone e Servi
Rocha’s Padrone e Servi was
created for the Master &
Servant contest, promoted
by Rocha’s aim
was to present the Mafia
master-servant relationship
in a comical way, in which
the boss is like the father of a
‘family’ which protects him

Little Fish
Little Fish is
an example of
Rocha’s female
portraits, where
he combines
sci-fi elements
with erotica

Under My Bed
Rocha creates
atmosphere with a
clever use of light in
this spooky painting

I came back the next day, took a few
photos of the trees, and I had my main
ingredients, idea and reference to paint a
fantasy-horror painting.

time to make long pauses to have a fresh
look at a painting, so �lipping the canvas
horizontally – some artists do it vertically
– is the next best thing.

Why do you sometimes flip the canvas
during a painting?
This technique is really a classic among
digital painters. I strongly advise people
to assign a hotkey to it. It is related to
what I said before about being addicted
to the passionate painting process.
Flipping the canvas is like a slap on the
face, telling you to ‘wake up and smell the
coffee’, to see what you are really doing.
Flaws are immediately apparent, and I
tend to say to myself how I didn’t notice
that before. Sometimes, there is just no

And what tips and words of advice would
you give when using Corel Painter?
Something I started doing a couple
of years ago, and which I now use
constantly, was assigning hotkeys to
the Zoom In, Zoom Out and Zoom To
Fit commands. I have F1, F2 and F3
assigned to them and I use them all the
time. The Space+Alt shortcuts are a bit
cumbersome for me, and double-clicking
the Grabber to Zoom To Fit is not that fast.
Call me lazy, but actually assigning these
hotkeys has improved my work�low.


014-020_OPM_10_interview.indd 18

18/10/07 10:37:56

Bring ‘Em On
This is one of
Rocha’s striking
character paintings

“Fantasy should be based on
reality to make it believable.
If you mix reality with
your imagination, then
you achieve fantasy”


014-020_OPM_10_interview.indd 19

18/10/07 10:38:15

Interview Andreas Rocha

Something else I learnt through the years
is that it is easier with some tools to have
predefined variants at different sizes,
instead of using the Alt+Ctrl shortcut
to resize the brush. With one of my
favourite tools, the Soft Oil Pastel, I found
out that it was much better to have six
predefined sizes which I would intuitively
use, knowing their sizes beforehand,
instead of constantly guessing the needed
size with Alt+Ctrl. I built a new Custom
Palette with 2, 4.5, 7, 10, 20 and 40-sized
Soft Oil Pastels and it is so much quicker
and easier to use.

Your work covers many areas including
matte painting, characters, conceptual
and even erotic paintings. Is there any
area you prefer?
I think it all started with erotic paintings
and then developed to more complete
environments with stories in them. I
still love to do erotic paintings, but I
understand that I have a lot to learn in
this area. I believe matte painting is my
favourite theme now. The classic science
fiction and fantasy movies of the 1980s
have had a profound influence on me and
these were filled with matte paintings.

Which are your favourite tools to use in
Corel Painter?
My favourite tools would have to be the
Soft Oil Pastel, the Palette Knife (both
Loaded and normal) and the Just Add
Water blender. I tweaked some of them
to my liking. With the Palette Knife, I
reduced the Color Variability to almost 0
and set the Expression in the Angle tab
to Bearing, which I believe is not default
any more. With the Just Add Water tool,
I added a variant with hard edges, with
which I can do some smooth blending but
achieve brushstrokes with character at
the same time.

You have several excellent tutorials on
your website. What’s the best way to
learn Painter if you are just starting off?
The great thing about Painter is that with
such an array of tools, it is very easy to
do wonderful stuff right away, so getting
hooked up is quite easy. However, that
initial spark is sometimes lost quite
quickly if you do not have an end in mind.
Try to channel that initial enthusiasm
to make a painting you are proud of, by
using good references, asking for criticism
and advice and also taking your time to
complete it. Quantity is good for practice,
but quality is what keeps you going.

Solomon Kane
This painting
showcases Rocha’s
strong character
design work

This image mixes horror
and fantasy to great
effect, created using an
atmospheric, loose and
painterly look


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Get creative by using Clone Color



Get creative by
using Clone Color

Not convinced you can get artistic effects with
cloning? David Cole shows how you can

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The right direction
Use the brushes in a sensitive way for the ultimate
cloned image



Three steps for ensuring
great artwork
When it comes to cloning a photo, the battle is always
against creating something that looks very digital or
clinical. To avoid this, build your image up in three
stages. This brings a texture and depth reminiscent of
traditional media.

Just because you are using the
cloning features, you still need to
be sensitive to a photo’s form and
move the brush as you would if
you were painting from scratch.
Here we’ve used the Watercolor
brush and used a scribbling
motion. As you can see, there is no
detail at all.

Here we have applied the first stage. This is simply a case of
applying the chosen brush over the cloned picture very quickly
and loosely. You are basically doing what we said to avoid in the
left-hand box! The idea is to block in the colours and give nice rough
shapes that will be refined.


To make the painting work, it’s essential that you follow the lines and contours of what it is you are
painting. The Tracing Paper allows you to see the outlines, so use this to brush the paint on. How close
you stick to the lines depends on you and the kind of effect you are after. For maximum interest, mix
loose brushstrokes with more defined marks.

he dif�iculty facing Cloners is that
sceptical artists – non-cloning
artists – and others, tend to
think that it’s the computer that
does all the work. To some extent this is,
of course, true; the software is essential,
but colour cloning will re�lect as little or
as much artistic �lair as you bring to it.
Making good artistic judgements is the
bit that the software, however good it
is, cannot do for you. It is for this reason
that the three demonstrations of colour
cloning that follow are in ascending order
of dif�iculty, not because they become
technically harder, but because the artistic
decisions they require in order to get a
satisfying result become more dif�icult and
require more artist input.
This shouldn’t put you off. You can quite
easily make some decent clones using
just a Cloner brush or two. But you will
�ind it hard to turn a source photo into
a convincing natural-media painting
if you are not at all familiar with
the way that natural media looks

in reality, for example, the way that oil
colours mix in a brush stroke or the
beautiful sedimentation that can occur
in watercolour as the pigment dries. So
to make good simulations of paintings,
you need to look at the real thing. Search
on Google for pictures by the greats – for
example, portraits by John Singer Sargent
(for whom there is a speci�ic Corel Painter
brush), Van Gogh, Rembrandt, Wyeth
– you’ll know who your favourites are. Go
to galleries when possible to see the real
thing. It will help enormously and will also
enhance your ability to make good and
interesting creative decisions as you tackle
your colour-cloned paintings.
Now, on to the practicalities. When you
�irst see colour cloning in action, it looks
like magic. It is like magic, but it doesn’t
have to be complicated magic.
At its simplest, when in Clone Color
mode, the colour of one image gets
transferred to precisely the same
place on an identically sized image, but
reinterpreted through the characteristics

With the colours blocked in, pick a smaller brush and go over the
areas again. Don’t worry about pin-sharp detail – the key is to
add more definition to the forms. Don’t worry about covering the
canvas – the areas that are missed on the top and bottom-right will
help give a more authentic look.

The final stage involves an even smaller brush being applied
to make forms sharper and to finish the painting off. Just how
detailed you go is up to you. The key is to leave some of the earlier
rough strokes showing, but add refinement where you want it.
Apply Surface Texture for the final sprinkling of realism.


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Get creative by using Clone Color

Turn to
page 32
to e the fu
Cloner brush

Getting your photos ready
for the clone process

Although you can use most photos straight out of the bat, it’s worth
prepping them before you unleash the Cloner tools. The best way of
doing this is to alter the photo’s colour. Think about what style you
are emulating and edit accordingly.

The clone choices reside in the File menu. From here you can jump into a Quick Clone, set an image as the Clone
Source, or simply create a duplicate of an already-open image

of the particular brush you are using. The
small Clone Color mode button (found on
the Colors palette) decides whether you
paint in Clone Color mode or you just paint
with the colour selected. You can also
enable this to turn brushes into cloners.

The supplied option

However, you don’t have to turn brushes
into cloners – there is a whole category of
brushes speci�ically designed for cloning.

have the word Grainy in their name. This
means that they can reveal the underlying
paper you have selected for the picture
in their brushstrokes. You can adjust the
amount of Grain in the Brush Property
toolbar. Set the paper, or Surface Texture,
for your picture from the Papers toggle
switch towards the bottom of the Tools
palette. You can also apply the paper
you have chosen via Effects>Surface
Control>Apply Surface Texture. The

This photo is okay – it’s a bit washed out, but fundamentally it’s okay.
However, to turn it into the perfect clone source, it’s going to need some
work. Corel Painter has a good assortment of photo-editing tools in the
Effects>Tonal Controls menu

These are aptly named the Cloners. You can
access these from the Brush Selector bar, or
choose the Quick Clone option from the File
menu to load them automatically.
When it comes to picking the brushes
for your cloned paintings, there are some
things to consider beyond the obvious
choice of media. One of the most important
is how the brush behaves. Some brushes

The Tracing Paper allows you to see the photo and you
can alter the Opacity to your liking

signi�icance of the paper or texture is that
with careful application, it can help to give
your image the look of a real painting on
canvas or watercolour paper, or even a
textured chalk drawing.
If you have Corel Painter X, you can set
the program to automatically clone. This
is thanks to the Underpainting, AutoPainting and Restoration functions. These
provide quick and subtle preparations for
your pictures in relation to lighting, colour
and simpli�ication (Underpainting), new
sophisticated hands-free painting functions
using special brushes (Auto-Painting) and
the ability to easily restore areas of your
image back to an earlier state (Restoration).
The newly-released Painter Essentials
4 also boasts Underpainting and AutoPainting features. While not the same as
doing things for yourself, they do allow you
to see how an effect will look.
Over the coming pages we are going to
see exactly how sophisticated a cloned
painting can be. We hope to prove that they
are not an ‘easy’ way of creating art, but
rather a useful tool in experimenting with
effects and becoming a better artist.

The Adjust Colors command has allowed us to boost the shadows, and
give a warm glow. It looks bad now, but will make a lovely oil painting

The Auto-Painting and Underpainting commands in Corel Painter X and Essentials 4
allow you to automatically alter the colour of a photo and then paint it

al artwork by Philip Straub

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19/10/07 14:42:05


First option

Quick clone

Level: Basic

✐✐ ✐

The logical place to start our journey in cloning is with the
Quick Clone facility. This enables you to prepare an image for
cloning in one step. Simply open a photo, go to File>Quick Clone
and tracing paper will appear over your image and the Cloners
brush category will automatically load. In our example here,
we are going to create a light covering of colour texture using
the Chalk cloner, then add some broader brushstrokes with
an Oil cloner. We’ll then bring in some detail, still keeping the
brushwork loose The aim is to keep the picture looking more
like a painting than a photograph as we add brushstrokes and
detail. The temptation is always to paint wherever there is a
gap, but the trick is not to paint too much, and not to keep all
the edges in the image. To help the illusion of an oil painting,
we need to have a little canvas texture showing through here
and there, keeping the brushstrokes free, and just adding back
detail here and there.



Quick Clone set up Open the image from the CD and select

Quick Clone from the drop-down File menu. The image now appears
semi-opaquely. When you left-click and hold the cursor over the little square
icon below the red Close cross, a drop-down list of degrees of transparency
appears. Toggling the icon on and off switches between the transparency
you have selected from the menu and complete white opaqueness. We have
chosen complete whiteness here.


Smeary Bristle cloner Now bring back detail using the

Smeary Bristle cloner, set to a Size of 12 and an Opacity of 100
per cent. As we are going for an impression of the flowers, we don’t want
to restore all the edges and detail. Swapping between the working cloned
image and the original ( by toggling the transparency switch), bring back the
flower edges and details here and there, concentrating the restored detail in
clumps rather than evenly all-over.


02 Chalk cloner

Select Artists’ Canvas
from the Papers icon in the Tools palette.
This determines the kind of grain that Grainy
brushes show. Use the Chalk cloner from the list
of Cloners in the brush category, and making sure
that the brush Size is around 52, Opacity is 59 per
cent and Grain 12 per cent, brush lightly, leaving
streaks of white showing through here and there.


Adding contrast To finish the

picture off, add a little contrast. These
sort of finishing touches, like extra brightness
and colour saturation, are entirely a matter of
personal preference. On this occasion, we have
only increased the Contrast slider to dramatise the
image a little.


03 Oil Brush cloner

To give some body
to the brushstrokes, now apply the Oil
Brush cloner over the canvas (also in the Cloners
category). At this point, we are not yet tracing the
flowers using a semi-transparent paper setting.
Think all the time about how a large, real oil brush
would be making marks on the canvas.

06 Sharpen the image

We have left
Sharpening until the last step because it
is very important. It should be the last thing you do
to the image and should not be over-applied. You
can tell when an image is over-sharpened by the
light halo effect around the edges. Less is more in
this case. The picture is now finished, so resist the
temptation to fiddle with it!


022-31_OPM10_feature.indd 25

19/10/07 14:06:15


Get creative by using Clone Color

Second option

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03 Select
a paper

01 Bring it to life

Open up the boat photo from
the CD. To give the photo more vivacity, go to
Effects>Tonal Control and pick Adjust Color. Increase the
Saturation by 34 per cent and select File>Clone, All from the
Select drop-down menu and Clear from the Edit menu.

02 Get the cloning ready

A click on the
Transparency icon shows that the photo
is still there. Watercolour paper is often off-white
so use the Fill tool to add a light yellow colour (H:
47 per cent, S:100 per cent, V: 93 per cent) to the
white. Check under File>Clone Source that the
right source image is selected.

Choose a texture now.
We chose Hot Press
from the list, which
is a fairly smooth
watercolour paper
surface. We went for
this because a rough
watercolour paper
might interfere with
the line drawing. We
decided to pick a
Grainy brush because
it shows the paper
texture well.


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Using texture

04 Start painting

We used the
Grainy Wash Bristle variant from the
Watercolors category with an Opacity of 26 per
cent. With a light touch, cover in most of the
image. Avoid going up to the edges and make
sure you leave some gaps where the yellow paper
shows through. The composite method changes
to Gel. This happens by default with new or
duplicated watercolour layers.


Develop the brushed coverage

We used the Wash Bristle brush here to
add some additional colour, with the Opacity set
to 26 per cent. The main purpose of this brush is
to suggest some of the parallel marks made by the
watercolour pencils which, at this stage, have not
yet fully dissolved.

06 Add more body to the image

Now duplicate the image to give the
picture more body via Select>All, then choosing
Edit>Copy>Paste in Place. Select this rather than
Paste. An identical, though slightly darker, layer
appears above the current layer. Reduce the
Opacity of the new layer to 30 per cent to keep the
fuller colours and values, but lower the darkening
that the Gel composite method introduces.

Pencils, paper and Corel Painter

When it comes to
art media such as
watercolour, it is
very important that
you pick a suitable
paper texture at the
beginning and be sure
to employ a brush
that has Grainy in
the title. By having
something that has
tooth and texture,
you can ensure that
your painting looks as
realistic as possible.
Whenever you pick a
paper, always make
sure that you open the
Papers palette and
adjust the sliders to
get the precise look
that you want.

Traditional media in a digital world


Prepare to add a grey pencil
outline With the original photo (the

adjusted one) active, again choose Select>All
and Edit>Copy. Then, with the cloned version
active, select Edit/Paste in Place (again, not Paste).
The original photo appears at the top of the layer
stack. You need to use the original photo so that
the sketch from it will have crisp outlines.


Save as RIFF This is worth a separate

step. Get into the habit of saving layered
images as RIFFs – Painter’s native file format. This
will preserve your stacked layers. You should do
this after every level has been completed. You can
always delete them later. It’s better to have too
many than risk losing the whole layer stack. You
can use the Iterative Save function for this, too.

08 Create the pencil sketch

Go to
Effects>Surface Control>Sketch and
the Sketch parameters box will appear. Type in the
following settings: Sensitivity: 1.00, Smoothing
1.20, Grain: 0.00, Threshold High: 40 per cent,
Threshold Low: ten per cent. This will produce a
black-on-white outline drawing. Then change the
Layer composite mode to Multiply so that you can
see the coloured image below the line drawing.


Add some clean yellow paper The

edges need a little more air so save the
whole image as a TIF, close the saved RIFF image
and open the TIF version. This is no longer a
watercolour layer so you can make changes easily.
Sample the background colour and use a Fine
Feathering Oils 30 brush (from the Oils) to paint in
a little more unused paper around the edges.

a new layer and more
09 Add

Reduce the Opacity of the
sketch layer so that there’s a nice balance between
the line drawing and watercolour layer. Then
create a new watercolour layer by clicking on
the blue droplet icon at the bottom of the Layers
palette. Use the Diffuse Bristle brush at an Opacity
of 45 per cent to add some more paint, again
making sure not to cover the whole picture evenly.

Surface Texture and final
12 Apply

First, add a little more
Saturation at about 14 per cent, and then some
Surface Texture, using Hot Press paper all-over as
before. The settings are shown above. Finally, add
some sharpening via Effects>Focus>Sharpen. Use
the Gaussian Opening settings with the Amount
set to 1.77, and the Highlight and Shadow both at
100 per cent.

More effects
We used the Surface
Control menu to
access the Sketch
effect here, but it’s
worth trying the
other ones on offer.
The Woodcut is very
interesting, especially
when used on very
bold photos. The
dark lines it applies
can give a good
depth to a painting,
but try the various
composite methods
to get the perfect
look. The key is to use
effects such as Sketch
and Woodcut as an
enhancement to the
painting – not
a distraction.


022-31_OPM10_feature.indd 27

19/10/07 14:07:24


Get creative by using Clone Color

Third option

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022-31_OPM10_feature.indd 28

19/10/07 14:43:05


03 Changing the background colour
01 Saturation

Open the photo from
the disc. It’s evident that the head in the
photo needs some room to breathe, so to begin
with, add 200 pixels left and 100 pixels right to
produce the canvas dimensions you want. This
puts the head slightly off-centre in the frame.

02 Painting in missing background

From the Oils palette, use
the Tapered Round Oils 15 brush to roughly continue the existing
green background, as well as the patch of pinstripe jacket into the white
border areas. Although you probably won’t use the green background, it will
ensure that the values remain consistent. Increase the Contrast a little to give
the image some more energy.

At this stage, we decided that the green
background wasn’t going to work for the image.
Go to Effects>Adjust Selected Colours and use
the Dropper tool to select the green background.
Then change H Extents to 20 per cent, H Feather
to ten per cent, Hue Shift to -34 per cent, Value to
-16 per cent and Saturation to -91 per cent. This
gives us a brown background that works better.

up the
05 Set

you need to set up the
paper that will provide
the surface texture
for the cloned image.
Choose Artists’ Canvas
from the drop-down list
of papers accessed from
the Papers icon at the
bottom of the toolbox.
Then launch the Papers
palette using the Papers
fly-out. This will allow
you to see all the paper’s
parameters and adjust
them if you want.


Setting up the colour cloning To


Customising the Sargent brush Select the General category

set up the colour cloning, head to File
and click on Clone. Then follow Select>All, and
Edit>Clear. This will create a new ‘Clone of josh…’
image, which should be all white. Fill this with a
cool brown (H:40 per cent, S: five per cent, V: 55
per cent) using the Fill tool.

from the list on the left-hand side of the Stroke Designer page in
the Brush Creator and make the following changes: Stroke Type set to Rake;
Method set to Cover; Sub Category set to Grainy Hard; Expression set to
Pressure, and the Grain set to 18 per cent. Remember that the visible paper
texture increases as the value set reduces. Aim to use about 16 per cent.

06 Customising the first brush

We’re going to use the Artists’ Sargent
brush to lay down texture onto the painting. This
will require some customisation. First, select the
Sargent brush in the Artists’ brush category. Then
open up the Show Brush Creator link, which is
accessed from the fly-out arrow to the right of the
Brush Selector palette.


Changing the Sargent Brush’s
Size settings Select Size from the left

of the Stroke Designer page. Change the brush
profile to the pointed one top-left, Size to 37.8 per
cent, Minimum Size to eight per cent, Expression
to Pressure and Size Step to one per cent.

the Sargent Brush’s
09 Changing
Well parameters

Open the Well
settings and change Resaturation to 76 per cent,
Bleed to 0 per cent, Expression to 0 and Dryout to
268.6. Finally, change Rake to ten and make sure
that Impasto, which gives depth to brushstrokes,
is turned off.


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Get creative by using Clone Color

Start painting!
It’s time to lay down the first paint application


Saving the customised Sargent
Brush You’ll need to save the

customised brush – it is easy to forget to do this!
Open the fly-out menu next to the Brush Selector
and click on Save Variant. Name it ‘Grainy Sargent’
and it will then appear at the bottom of the list of
brushes in the Artists’ category, without replacing
the Sargent brush.

brushing with the
12 Initial
customised brush
value relationships between the face and the
11 Checking
plain background

Before you start painting, check how the face
will fit in with the brown background. Use the Eye Dropper tool to confirm
that the brown for the background matches the tonal value of a number of
the background areas. If you want to let the background show through the
painted image, you now know where to do this with the correct values.

At this stage, make
some brushstrokes with the new brush with the
original image completely obscured by the brown.
This is always a very exciting part of the process
as you see the image beginning to emerge.
The later stages of restoring the facial features
following facial contours using the image in semitransparent mode is a more technical exercise.

Brush size
It sounds obvious, but
always make sure you
pick the correct brush
size for the job. In our
case, we wanted to
keep a loose style so
that means picking
the largest brush you
can get away with.
The idea is to give
recognisable form
without entering
into photo-quality
sharpness. If you
wanted more detail,
then obviously go for
a smaller brush size.
We’ve given guidelines
here, but you may feel
more comfortable
with a different size.

13 Setting up the Bristle brush

Our aim is to try to keep this
portrait loose. To help achieve this, for the next stage of painting,
use the Bristle brush in the Artists’ Oils category. Use this as it comes, with the
following settings: Size: 5.4; Opacity: 79 per cent; Grain: 17 per cent; Viscosity:
50 per cent; Blend: 100 per cent, Wetness: 75.

15 Close-up on the eyes

Even though the image is being cloned, and
should in theory replicate exactly what is in the original photography,
the marvellous thing about some of the Corel Painter brushes like the Bristle
is that they do not deposit paint with photographic precision, but with some
randomness. This is crucial to making an image look painted. Eyes should not
be painted identically – eyes are not identical, so it is important to paint them
with their own character.

14 Using the Bristle brush

The Bristle’s brush stroke has a streaky
nature to it, its own bristly character. Now, begin to make the
brushstrokes follow the contours of the face. This means toggling frequently
back and forth between Transparency and Opacity using the Transparency
icon. Don’t worry too much about detail at this stage.

16 Developing the picture

Now you need to begin to develop
some ideas for the background. Work up some detail too, using a
smaller Bristle brush. Make sure that there are a few ‘lost edges’ where the
face and background seem to merge – this helps to integrate them and avoid
a stuck-on effect.


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Merge forms


More work on the head and
background Using the Grainy Sargent

brush again, but with a larger Size (25.3) and
Opacity (82 per cent), restore the underpainted
brown, letting some of the original photo’s dark
brown show through to give the background
some energy.

18 Fixing the background

Still using
the Grainy Sargent, introduce some
blocked-in dark olive into the background.
This colour is a darker value of the subject’s iris
colour. The dark tone helps to model the face by
introducing an element of chiaroscuro. Use a Size
of 37.8, Opacity of 57 per cent and Grain of 18 per
cent. The dark patch is obviously not cloned and
its developing shape, tone and colour just works.

back more detail in
19 Bringing
the face

For the details, first select
Oils>Thick Wet Oils 10 (Size: two, Opacity: nine
per cent, Resat: ten, Bleed: 65 per cent, Jitter:
0.02. Also check that Impasto is off) to block in the
key features. Then use the Tapered Round Oils 15
to restore more precise details, set to a Size of 2.6,
an Opacity of 87 per cent, Resat set to 100, Bleed
to 83 per cent and Feature set to 2.3.

Personal touches

While the focus of
this feature is about
using photography
as the foundation for
a painting, don’t be
afraid to go freestyle!
You can achieve very
realistic results if
you leave the Clone
Color environment
and paint in colours
over the cloned
areas. In our example
here, we manually
painted in parts of
the background to
complement the
colours in the face. It
didn’t take great skill,
but helped elevate
the image beyond a
straight clone.

Get in that pilot’s seat and take control of your image

20 Developing the eyes

You can see that the brushstrokes making
up the eyes are adding to the features with streaks and slabs of
colour, and not just reproducing the photograph precisely. Now make general
strokes with the original photo showing through the transparency. Stay with
the largest brush you can. Using very small brushes will quickly remove looselooking brushstrokes, so stay away from them!

22 Finishing touches

At this stage,
you may decide that the background
needs something more. We tried various shapes
and colours to create harmonies and interest, but
went for a light blue which was complementary
for some of the skin colours. It created tension
and helped bring alive the background and push
forward the face. This is a decision you have to
make for yourself – you can’t clone it.

21 Painting the hair

Still using the Tapered Round Oils brush, bring
back the hair from the dark brown underpainting. Don’t paint all the
hairs individually, just those strands that are crucial to getting the illusion of
hair. In this case, the hair is tricky because there are not many settled, even
areas, but lots of spikes instead. The hair is actually emerging from the dark
background which helps to integrate the picture into it.

23 Final adjustments

To give the picture
a little more contrast, follow Select>All,
and Edit>Copy>Paste in Place. This will duplicate
the first layer. Then change the composite method
to Gel and reduce the Opacity of the new layer
to six per cent. Under the Photo menu, use a little
Dodge and Saturation Add on the irises to reveal
them a little more.

24 Finished work

For some lastminute adjustments, add some colour
Saturation to the skin (Adjust Selected Colours
Sat: 30), and a little sharpening (0.88).

Layer choices
Traditional artists
apply layer after layer
of paint to build up
depth. All you have to
do is duplicate a layer
and then experiment
with the composite
methods! These allow
you to darken or boost
a painting and you
can control the effect
using the Opacity
slider. We used the Gel
composite method in
this tutorial, but other
good ones are Darken,
Multiply, Lighten and
Screen. It all depends
on your painting’s
colours and the effect
you want, so try them
out to see what works.


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Primer Cloners


To access the Cloners automatically, open your photo
and then select File>Quick Clone. This will apply a
sheet of tracing paper over a copy of the photo, and
the Cloners will be loaded in the Brush Selector bar


They are the first port of call for
newcomers to Corel Painter, but what
else do the Cloners offer?


he Cloners brush category is a
treasure-trove of options for
so many people, irrespective of
their skill level. There is a huge
choice of variants in this category that can
be adapted to any style and situation.
The Cloners work the same as any other
brush category, except they automatically
take the colour information from a clone
source. As the colour is taken from the
source, it is turned into an artistic effect
and this is what you see on the canvas.
The Cloners are perfect for
beginners because they allow you to
concentrate on the act of painting.
They are also a fabulous way of
getting used to the different media
in Corel Painter. The Cloners cover
them all, from oils and acrylics
through to watercolour and pencil,
allowing you to see how the brushes
work and the sort of effects they give.
A really useful exercise is to pick a photo
and paint it using each of the different
Cloners. This will give you an at-a-glance
look at the media effects that you can use
when planning future projects.
It’s worth experimenting with the
Cloners, especially if you use photos
as a basis in your artwork. They are
perfect for painting any areas you don’t
feel comfortable with, especially tricky
areas such as faces. In fact, the process
of cloning gets you used to following the
forms of objects, which actually helps
improve your drawing skills.

When you are using the Cloners, just make
sure that the colour wheel is greyed out. This
indicates that the colour is being selected
from the clone source

To really build up your artwork, mix a
couple of different media together. In
this instance, we merged looser strokes
made with the Watercolor variant with
tighter Camel Oil strokes

Obliterate or bring back

The importance of Opacity

Two brush flavours

Know when to hold back
If you forget about the media they mimic,
the Cloners can be divided into two sections
– those that will obscure detail and those that
keep it. Either type isn’t very successful when
used on their own but when mixed together,
you have a powerful combination of tools.
In the example here, the Wet Oils cloner has
been used and you can see that it has ‘melted’
the detail. While this gives an interesting
effect, the source has lost impact. However,
something like the Soft Cloner can be used to
bring the original back!

You may find that some Cloners are
a little overbearing when used at
the default opacity. This is especially
true of the Watercolors. Try using
them as they come – chances are
you will find them way too dark and
ominous. This is why the Opacity
slider is so important. Just by
reducing it, you can get the exact
effect you want. Here you can
see the Watercolor used at a high
Opacity (top) and then a lower one.


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There is a delicious range of variants
in the Cloners category, covering all
the major art media. You can even
mimic famous styles, such as the
Impressionists or Van Gogh


The Cloner options
At-a-glance guide to the choices on offer
There are loads of variants in the Cloners category, giving the user a great choice of effects
and options. Here’s a look at each of the variants and what look they give:

Fine Gouache Cloner 15

Soft Cloner

Bristle Brush Cloner

Fine Spray Cloner 35

Splattery Clone Spray

Bristle Oils Cloner 15

Flat Impasto Cloner

Straight Cloner

Camel Impasto Cloner

Flat Oil Cloner

Texture Spray Cloner

Camel Oils Cloner

Furry Cloner

Tick Bristle Cloner 20

Chalk Cloner

Graffiti Cloner

Thick Camel Cloner 20

Cloner Spray

Impressionist Cloner

Thick Flat Cloner 20

Coarse Spray Cloner 50

Melt Cloner

Van Gogh Cloner

Colored Pencil Cloner

Oil Brush Cloner

Watercolor Cloner

Crayon Cloner

Pencil Sketch Cloner

Watercolor Fine Cloner

Driving Rain Cloner

Smeary Bristle Cloner

Watercolor Run Cloner

Felt Pen Cloner

Smeary Camel Cloner

Watercolor Wash Cloner

Fiber Cloner

Smeary Flat Cloner

Wet Oils Cloner 10


Original image

Instant art style
The quick masterpieces
Explore the Impressionist and
Van Gogh variants when using
the Cloners. Both of these allow
you to build up a distinctive
style very easily. We looked at
the Impressionist variant last
issue, and these are a fantastic
way of making landscapes
really shine. The Van Gogh cloner is also very interesting,
as it mimics the thick, distinctive strokes of the great
master. It’s best to use long, fluid strokes with this brush,
otherwise you will get a very blocked effect.


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Vine and Sea
Digital artist

Ovcharenko’s style is bold, colourful and very beautiful, so we couldn’t
resist putting one of his images on our cover, especially since it fitted so
well with our landscape tutorial. His work is nice and varied, so make sure
you visit his site to see more.

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Tutorial Get started with landscapes


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Hannah Gal
Time needed

1-2 hours
Skill level

On the CD

Field image

Get started with landscapes

Tutorial info


Get started
with landscapes
The Image Hose is an excellent way of quickly adding detail to an image
and is a real time-saver when it comes to landscape paintings
he Image Hose has to be
one of the most useful Corel
Painter tools. This colourful
brush sprays images rather
than paint, allowing you to give the
impressions of many objects very
quickly. The images it paints on are
special �iles called Nozzles and to use
the Image Hose, you need to load a
Nozzle �irst. There is a selection
available to you, or you can
create your own. Just like
any other brush in
Corel Painter, the
user has full

control over Size, Spacing and other
aspects. You can test your brush on the
Brush Creator pad as you design it.
The two most important variants
to control here are Spray and Linear,
which refer to the way Corel Painter
applies the images onto the page. The
program can either scatter images on
the canvas, or place them onto a predesigned path.
There are many uses to this type
of brush. First to come to mind are
subjects like grass, made of many
similar-looking strands placed next to
each other. Other examples are rocks,

clouds, �lowers or any subject which
includes a naturally occurring pattern
or repetition.
The ability to vary the Size, Opacity,
colour and nature of application
means there is no danger of pattern
appearing too rigid. Just like any other
brush though, it takes care, practice
and experimentation.
We will create one Image Hose from
scratch and use one that is provided by
the program. The grass Image Hose in
the background is made from scratch
while the red �lowers are provided by
Corel Painter but enhanced by us.


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Tutorial Get started with landscapes

Sowing the seeds of your painting
Blades of glory

01 Fill

Open the ‘Landscape Base.jpg’ file from the CD. We are going
to create a grass Nozzle as a background for the flower field. Create
a new layer. Open a new file, 800 x 600px at 300dpi. Use any painting or
drawing tool to create a blade of grass. We used a Selection tool and went to
Effects>Fill in the main menu to add a green colour to it.

02 Make a blade

Create a new layer. With the Pen or Selection tool,
create a differently shaped blade. Sample or create a different shade
of green or brown and go to Effect>Fill in the main menu. Choose Fill With
Current Color.

04 Group
03 Forming the grass
Nozzle colour
Through the Grain
slider on the Property
bar, you can mix a
second colour with the
Nozzle images. This is
the Additional Color
from the toolbox. To
mix in a second colour,
double-click on the
Additional Color at the
bottom of the toolbox
to select it. Set the
colour you want
and close. Use the
Property bar to adjust
the colour levels. At
100 per cent, you are
mixing no additional
colour. The more you
reduce the original
colour value, the
more of the additional
colour is mixed in.

We are building
a group of blades to form the first bunch
of grass. Repeat the previous steps by creating
a new layer, drawing a differently shaped blade
and Fill with different shade or colour. For greater
variety, set a lower Opacity level to the one
applied before.

05 A Group effort

From the
toolbox, click on the
Layer Adjuster tool and
move the blades closer
to each other to form
a group. Here, you
are trying to make it
look like realistic grass.
Select all the layers
of blades created so
far, and in the Layers
palette, click on the
little triangle in the topright and then from the
menu, select Group.

Continue to create another selection of different
grass blades and group them together. You should now have two
bunches of grass, each made of several blades close together, layers selected
and grouped. Make sure you do not Collapse layers, just group them.

06 A third Group

You can continue to make as many blades and
groups as you wish. We made a further third bunch. Be sure to vary
the shade, colour and Opacity of the blades to ensure realism. You should
now have three bunches of grass, each group separate from the others. Check
that your Layers palette shows three groups. Click on the little triangle next to
Group to open it. It should display the blades that make up the Group.


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To make the Image Hose work at its very best, you need to employ some experimentation with the brush settings. You
need to think of them as you would any brush, and alter settings such as Spacing and Angle to dictate how clustered the
image your are spraying is. This is the key to realistic effects


Landscapes Settings and adjustments

Get started with landscapes

You apply a hose by
choosing the Image
Hose brush category.
The variants will spray
the hose image in
different ways.

Just like any other brush, use
the General controls to adjust
and design your brush. This is
the first port of call for things
such as Opacity, Grain and
Size controls.

By altering the Spacing
setting, you can have a hose
that is very spread out, or
very tight together. If we had
wanted a sparse poppy field,
the spacing would be high.

Under Image Hose in the General
controls box, you can set Rank 1, Rank
2 and Rank 3. A Nozzle can progress in
different ways. You can, for example,
set the first Rank to change Size and the
second Rank to change Angle.

Making the Nozzles
Put the groups to work

07 Make Nozzle From Group

Save the
file with the three bunches as ‘Grass’. Go
to the Layers palette and click on the little triangle
on the right. From the pop-up menu, choose
Make Nozzle From Group

08 Load the Nozzle

Save the Grass
file as RIFF and from the Nozzle popup menu, choose Add Nozzle To Library. The
Grass Nozzle is now available to use and can be
accessed like any ready-made one.

09 Adjust the Nozzle

Pick the Image Hose brush category and try
out the Nozzle on a blank canvas to see how it looks. Shape the
Nozzle to your needs with the brush controls. Run the brush along and adjust
the settings until the right Nozzle is achieved. Activate the provided field
image and try the Nozzle on the grass.


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Tutorial Get started with landscapes

Putting the finishing touches on
Apply the flowers

10 Grass Hose

With the provided field
image open, go to the Layers palette and
create a new layer for the grass background. This
will be the Grass Hose layer beneath the flowers
that will follow. Open the Grass Nozzle, pick the
Linear-Angle-B variant and apply grass to the field.

11 Grass application

With a 33 per cent
Opacity, Spacing set to 55-60 per cent,
apply the newly designed Nozzle to the field.
Run the brush over the grass in a single stroke if
possible. This is just for effect so it does not need to
be realistic in terms of size perspective.

12 Flower Hose

From the Nozzle Selector, choose the Red Poppies
Nozzle. This flower comes with a stem, so we need to apply flowers
furthest away first and move towards the front. Stay with the Linear-Angle-B
variant. Set Opacity to 100 per cent and Size to the tiniest possible. Apply to
the top of the hill and along the hill line.

14 Paint

13 Poppy perspective

Increase the size of the Nozzle and apply
a little more towards the centre of the hill. If this does not look
convincing, Undo and start again. The idea is to create the illusion of flowers
getting bigger the closer they are to the viewer. Opacity remains at 100 per
cent and under Impasto, select Draw To as Color.

Drop all layers and
from Brush Selector or
Brush Creator, choose
the Acrylic brush.
Set Method to Cover
and Subcategory to
Grainy Soft Cover.
Use a 80-85 per cent
Opacity, put Grain on
14 per cent and under
Impasto, set Draw To
as Color and Depth.
Sample colour of any
part of the flower and
with a brush size of
30-32, apply loosely to
the flower.

Spacing refers to
the space between
Nozzle images. It is
best controlled via the
Brush Creator where
you can check the
effect as you set it.
In Brush Creator,
choose Spacing and
increase the level to
60 per cent. Then run
the brush and check
the effect. Adjust the
slider to try different
Spacing settings. Now
increase the brush
size and check the
new combination. As
Spacing is based on
brush size, increasing
the latter adds space
between images.

16 Painted
15 Smudging the greens

Stay with the
Acrylic brush and zoom in to 60 per cent
or over. Use the Eye Dropper to sample green in
between the red flowers. Use a 75-85 per cent
Opacity to smudge over these areas. Follow the
shape of the leaves with brief strokes and longer,
wider strokes for parts of the green background.

Increase Opacity to
100 per cent and set
Impasto to Color and
Depth. Zoom in to 100
per cent magnification
level. Sample part of
the red flower and go
over it with a Bristle
brush. Sample another
area and carry on.
Repeat this until all
flowers are covered
in a painterly, bristly
Acrylic effect.


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Tutorial Create painted borders

Create painted borders
In this tutorial, we’ll take you through a step-by-step process to show how a painted border
can really add to the overall effect of a portrait painting
Tutorial info

Daniel Cox
Time needed

30 minutes
Skill level


reat modern masters all think
carefully not just about the
subject, but also how the
subject sits in the canvas. Not
claiming to be modern masters, we do
still try, however, to think about using
painted borders effectively in our work.
These borders can add general interest
to the painting because they can be bold,
strong brushstrokes or even soft, lost
edges. Either way, because they don’t
contain detail, they can help accentuate

the focal points of your painting, such
as the face and the eyes of the subject.
Or the effect can be subtle, where the
artist leaves only a few stray brush
marks sweeping away from the subject.
In a landscape painting, �ields, cottages
or harbour-side, the effect can be much
bolder, using an uneven border as a major
part of the composition.
In terms of approaches, an artist could
either start with a rough border and then
render the subject tighter, purposely

leaving the border uneven and rough.
Or you can go back and purposely paint
the border. This can be tricky though,
as the effect needs to look chaotic and
unplanned. We’ve found that it takes
some time to get that effect, otherwise
the painted border can detract from the
painting because it feels staged. It needs
to look like you didn’t plan it! We’ll take
you through how we would approach
adding a border in these steps. It’s just a
quick demonstration but should be useful.


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Crossing the border

We start this tutorial after the hard part – the
actual painting of the image – completed. As you can see, at this
stage the canvas is actually larger than the final image (for more about this,
see the side tip). You don’t have to have it larger, but in this case it was really an
accident because we were initially planning to paint more background. You’ll
also notice that we’ve painted her jacket all the way to the canvas, and this is
the main area that needs work.

02 Contéis king!

Start by using the Conté Brush. Cmd+Alt+click to
select a neutral colour that is already present in the painting. Work
bold and fast, and don’t be afraid to work back into the image. We weren’t
very happy with the jacket anyway, so we’re quite comfortable covering it up.

between border

As you can see, the
canvas is oversized
compared to the final
image. We do this
because it allows us
to paint the border
wider than planned,
and this then gives
us the control to crop
the image so that it
doesn’t feel staged.
You don’t need it to be
larger, but for this one
we weren’t sure how
much of the winter
scene we were going
to paint and how
much background
would be required.
As it turned out,
only the hint of
some winter trees
and a frozen pond
were needed, as the
snow and colour
temperature gave it
the required mood
and any more detail
would just have
been distracting.

Create painted borders

01 Just the border

Use a bigger
canvas, and
crop later!


Where neutral colours and negative space is a positive thing!

and subject Don’t


Negative space is your friend As

you work, always have the negative
space in mind. This is important, because the
shape is going to affect the impact of the painting.
If we paint too much negative space, her head will
look like it’s on a stick. The idea is to create interest
and blend these areas. Here we’re working from
the border inwards towards the subject.

05 Moving on

be afraid to work
back into the subject
either. Here we want
to lead the viewer’s
eye to her face, and
down into the rest
of the painting. To
do this, paint thick
brushstrokes using the
Acrylic brush (Size 45,
Opacity 22 per cent).

As you can see, this part of the image is already very
loose. However, it’s lacking a feeling of shape, so we worked some
of the darker tones that we’ve used to paint the background trees into the
border, and then pulled some of the neutral border colour in the subject.
Essentially, we’re creating a stronger frame for the subject by doing this. If it’s
too loose, the viewer’s eye gets lost.


06 Let’s have a Palette Knife fight!

When you are happy with
the overall shape, it’s time to work on the edges. The Palette Knife is
a great art tool in Corel Painter, as it is in traditional media. What’s great about
it is that it allows you to very easily blend the Conté we laid in earlier, but also
by first pushing the paint in one direction and then pulling it in the other,
edges are created.

Don’t guess what
colours your border
will be, and don’t use
white. You really only
need two to three
colours anyway,
and these should be
a similar value or
neutral colour that is
already in your image.
Anything else, and
the effect will call
attention to itself.
Don’t use the stronger
blues or warms in the
skin tones as they help
focus the painting on
the subject, and using
these colours would
give the opposite
effect of what you
are trying to achieve.
Either Cmd+Alt+click a
colour in the painting,
or select from your
palette. Either way, it
should be a tone and
colour already present
in your painting.


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Tutorial Create painted borders

Borders and boundaries
Crop your image once it’s ready to lose unnecessary space

Soft edges
are good

07 Textured blenders and brushstrokes

Another good tool to
apply here is the Blender. We want to blend the darker value of her
collar into the border, but we don’t want it to be a lost edge. Use the Coarse
Oily Blender (Size: 41.0, Opacity: seven per cent) to pull the darker value into
the light value, in doing so adding texture and therefore interest for the eye.

As the focus of
our painting is the
subject’s eyes and
smile, it’s fine to soften
her beanie hat into the
border. This is really the
last place we want the
eye to go, so the Dry
Palette Knife (Size: 62,
Opacity: 30 per cent)
is great for this area.
Work fast, and pull the
paint in one direction,
then immediately
move the Knife at 30
degrees to it.

09 Everything is lost
Simplify the
shapes first
This is all about
enhancing the
painting, so remember
your basic principles
of composition.
Simplify the shapes
in your head, so that
the border basically
becomes white space.
What areas need to
be painted into, and
what areas need to be
painted out from? If
you’re only a beginner,
then you could paint
a thumbnail first to
see what works. In
the end though, the
painting should have
more impact with the
border and enhance
the composition. If it
doesn’t, start again!

After looking at it full-frame, we decided we
want to just totally lose a few edges. Maintain contrast between the
subject and the snowy area, but totally blend the snowy area into the border
colour. Use the Loaded Palette Knife (Size 52, Opacity 22 per cent) to drag
snow into the border. Then use the Dry Palette Knife again to just blend some
of the area completely.

10 Cropping

This is where cropping comes in handy, because you can
choose the areas that have the most impact and lose areas that don’t.
So to enhance the composition, crop tight on the top and back and leave more
room on the right, which allows the viewer to follow the subject’s gaze.

12 Select
Impasto Oil

the look of
11 Creating
traditional canvas

Now that we are
happy with the border, there’s still a final step that
we can do to create a convincing canvas effect.
First, create a new layer and then set the Opacity
to 0. This is the most important step.

Choose the Artists’ Oil
>Impasto Oil (Size: 90,
Opacity: 100 per cent)
and begin painting.
In the thumbnail, you
will notice that you
are using paint, but it
won’t show up on your
canvas. However, the
impasto-like effect will
show through, without
affecting colour. The
trick is to follow the
paint strokes you’ve
already placed down
for an authentic effect.


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The best brushes in the borders business


Conté (high and low Opacity)
This brush is great for laying in colour quickly.
At low Opacity, the texture is more evident and
by laying a stroke next to another one, it creates
small edges. Also the grain is very evident. Use
it at a higher Opacity for large blocks of colour
when you want more opaque colour. Alternatives
would be the Sponge for a similar grain, and of
course any of the Bristle brushes.

Coarse Oily Blender
This is great not only for blending, but also
creating textured effects as you do so. With a
soft Blender, the area can quickly look like it
was blurred. With a textured Blender like this
one, the effect looks more like a brush was used
to blend the area, similar to dry-brushing in
traditional painting.

F-X Brush>Squeegee

Dry Palette Knife
Once again great for blending, but this tool
is also nifty when it comes to creating edges.
A handy technique is to lay in colour with the
Conté, and then work in a zigzag motion with the
Dry Palette Knife. Try it and we’re sure you’ll be
very pleased with the edges you create.

Create painted borders

These are the brushes we mostly used while
creating the painted border, mainly because
we thought they’d give us a good mix of texture
and pigment that we required (the Conté and
Acrylic brushes), blending ability while retaining
this texture (Coarse Oily Blender and Loaded
Palette Knife) and very importantly, being able
to easily create edges (Dry Palette Knife and the
F-X Squeegee Brush). However, these are just our
personal preferences and we’re sure you could
get a similar effect by trying out some of the
natural Bristle brushes and the Artists’ Oils. Let
us now explain our choices in more detail.


Brush selection

Loaded Palette Knife
You may find that the Loaded Palette Knife is
similar to a dry brush technique. If you use it on
a lower Opacity, paint and colour is applied, but
texture and grain is retained.

This brush wasn’t used in the tutorial, but it
deserves a mention because we could easily
have used it. Basically, the Squeegee brush
creates some really hard edges; if you just lay in
a few blobs of paint, this brush will quickly blend
it and create some dynamic hard edges at the
same time.

Online resources
Know more about your subject

Richard Schmid

Morgan Weistling

Jeremy Lipking

Painted borders can accentuate the focal
points of your portrait, such as the face and
the eyes, as in Richard Schmid’s portrait above

Morgan Weistling’s portrait shows that the
effect can also be produced subtly, where the
artist leaves a few brush marks sweeping away
from the subject (

In a landscape painting, something like a house, cottage, or
waterfall, the effect can be much bolder. Like here, in this Jeremy
Lipking landscape, he uses the uneven border as a major part of
the composition (


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Feature focus Using the Scripts command


the Scripts

By creating a script, you can create the
original painting at a low resolution, which
speeds up Painter’s performance. Save the
script, and replay it at a higher resolution to
automatically create a high-resolution version.

Record every stroke you make by
employing Corel Painter’s scripts

First Export,
then edit
When you edit a
script, or choose new
materials to be used
within it, the script is
changed permanently
and all original settings
are lost. With this in
mind, it’s important
to preserve a copy of
the original script. To
do this, choose Open
Script from the palette
menu. Click on your
script in the list and
choose Export. Browse
to the folder where you
want to save the script
and click Save.

f you’re familiar with Photoshop,
you may be aware of Actions, where
every move you make within an
image-editing session is recorded
and can be played back whenever you
want. Scripts in Corel Painter share many
similarities with Photoshop’s Actions, but
are actually even more powerful.
You might not know it, but Corel Painter
actually records every single move you
make, without you even knowing about
it. This fact in itself can be very useful as
if you painted an image and forgot to save
it, you can simply replay the script for that
session and re-create the piece!
Here we’re looking at how you can
instruct Corel Painter to record every
aspect of a painting’s creation, save the
script and then play it back to your heart’s
content. The power of being able to do
this is immediately obvious. First, it’s a
history of exactly how you created an
image, the brush variants, paper textures
and colours you used at any point during
the painting process. Second, by changing
the brushes and materials used within
a script, you can automatically repaint
the entire image using different brushes,
colours and papers.

At the base of the palette are the scripting
control buttons. From left to right they are Stop,
Play, Record, Pause and Next Step. When you
click one of these buttons, they glow brightly
while they are active.

Time-saving scripts

Playing scripts

Increase your workflow

A green glow signals the go-ahead
Scripts are not just about recording brushstrokes;
they can also record commands and effects so you
can make simple scripts which can speed up your
Corel Painter workflow. For instance, you could
create a script for rotating and resizing images, or
perhaps running two or three effects on a number
of images without having to go through the entire
process every time. Simply hit the Record button
and go through the procedure you want to record as
a script. Hit the Stop button when you’re done and
name the script. Now you can run this script on other
images to create the same effect very quickly!

As ever, the Scripts palette is key to this, as
with all script operations. Open the palette
via Window>Show Scripts. Click in the
small script thumbnail at the top-right of
the palette. You’ll see every saved script in
the list that expands. To choose the script
you want to play, simply click on it. Your
chosen script will be loaded. To play the
script, simply click the Play button. While
the script is playing, this button will glow
bright green, and will return to the back at
the end of the script.


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The Scripts palette is control centre for scripting in
Corel Painter. From the small thumbnail at the top,
you can choose a saved script to play. The small
right-pointing arrow indicates the palette menu,
from where you can choose to open and close any
saved scripts.


Script instructions

Feature focus

After choosing Open Script
from the palette menu, you
can see every instruction. From
here you can edit many of the
instructions, or even copy and
paste them into the script.

Changing instructions within a script
One of the major advantages of scripting is that it allows you to
try painting using different brush variants or even paper textures.
Although there seems to be a bewildering set of instructions within
a script, they are logical and you can edit them with ease. To edit a
script, you need to open it via the palette menu, choosing Open Script.

Using the Scripts command


To change which
variants are used for a
particular part of a painting
in a script, locate the Variant
instruction and twirl the small
arrow next to it. To change
the chosen variant category,
double-click its entry. Now
enter the new category here.

02 Exact

Be careful
to enter the name of the
variant category exactly as it
appears in Painter, otherwise
your script will have errors.
When done, click OK. Now
double-click the Brush Variant
instruction, again entering
the name of the new variant
exactly as Painter names it
within the variant picker.

03 Changing

Although there is no way to
slow down the playing speed
of scripts on playback, you
can progress through a script
one instruction at a time by
repeatedly hitting the Single
Step button. You can also
pause a script at any time via
the Pause button.

You can do the same thing
with paper textures within
the script by locating the
Paper Texture instruction and
editing it as before. You can
even edit the colours in the
painting! Expand the Color
instruction and double-click
the entry. In the dialog, enter
the new colour as RGB values.

After clicking in the small thumbnail
within the palette, you’ll see the
Script Selector displayed. This
selector contains all of your saved
or imported scripts and you can
choose one simply by clicking on it.

Opening scripts

Moving scripts

View or edit the instructions

Exporting and importing scripts
When you choose a script to play, the
contents of the script are not displayed
in the palette. In order to see the
instructions within a script, or edit it, you
need to open it. To do this, hit the small
right-pointing arrow at the top of the
Scripts palette and choose Open Script
from the menu. Again, you’ll see a list
of all the saved scripts. To open one of
the scripts, simply choose it from the list
and click Open. The full script will now be
displayed in the Scripts palette

In order to share a script with others, you’ll
need to export it. Exporting a script saves it
in a location of your choice as a simple text
file. To do this, again choose Open Script
from the fly-out palette menu. Within the
dialog, this time click on the name of the
script you want and simply click Export.
You’ll be asked to specify a location for
the script file and give it a new name if you
want. To import a script you’ve downloaded,
simply click the Import button, navigate to
the script on your PC and click Open.


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Feature focus Using the Scripts command


Script set up
Record your progress as you paint
So now you know
all about scripts
and exactly what
they’re for, the
best way to see
the power of these
things is to hit that
Record button and
create a painting,
complete with a
full-blown script
which can be
played back again
and again.

01 Set Script Options

Before you begin work on a painting you want
to build a script for, display the palette via Window>Show Scripts.
So that the script records all of your settings and variant choices, hit the small
right-pointing arrow and choose Script Options. Make sure to check Record
Initial State and click OK.

02 Start recording

03 Paint and record!

04 Stop and name

If you want the script to include the creation of a
new document, make sure to hit the Record button before going to
File>New. Create your document in the usual way, specifying the image’s size
and resolution. Click OK, and you’re now recording and ready to paint.

Once you have the
instructions for a
specific script open
within the Scripts
palette, they will
remain displayed even
if you choose another
script by clicking in
the Script Selector. In
order to display the
contents of another
script, you need to
close the displayed one
by clicking the small
right-pointing arrow in
the Scripts palette and
choose Close Script.

Remember, every move you make from now
and onwards will be recorded in the script, including any undos and
saves. If you’re working on a full-blown painting that is likely to take some
time, make sure to hit the Stop button at convenient intervals so that you
create a number of smaller scripts.

When you hit the Stop button, you’ll be
prompted to name the script you just recorded. It’s important to
give your scripts meaningful names, including sequential numbering if there
will be a number of scripts for a single painting, so you’ll know in which order
they should be played. Hit Record to record the next script session.

Resolution-independent script

Play back at a higher resolution

Recording resolution-independent scripts

Double the size of the image

In order to create a resolution-independent
script, one you can play back later at a higher
resolution, before and during recording
the script, go to Select>All. The rectangular
selection around the canvas will serve as a
reference boundary. Hit Record and then go to
Select>None. Now you can create your painting
in the usual way and create the script. This will
enable the script to be played back at a higher
resolution later. Working on a low-resolution
version to create the original script is a great
way to make Painter run more smoothly.

To play a script back at a higher resolution, it’s important
that you know the original pixel dimensions of your
recorded image. If your low-resolution original version
measures 1000 x 1000 pixels for instance, you need to
create a new document with pixel dimensions of 2000
x 2000 to double the size of the image. Create the new
document before choosing and playing your resolutionindependent script. Make sure that your new canvas has
the same proportions as the original painting, or the
finished image will be distorted. Once you’ve created the
canvas, choose your script but before playing it, go to
Select>All to create the new reference rectangle.


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Once you’ve recorded your script and hit the Stop
button for the final time, click on the Script thumbnail in the topright of the palette and you’ll see your saved script in the list. Save and close
your finished image before attempting to play the saved script.

Another neat aspect to
the Scripts function is
the fact you can export
it as a movie file, ready
for others to watch.
You won’t be able to
see all the commands
and variants change,
but it’s a great way of
seeing how a painting
is built up. Choose a
script and open a new
file the size you want
the movie to be. Choose
Script Options from the
Scripts palette menu.
Enable the Save Frames
on Playback option.
Set how many tenths
of a second you want
between frames – the
lower the number the
smoother the movie.
Click Play on the Scripts
palette and enter a
name. Click Save and
enter a name. Leave
the settings as they
are. Hit Save and your
script will playback.
Go to File>Save As
and select Save as
QuickTime Movie. Set
Compression Type to
Animation and then
hit OK. You now have a
QuickTime movie! You
can see the one for this
image on the disc.

Scripting in action
Open, edit then close your new script

07 Opening your script

Editing any of the instructions within
the list is easy. Hit the small right-pointing arrow and choose Open
Script from the menu. Choose your script from the list within the dialog and
hit Open. The instructions within your script will be displayed within the
Script palette.

08 Editing a script

Now you can scroll through the instructions and
edit any of them simply by twirling the arrow next to the instruction
in question. After making any alterations to the script, you can play it back
with the new instructions. Before you can display the instructions within
another script, hit the arrow and choose Close Script.

Recording and naming

Long scripts, bit by bit

Make your scripts memorable

Split ‘em up to avoid trouble

Every time you hit the Record button in the
Scripts palette, Painter starts to record a new
script. Whilst the Record button glows, Painter
will record every stroke you make of the canvas,
and every command or effect you use. The
end of the script is marked when you hit the
Stop button. At this stage, you’ll be given the
opportunity to enter a name for the recorded
script. It’s important that you give the script
a descriptive name. It’s a good idea to include
the pixel dimensions in the name itself if you’ve
recorded a resolution-independent script.

Using the Scripts command

05 Script chooser

Once you’ve
selected the script you
want, play it back by
simply hitting the Play
button. Then watch
as your painting is
re-created on screen.
You’ll see the Brush
variant change in
the Properties bar,
as the script chooses
precisely the same
variants you did during
the painting process.
You can pause the
script at any time. The
script is finished when
the Play button returns
to its dull state.

Feature focus


Export as a
movie file


If you want to record the developments of a
complicated full-blown painting as a script, it’s a
very good idea to split the scripts into two or three
sections. Long scripts can be huge in size, and very
long scripts are often more troublesome and more
likely to develop errors when played than shorter
ones. To do this, hit the Stop button every now and
then during the progress of a painting, saving a
number of chunks of the painting process as separate
scripts. Give these scripts sequential names, so they
can be played back one after another when you want
to re-create the full painting.


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18/10/07 11:28:13

Tutorial Relax your style

your style
Work with loose brush strokes and pipe
energy into your paintings
Tutorial info

Cheryl Blanchard
Time needed

2 hours
Skill level

On the CD

Starter photo

oosen up, painters! Here’s a
tutorial that will show you how
to paint with loose strokes, and
have some fun while you’re at it.
In a busy world of stark realism and
detail, it’s a welcome contrast to actually
relax and enjoy painting. Building from
the foundation up, this tutorials will show
you how to paint in layers, gradually
focusing the image from beginning to
end. For those of you who are just starting
out, or have yet to pry the mouse from
your hands and replace it with the stylus,
these steps will provide you with a simple
way to create a lively painting.
If you are still mousing along, do
consider buying a tablet and stylus to
make the most of the pressure sensitivity
that’s available to you with Corel Painter.
You can easily paint from barely a tint,
to a hard, bold stroke with pen pressure,
something quite impossible to achieve
with the ordinary mouse.
The main content of this tutorial is
about the process of creating a painting in
this style using layers. We’ll be painting
with Oil Pastels for this project, using
only one simple brush – the Chunky Oil
Pastel. Nothing complicated here!
You can use this method of painting
with any medium, from the Artists’ Oils
to the Pens, and with any subject matter,
from a still life to sweeping landscapes. If
you’ve never painted a portrait, don’t be
discouraged. It’s no different overall than
painting a sunset or a �lower, it just uses
different shapes and colours, arranged in
a different pattern.
We’ll be painting quickly, intuitively,
trying to capture the essence and feeling
of the scene, rather than all the facts
and details. We’ll leave that part to the
viewer, to �ill in the detail with his or her
imagination. A painting is much more
exciting when there is something left to
be discovered.
So take a deep breath, let go of the
details, pick up your stylus or mouse and
let’s get started.


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Relax your style

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Tutorial Relax your style

Free your artistic talent
Go wild on a photo


Set up Open up the starter photo from this issue’s disc. Clone


Block in colour Use the Chunky

the photo to make a quick copy and squeeze it into the upper-left
corner of your screen. The original file takes centre stage. Use the photo as a
reference and palette, with unlimited colour at your disposal. Here’s how we
arranged things.

Focus slowly
Imagine these layers
like the focusing of a
camera lens – the first
layer is out of focus,
the second layer a
bit clearer, the next
sharper, until you
reach the top detail
layers where there is
clarity and focus in
select areas.
It’s important not
to have too much
detail in a loose
painting. Choose your
points of interest and
focus carefully to
create a path for the
viewer’s eyes to travel
along. And be patient;
this won’t look like
much of a painting in
the beginning.

Oil brush at 20 per cent Opacity for
this first layer. Create a new layer that will be
the foundation for the painting. Check Pick Up
Underlying Color so all the colours will mix and
blend as we go along. Don’t worry about lights
and darks at this point. Block in basic shapes of
mid-valued colour as you begin to familiarise
yourself with the scene.

05 Darks and lights

02 Tinting the background

The first thing to do is tint the canvas.
Use the Eyedropper to select a midtone colour from the photo . This
will make up the undertone for the painting. Then go to Effects>Fill and fill the
canvas using the Current Color option. This will help create a cohesive palette
as you paint, with the canvas colour blending into each colour you apply,
adding unity to the painting.

04 Begin to refine

Create a new layer
and change the brush Opacity to
somewhere between 50-80 per cent. This is a
personal preference depending on the pressure
you apply with the stylus. If you are using a mouse
and don’t have pressure sensitivity, set the Opacity
between 30-40 per cent. This will give you some
level of transparency as you build the colours up.
The key here is to start adding some definition to
the painting.

Continuing on the same layer, notice where
the darkest and lightest areas are and paint them with only a few
strokes to accent these areas. Be careful not to concentrate too much dark or
light in one area. Distribute these ranges throughout to create movement in
the painting.

06 Mid layer

On another new layer, follow the smaller, more defining
shapes of the colours with smaller strokes to create volume and
depth. If you can successfully look and reproduce these shapes with a limited
amount of strokes, you’ll keep the spontaneity of this loose technique and add
dimension at the same time.


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Relax your style

08 Sculpt with paint
07 Faces

Add strokes to define the facial features. Again, we are only
at the mid level, so you don’t need to concern yourself with a lot of
detail yet. What shape makes the eye? What colour creates the curve of that
eyebrow? With a few strong brushstrokes, you can easily bring more volume
to the faces.

Follow the planes
of the face as you sculpt the painting
along. If the lower layers need adjusting, use this
layer to make corrections as you paint, taking the
surrounding colour to reshape a nose or chin line.
It’s an on-going process, always adjusting until the
final stroke. Like shaping clay, you are moulding
the painting slowly to the finish.

09 Points of focus

Set up a new layer. Here we begin to add the
final detail to the faces, as points of focus. You won’t need many
strokes, just a few in the right places to accent a plane of the cheek, an eyelid,
or a highlight on a nose. Some very basic strokes will indicate a smile or the
curve of a lip.

Direct the focus within the picture
Highlight and distinguish the points of focus

Let the paint
fly fast

10 Clothes

Use the same technique to
add some detail to the clothing, on a
new layer. Be careful not to create too much
sharpness and contrast, or the viewer’s eyes will
be looking at the clothes before the faces. Again
choose deliberately where you want the viewer’s
attention to be.

11 Background layer

Now, create a new
layer to adjust the background. Soften
some of the edges in the background figure,
reshaping every so often, here and there. There
isn’t much detail in the background and the colour
is washed out; this helps to create a sense of depth
in the painting.

Work quickly; try
not to overanalyse
your strokes. You
can always adjust an
errant stroke later on
if need be. Try to work
from the right side of
the brain, creatively,
intuitively, rather
than thinking about
every stroke. Let the
paint fly, the faster
the better. Try to keep
in mind that you’re
painting the essence,
not the facts.


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Tutorial Relax your style


Final adjustments
Make some personal tweaks to make the creation your own

Approach the canvas
as a whole, especially
in the first few layers.
This will ensure a
pleasant trip around
the scene for the
viewer. If you paint
a small area of the
canvas for too long,
you may end up with
a section that looks
out of place. So move
about and build the
painting as a whole,
not in segments.





12 Fill layer

13 Review

14 Unsharp Mask

15 Levels

One last layer. There are some areas here that have too
much of the ground tint showing through, especially along the lower
edge of the canvas and black sleeve in the centre. Create another layer and
place it underneath the rest of the layers. This enables you to paint behind the
layers without altering all the great brushstrokes that you’ve already created.

When the painting is complete, take it into
Photoshop for some final adjustments. Use Unsharp Mask to sharpen
the pastel strokes. An Amount of 40 and a Radius of four gives a nice crispness
and detail to the brushstrokes without overdoing it.

Here are the essential layers again, side by side for
comparison. Each consecutive layer has less coverage with smaller,
bolder strokes as you paint from the blocking layer to the final detail. We’ve
grouped all the detail and finishing layers together for clarity here.

Adjust the contrast using Levels in Photoshop to create more
depth and clarity. Be careful here; it’s easy to lose all the subtle ranges
in the lightest and darkest areas if you’re not paying close attention.

It’s good to have an
awareness of the twodimensional surface
of your painting, the
shape and direction
of the brushstrokes
and the movement
across the canvas.
Create an interesting
surface of texture and
direction that has an
inherent quality set
apart from the subject
of the painting.

16 Saturation

A small amount of Saturation can add some pizazz to
otherwise dull colour, usually somewhere between five and ten is
sufficient. Or if you want some hot, bright colours, go for it – slide it on up!

17 Afterword

You now have a simple process for creating a loose
painting, sculpting layer by layer, from the vague shapes of colour that
lay the foundation to the details and accents that catch the eye and draw you
in. Now, stay loose when you paint and don’t worry about the outcome too
much. It’s in the process, in the creating where you’ll find the greatest rewards.


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Art study How to paint clouds

How to…

pa in t clouds

A cloud can evoke many reactions. It can be foreboding, it can be fascinating. It can
transform into an object that only you can see, hence they can be very personal. It can
change the whole mood of a painting. Here’s your chance to take control of the skies!

Brushes and value sets
We are going to take you through some
of the different brushes within Corel
Painter that can be used to create realistic

cloud formations. On top of this, we have mood or season you wish to depict, you’ ll be
provided a number of colour sets on the able to portray it to the viewer using one
CD to help you paint your skies. Whatever of our suggested sets of three values.

Moonlit skies

Here is a three-value set that works very well for painting those
clouds that are back lit by a bright moon.

Working with pastels
Wet Soft Acrylic

This picture shows how the Wet Soft Acrylic brush
can be used to create painterly clouds. Painted
with the same brush (and size) using the three
values for sunny skies.

This panel shows four different brushes that really
work well for pastel. The first is the Square Hard,
perfect for details and edges. The second is the
Round Soft, which is good for quickly blocking in
major values. The third takes the Round Soft to
50 per cent Opacity and shows how well suited
it is at that point for building up shapes. The last
shows how the Soft Blender Stump can be used at
this point to blend the values together for quick,
convincing results with minimal effort.

Sunny days

This shows five cloud value groups for different conditions. The
first and last are for midday sunny skies, colour schemes for cooler
weather and an optimistic perfect day respectively. The second can
be used to paint a common grey, overcast sky. The third and fourth
are for painting clouds at sunset, red and orange respectively.

Using oil brushes

The first two columns show the Glazing Round
and the Fine Feathering Oil brushes, with a
one-stroke (firm stroke, out of the box settings)
application on top and three strokes on the
bottom. The next two columns take those same
four patches and smudge them together with
the Smudge tool, using strokes that pull the darks
into the lights. The last two columns use the same
strokes and this time pulls the lights into the darks.
This highlights the latitude you have to work with
on a simple technique for very different results
with the simplest means possible.

Thunder colours
Watercolor brush

The first trio of values is excellent for making thunderheads lit by an
orange sun. The second works well for painting the more typically
lit looming thunderclouds. The third is great for painting the lighter,
more washed-out values of a thunderstorm on the horizon.

The easiest Watercolor brush to handle for
painting clouds is the new simple Water Digital,
used in this picture exclusive of any other brush.


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Use perspective
Art study

Use strokes that
follow contours


How to paint clouds




Thunder clouds
Let’s try to paint a massive
thunderhead, lit by a golden sun,
and maybe capture a bit of the
thrill associated with such a sight.
To get a nice dramatic effect, we
will start with a graded background
that is suggestive of heavy rainladen clouds. We will pick nice
complements to our background,
sticking with highlight, midtone
and dark values only. Our primary
modelling tools will be the versatile
Oil Glazing Round brush paired
with the Smudge tool.

Take the Feathering Oils 30 and loosely paint
in the rough shape of the leading edge, anvilshaped top and bottom of the cloud using the
darkest value. Blend fairly smoothly with the
Smudge tool set to 30. Add a more detailed edge
with the Detail Oil Brush 10, and feather back into
the mass with the Smudge tool.


Use the Oil Glazing
Round 30 loaded with
middle value to paint in
the strokes, beginning
at the edge and pulling
away. Modelling is
easier the more gradual
it is. Use the Smudge
tool to blend into the
darker tone loosely.
Repeat all this, starting
your stroke further back
from the edge.






Take the Glazing Round and, using a circular stroke, create the
diameter of each ‘puff’ you wish to represent. Begin painting in
the lightest value, this time starting a bit further from the edge
of the cloud than the last midtone. Blend with the Smudge tool
and repeat the whole process again, as in the previous step. Try
to leave only two or three areas of highlight, and keep in mind
the shape of the cloud as you model.

Start the next line of contours just behind the first, using the
same method as in the first step. Be careful to be spontaneous
and irregular in your drawing. Repeat the processes in the second
and third steps as well, tying the ends of each line in with the
base and top loosely. Each successive band is then painted in
using the same method. The wicked little cloud in front lends
some sense of scale and a bit of depth.


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Art study How to paint clouds

Use the Glaze brush to lay
down the colour

Cirrus and stratus clouds

The light clouds we will now be looking at are the high-flying cirrus
and the low-hanging stratus, two very common types of clouds with
distinct shapes. Cirrus clouds are very thin and wispy, and a couple
of values and the Glazing brushes combined with a Smudge tool will
represent them nicely. Stratus clouds, on the other hand, can be as
defined as any other cloud in places, so all three values will be needed,
and a bit more attention must be paid to their edges as well.





Smudge the three
values together

Copy the background
onto itself and paint
on the second layer.
Grab a Fine Feathering
Oil 30 loaded with the
middle value. Paint
long thin parallel lines
of uneven thickness.
Then, with an Eraser
sized to 20, erase
around the edges of
the clouds to fine-tune
their shapes.


Go back over the first three or four clouds
with the Glazing Round 30 and add a bit more
highlight in areas that may have flattened during
blending. Take a very large Smudge tool (around
100) and gently blend the furthest clouds into the
canvas a bit. It pays to squint while doing this, as
the effect is easier to judge that way.

After merging down, grab a Glazing Round 20 and some of the darkest value,
and paint the bottom of the clouds using light, long strokes. Then, using the
same brush, paint the lightest value just inside the top edge in skittery strokes
along the length of the first several clouds. Use a Smudge tool with Size set
to 25 to lightly blend all the values together. Stay gestural and loose to keep
things looking natural.


Cirrus clouds often appear in different forms at the same
time. Here we will begin with some very faint clouds in the
background. With a Glazing Round 20 and the middle value,
paint in some sweeping shapes very lightly. Then, with the large
Smudge tool, blend those strokes together with long strokes
that accent the gesture of the clouds. Try and make these clouds
pretty smooth.


Now, with the Glazing Round 30 and a bit more of the second
value, paint in a few bolder wisps. Accent them with touches
of the lightest value in several places that help the gesture.
Then, with the Smudge tool reduced to around 40, blend those
strokes into the background a bit, taking care to retain the
gesture while softening the strokes considerably.


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Art study

Erase and smudge for
fluffy effects

How to paint clouds

Use the dark value for form



Cumulus clouds

These clouds have well-defined
shapes with a bunch of detail, so we
will use a nice assortment of goodies
painting them. We will split time
between the Fine Feathering Oil and
the Glazing Round, with our trusty
Smudge tool as our blender. We
will use the same three values as in
the facing page and rely on technique
to create many more.


Grab the Fine Feathering Oil 30, this time loaded
with the middle value. Staying within the edges
and using curved strokes to suggest form, lay in
the sides of the clouds, bearing in mind to use a
single light source (this time in front and above) to
determine lighting. Use the Smudge tool to blend
the edges between the two values together.


Copy the background onto itself and paint on the second
layer. Using the Glazing Round 20 and the middle value,
draw in the shapes of the clouds. A typical cumulus is flatbottomed, puffy on top and usually separated from one
another a bit. The top clouds are closer and therefore larger,
as well as a bit more spread out. Take the Smudge tool at
44 and loosely blend the clouds into the sky.


Using the Fine Feathering Oils 30 loaded with the darkest value,
paint in about two thirds of the bottom of the clouds. Be gestural,
and don’t bother too much with the edges. Then, using the basic
Eraser set to about a size of 20, establish the edges of the clouds
by erasing to create lively, varied edges. When everything looks
good and harmonious, merge the layer down.


Next we’ll switch to the Glazing Round 30 and an even lighter touch when
using the lightest value, as very little extra is too much. Staying well inside
the edges, add highlights in areas that the light source suggests would be
catching the most light. Use curved directional strokes to help with creating
both gesture and rhythm. Blend the highlights a bit into the rest using the
Smudge tool.


Using the Detail Oil Brush 15 and the middle
value, redraw any upper edges that need it. Use
the Smudge tool with circular strokes to drag the
lighter values into the new edges. Blend them
into the cloud body. Resize the Smudge tool to
20 and pull some wisps from each cloud base.


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Tutorial Create fantasy adventures


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Sam Gilb ey shows you how to…


Create fantasy

Create fantasy adventures

Capture the magic and innocence of an animated
film by using the Airbrush and Acrylic brushes to
create a dazzling illustration
Tutorial info

Sam Gilbey
Time needed

Three hours
Skill level


nspiration can come from any
source and at any time. Maybe a
recent holiday has inspired you
to try a landscape scene, or an old
photo has pushed you into trying your
hand at a traditional portrait. Everyday
we are bombarded by images, sights and
sounds that can be turned into amazing
One of the richest source of inspiration
has to be �ilm, since they contain so
many visual scenes as well as moods
and emotions to form a feast for the
imagination. Animated �ilms are
particularly rich in ideas, especially from
Hayao Miyazaki/Studio Ghibli, such as
Spirited Away, or Kiki’s Delivery Service.
These surreal worlds are bursting with
creative possibilities and have fuelled the
creation of this scene. We’ve taken the
common theme of a young protagonist
travelling with a creature into a different

land. The colours are in keeping with the
feel of the image and although you can’t
see the faces, there’s a sense of friendship
and warmth.
I have taken a sketch as the starting
point here, although you can trace around
a photo or even assemble photos ready for
cloning. The process begins by applying
layers of colour using the Airbrush, which
can be used as the undercoat. For the
detail I turn to Acrylic brushes, as these
give a wonderfully soft feel while still
allowing small elements to be worked on.
To �inish, I will go into Photoshop to
add �ireworks and boost the colours. By
all means stay within the Corel Painter
interface if you prefer – this is just an
example of how I work.
So settle down and see how I created
this animated �ilm-inspired painting.
You’ll �ind lots of tips for creating
interesting illustrations.

Sketchy start
Beginning with the initial idea

01 Sketchy details

I began by opening
up Corel Painter and loading the sketch I
had made. Open the Color Mixer, Tools and Layers
palettes, which are available from the Window
menu. Click on the arrow and create a new layer
at the top-right of the Layers palette. Select the
brush from the top-left of the Tools palette.

02 Choose the right brush

From the
Property bar, you need to choose a
brush category and an individual brush variant.
Select Pens from the first drop-down menu, and
from the second, select the Smooth Ink Pen.
Towards the left of the Property bar, set Size to
two, and Opacity to 100 per cent.


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Tutorial Create fantasy adventures

Creating the outline and colour
Build the base layers on the sketch

03 The first marks

At the bottom-left
of the window is a magnifying glass.
To the right of the slider, change the percentage
to 100 per cent. I clicked on the pair of binoculars
and dragged the red border so that I focused on
the girl. Click away from the red rectangle, and
make your first black outlines around the figure.

Brushing up
Now you have got
this far, you’ll have
discovered a lot of
time can easily be
wasted changing back
and forth between
two or three different
brushes. Luckily,
those kind people
down at Corel have
thought about this,
and have provided
users with the Brush
Tracker. You can
access it from the
Window menu, and it’s
a handy little tool to
keep on your screen.
By using it, you can
change between your
most recent brushes
with ease, and it also
will prevent you from
forgetting the brush
you used the last time
you were in Painter.

04 Completing the outline

When it comes to objects such as
the panda, don’t draw the outline as a single, solid stroke. Instead,
make lots of small marks to give the impression of furry edges. There’s no
need to draw in the individual blades of grass though, as these will be painted
in later. Just follow the basic contour of the terrain to create an initial outline.

06 Under a flat blue sky

Create a new layer and call it ‘sky’. Now
select the brush again and go to Acrylics, and choose the Wet Detail
Brush 5. Set the Resat to over 50 per cent and the Size to 130. With a navy
blue, paint in the sky with one solid colour.


Before you move
on, save the Painter file (RIF format)
to your own machine. Go to the bottom layer,
choose Select>All and delete the sketch from
the layer. This will leave a nice clean digital ink
drawing from which you can start building up
your illustration.

07 Building up the base colours

I created additional new layers
called ‘hills,’ ‘town’ and ‘hill’, and filled those in with base colours.
It’s important that you use midtones for these areas, so that when you add
textures later you can build up the highlights and shadows. Pick a warm
slate grey for the hills, a grey blue for the town, and an earthy green for the
foreground hill.

10 Painting panda fur

Create the grass We want the

foreground hill to become lighter the
closer it gets. Set the Resat to three per cent
and in the Layers palette, make sure the Pick Up
Underlying Color box is ticked. Your brush size
should be 25. Paint downwards out of the dark
green to take the dark paint with you. Paint up
from the white to lighten. Pick colours from the
blend and build up a chunky, soft texture.

05 Making that save

09 Refining the grass

These marks
are too chunky to be blades of grass, so
add more detail. Reduce the brush size to five and
add some midtoned blades towards the back of
the hill. Working forwards, increase the brush size,
and lighten the tone.

Create a
new layer called ‘panda’, and put the
Resaturation back up on the Acrylic brush you
are using. Paint in the flat two tones of his fur. We
want a much richer texture for one of our main
characters, so choose the F-X brush category from
the Property bar and select Furry Brush as the
variant. With the Opacity below 20 per cent and
varying the brush size, colour and tone, give the
Panda a healthy coat of fur.


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On a new layer
called ‘girl’, add basic colouring to the main
character. Set a high Resat level for the black of
the hair and shoes, or else the tone won’t quite
be black. Set the Resat back down to about three
per cent to add some shape to the clothes. Use a
smaller version of the Furry Brush for her rucksack.

12 Bringing the town to life

In the town
layer, use the Acrylic Wet Detail Brush 5
and start to paint in some small yellow and orange
lights, with the brightest ones following a grid
layout. Adjust the Opacity, Size and Resat levels as
you go, to build up a shimmering backdrop. Put
some softer lights within the grid shapes.

13 Extra lights and colours

As well as
the small orange and yellow lights, the
town needs to show a bit more vitality. Add some
red and blue lights too, but then increase the
brush size to around 50, and set the Opacity really
low to add some lighter, broad highlights. This
pushes the town back a little and softens it.

Adding the scenery
Refining details for added realism

14 Add shading to the hills

With the
same brush, select the hills layer and paint
in some broad strokes so that the blue of the town
layer fades into the slate grey of the hills. Select
some darker tones to give the hills more definition,
and then some smaller, lighter tones towards the
top of the hills.

17 Bring the flower to life

15 Adding clouds to the sky

Return to
the sky layer, and using the Wet Detail
brush, add some heavy clouds. Use a light blue
for a break in the clouds, and use a large brush to
mark out the changes in tone. Gradually make the
brush smaller, smudging the tones to build subtle,
soft detail.

We will now work above the ink outline
layer. Create a new layer at the top, and call it ‘flower’. Set the Size
to ten, and bring shape and various tonal styles to the petals. Make the Soft
Airbrush 30 a Size 2.5 and with a dark grey, give the flower some crisp edges.

In this tutorial we’ve
been able to use a few
of the brushes that are
supplied with Painter,
and make some
simple adjustments
with the options on
the Property bar. But
sometimes you will
require something
different, and that’s
where the Brush
Creator comes in. Go
to Window>Brush
Creator to reveal it.
There are so many
options here that
it can be a little
overwhelming at first,
but it’s worth getting
to grips with. As well
as being able to adjust
the Size, Grain, and
Opacity of the brush,
the Randomizer and
Transposer options
are useful. The
Randomizer creates
random alternatives
of the current brush,
you control how
extreme you want
it to change. The
Transposer combines
the properties of
two brushes.

Create fantasy adventures

11 A colourful character


in Painter

16 The flowers on the hill

Add a new
layer beneath the ink outline called
‘flower’. Using a pastel grey/purple, paint in
the main flower on the left-hand side of the
foreground, but also add several specks of colour
over the rest of the grass. Vary the brightness of
the marks as you go.

18 Add some highlights to the panda

On a new panda layer
above the ink outlines, use the Furry Brush you used previously to
cover the ink outlines. Then with the Soft Airbrush set to a low Opacity, paint
some blue highlights to the left-hand side of the panda. Then use the Acrylic
brush with a low Resaturation to add a furry edge to these highlights. Do the
same for the other side, this time with pale oranges.


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Tutorial Create fantasy adventures

Creating striking detail
Bringing prominence to the picture

19 Shade the girl

Use the Acrylic brush
to add some shadows and highlights to
the flesh and clothing of the girl, and blend them
into each other as you go along. Next, select the
Soft Airbrush and make the outlines sharper. Then
simply add highlights to the right-hand edge of the
pleats in the skirt.

in Painter
A lot of the
satisfaction you will
get from Painter
comes from the way
that it really does
mimic traditional
media very well
– without all the mess,
of course. A great
example of this is
the Mixer. As you’ll
find, it works just like
an artist’s palette.
You can paint some
different colours onto
the mini canvas, which
doubles up as a little
practice/test area,
and use the Palette
Knife to smudge them
together to find the
perfect tone.


20 Shade the hair and rucksack

We don’t want the hair to
look flat, so apply the Acrylic brush we’ve been using. Set its Size to
around five and use it to add various brown tones to the hair and make it nice
and shiny. To match the lighting on the panda, add pale blue highlights to the
left-hand side, and a pale orange one to the right. Use the same techniques
you used on the big panda, but with smaller brushes, to add highlights to the
panda rucksack.

Chalk up the hills Create a new layer above the flower and panda

highlight layers and paint grass strokes to overlay these elements. For
the hills, select Pastels>Artist Pastel Chalk as the brush variant. With Opacity
below 20 per cent, use various sizes to add marks to the hills and streetlights.

21 Grass, lots of grass

At this stage
I created a new layer called ‘grass’
immediately above the ink outline layer. Using
the same method as before, add dozens of new
blades of grass. Vary the tones, and increase the
size of the brush and length of the blades the
closer you get to the foreground.

23 Additional outlines

While our original black outlines were a little
harsh and we don’t need outlines everywhere, our main characters
do need a little more definition. Use a thin Soft Airbrush to add extra black
outlines. For the panda, again use short, tight strokes to represent the fur,
rather than continuous lines.

25 Adjusting
the colours
24 From Painter to Photoshop

Zoom out of your image if you have
not already and take a look at the whole piece.
Now is the time to make any improvements or
add any additional details (like eyes on the panda
backpack) using the techniques we’ve used so
far. When you’re ready, make a final save of your
Painter file. Then go to Save>Save As and save
your piece as a PSD file. Make sure that Color
Space is set to RGB.

Boot up Photoshop
and open the new
PSD file you have just
created with your
layers intact. Select
the main flower layer
above the ink outline
(the one with all the
details) and go to
Replace Color. Select
the main midtone
purple of the flower
and increase the Hue
by around 50 with
the Fuzziness value at
around 120.


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Create a
new layer named
‘fireworks’. Select the
Brush tool and a softedged tip of about 20
pixels from the default
brush set. Open the
Brushes tab to the topright of the Options
palette, and turn on
Scattering. Drag the
scattering slider to
approximately 300
per cent. Check the
Dual Brush box and
select the brush with a
diameter of nine. This
masks the scattering
within a smaller brush.

Create fantasy adventures

With the sky
layer selected, go
to Layer>Layer
Overlay. Set the Blend
Mode to Color and
with the angle at
90 degrees, apply a
gradient that fades
from white at the
top (which in this
blending mode fades
to black effectively)
into a pastel pink.
This provides a much
better contrast with
the main characters.



27 Fireworks

A change
to the sky

Fireworks display
This panda’s one animal that doesn’t go berserk at fireworks!

28 Lights in the sky

Use your new
brush to paint the arcs of a firework
spreading out from a central point. Go to
Layer>Layer Styles and apply an Outer Glow to
the layer. The Blend mode should be set to Screen,
the Opacity should be 100 per cent, the Spread
should be two per cent and the Size around 20px.
Go to Filter>Blur>Radial Blur and apply to the
firework, ensuring the Blur centre is as close to the
centre of the firework as possible.


Smudging the sparks Select the

Smudge tool. Set the Strength to 100 per
cent and the Size to 12. With a soft-edged brush,
drag the sparks out to enhance the explosive
effect. Create a new layer beneath and using
a white Scattering brush without a Dual Brush
effect, add extra particles at the firework’s centre.

29 Round firework

With the same
Sparkly brush, select a red colour this
time. Start painting a firework with a more
circular shape and with smaller sparks that
radiate out from the centre. Because the brush
scattering misses out different areas with each
stroke, you’ll need to build the shape up with
overlapping strokes.

32 Mini fireworks

With a smaller version
of the Scattering Dual brush you’ve been
using, create a new layer for some small white
fireworks. Make these ones more like sparklers,
with short sparks radiating out from their centres.
As before, add an Outer Glow to the layer, this
time with a bright yellow. Create four or five of
these across the sky.

30 A radial gradient

Go to Layer>Layer Style and apply a Gradient
Overlay to the new firework. Set the Style to Radial so that you can
set the centre of the firework to white, and the outer edges to red. You’ll also
need to apply an Outer Glow in a red or pink tone.

33 The final finishing points

There’s not really a limit to the
amount or type of fireworks you can add, so continue filling the sky
with your own creations. You’ll get a great effect by duplicating the firework
layers you create, and slightly rotating them a few times. This really increases
the brightness and therefore the overall effect. Also use a layer with an Outer
Glow style to add some extra bright lights in the town.


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Gothic Girl
Digital artist

Anne’s work has often caught our eye on the
magazine website, and this image is our favourite. Her
use of colours and texture is perfect and the smooth
skin is sublime. See more of Anne in a future issue, as
she will be writing us a tutorial!

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Drawing 101 A guide to mark-making

A guide to…

For perfect pictures, you need to pick the right marks for the job.
Read on for a guide to what works well when drawing a great sketch




morguefi. le

esigners and artists are
constantly being challenged
to become more sophisticated
and creative in their approach
to grabbing people’s attention, and it is
the way they use their tools, be it a pen,
brush or computer to create marks on
paper, that ensure their survival in this
high-speed world. The transference of
information and the viewer’s ability to
interpret that information are the two
key factors that make all types of art
and design successful. But they are on a
winner above writers; if a picture paints a
thousand words, that’s a three-page essay
read in an instant, and if you’ll pardon

the pun, mark-making is the best way to
make your mark.
The suitability and readability of the
marks need to be completely appropriate
to get the message across. These pages
set out to enhance your understanding
and your awareness of the power of
your mark-making, and how it will make
others respond. We are going to expand
our own visual dictionary of marks we
can use to describe our subject. We are
going to think about marks in terms of
words; how can we �ill the image with
information and details that the viewer
will ‘read’ and understand clearly? This
takes a lot of empathy and observation

on our part, choosing the right words for
an answer is just as hard as choosing the
right marks for an image.
But this isn’t as esoteric as it might
sound. There are tried and tested
methods for which marks convey what
effect –some are good for shadow, for
example, or there’s the perfect mark for
fur. Using the correct marks for the job
will give your drawings that stamp of
authenticity. We’re looking at the major
ones here, along with what they are
suitable for.
The reference photos we’ve used come
from MorgueFile (www.morgue�ile.
com), but you can practise on anything.


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Drawing 101

Your mark options
The best marks for the job



Cross-hatching is the fail-safe mark within markmaking; it covers all evils, flaws and errors. You can
count on it when you aren’t quite sure what mark to
use. It can be very effective for furry or fluffy objects.

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




Parallel-hatching is really a response from you as you
react to the object in front of you. Look carefully at
the surface; do the grains or hairs or cells all go in one
particular way? We used it effectively for describing
the grain in wood; da Vinci used it to suggest the sky
in about two seconds flat.

You can use dots to describe shadows as they
graduate away in the same way as cross-hatching.
The emphasis is not so much on pressure and
meaning, but size, tool and repetition. A sharp pencil
creates a tiny delicate dot; oil pastel creates a stodgy,
meaty one.

Smooth shading… everyone’s mark-making nemesis!
The temptation to scribble can be overwhelming. Our
tip to create smooth shading and avoid stripes at all
costs is to use a B lead on its side. Shade with an even
pressure, in circles, to avoid stripes. This is very good
for metal or shiny, smooth objects with a flat texture.



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.

Casual strokes are the marks used to describe, in the
simplest terms, the maximum information as fast as
possible. Van Gogh casually marked out the clouds in
his drawings. It’s perfect for working drawings and
thumbnail sketches from imagination or reality.

A guide to mark-making

All marks are dependant on pressure
(how hard you press it into the page),
softness (what H or B the lead of your
pencil is) and expression (what is the
meaning of the mark? Is it a light crosshatch to suggest a light shadow on a face,
or is it a harsh, brash, speedily drawn
cross-hatch that suggests movement,
speed or darkness?). These will vary
drastically as you might want to portray
anything from smoothness, wetness
or �luf�iness. While a lot is left to what
mood you want to convey, there are some
tried and tested marks that always work
wonders. Here are the best:

Circular strokes are best employed for watery or
moving objects, or if the object itself is circular in
nature; curly hair or wool for example. They can
convey three dimensions quite beautifully too. If you
are looking at a posture or a pot, a spiral description
can be very effective.


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Drawing 101 A guide to mark-making

Contour strokes

MorgueFile ref. no.

Notice that the swirls are contours like you would find in a tree trunk,
concentric circles that follow the form of the shape of each block
hen you watch water sparkle
and move continually, the big
abstract shapes and blocks
of colour that undulate harmoniously
together merge with soft and hard lines.
We chose to use curvaceous contour

lines that de�ine those emergent shapes with
de�inition. This is not a �luffy texture, it needs
structure, which is odd for something so
formless. Shading these shapes accurately
and observing their jigsaw-piece snugness
are your keys to success.





First of all you need to break down the picture space loosely,
but with care, sweeping light H pencil lines across the paper
to represent the major sections of the image. Consider areas
of light or chunks of dark.

Continue to use your H pencil to lay out the outlines of the
main shapes that the water makes. As this is a light layer,
it gives you a great amount of room to manoeuvre, the
flexibility to make mistakes and to estimate how the final
image will play out.



Use the depth of a B pencil to add some tonal variations. Keep
in mind the areas at the back which are going to demand more
darkness and the front areas which need a lighter swirling
description. Use a 4B or 5B pencil for the real depths of
darkness and an HB will do for the swirls in the foreground.

Tonal rendering

MorgueFile ref. no.

Use your magical powers of observation to really look at how the
highlights create form and the shadows create depth
mooth, �lat, almost textureless
objects such as those made of metal
can often be the most demanding
in terms of precision and control. Because
the surface is �lawless and smooth, all
scribbles and any out-of-place marks are

to be avoided at all costs. The perfect marks
can be made with either tonal rendering
or a graduated shading. By following the
technique below, you can simulate the subtle
variations of the shadows as they merge
and overlap.



This image is basically a composition of circles along a series
of lines; map this out with gestural lines and shapes in an H
pencil. Go over it carefully to confirm where and what size
each circle is, and ensure that all they all relate accurately.



Now you are ready to plot the areas of the greatest or least
area of tone. Pay real attention and familiarise yourself with
all the lights and shadows. Scribble in a layer of expressive
directional-hatching to identify them.


Now gird up your loins to get down to the nitty-gritty. Apply
the correct amount of pressure and choose the appropriate
weight of lead to create the shadow you want. A blunt edge
and the side of your pencil will create smooth shadows.


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Directional shading

MorgueFile ref. no

Drawing 101

Nature produces some of the most beautiful patterns in the world, so
grab your pencil and draw them
pressure to modulate these in order to
express and describe the shape and shadows
that the grains and cracks create. Careful
observation and analysis of the texture is
equal in importance to really nail down the
image accurately.





Break up the blank paper with a brisk and expressive
drawing of the main players of your piece. Use an H pencil to
freely describe how the pattern flows across the page.

Build up layers of pattern and swirling shapes and add detail
where necessary. Correct and tweak with care and accuracy
the spatial relationships between the curves and curls in
the grain.

A guide to mark-making

he grainy molecular nature of
wood is perfect for exploring
marks made in speci�ic directions.
The layers and rings and whorls in the
wood form repetitive patterns in clear
directions. Vary your pencil and the



On this H pencil skeleton, build up the flesh of your image with
short, stubby lines that follow the flow of the grain. Work out
how they flow together and use a pencil with more depth (4B)
to accentuate the cracks and directions the grain takes. This
will add substance and excitement to your finished image.


MorgueFile ref. no.42215

Go to town with your pencil and marvel in the glory of folds, and the
fantastic tonal variation that they provide
he most fun and satisfying things
to draw in our opinion are folds.
Folds in anything; clothes, skin,
paper. The method is almost exactly the
same for each. We generally use crosshatching, just because it does the job

perfectly well, though you can use curvy lines
or contour lines to create a certain effect, or
even straight lines to contrast with the �low
of the line. But for observational purposes
and serious drawing, cross-hatching works
like a charm.



Sketch in lightly with an H pencil the main outlines of
folds, creases and curves of importance; be gestural and
expressive to ensure you get a feel for the movement of the
fabric. Then briefly and lightly fill in the areas of shadow so
you have a foundation to work on.



Now you can really get to grips with a carefully considered
layer of light H pencil that you can thoroughly cross-hatch.
First follow the curve of the fold with one direction of crosshatching, and then give it a second layer heading in the
opposite direction.



Finally, and most rewarding, use a 2B pencil to define the
shadows and highlights quite beautifully. You are definitely
allowed to scribble and build up additional layers in the
depths of shadows, but do vary the pressure and speed at
which you cross-hatch so you create delicate hatching too.


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Red Dragon Chase
Concept art designer
Kujawa’s work is a joy to look at, with lovely brush
work and dark, brooding colours. His characters
and scenes are perfect for inspiring any fantasy
artists, while painters can enjoy the technique and
application of his strokes.

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questions answered

Your experts
Cat Bounds

Cat is a much-loved
member of our magazine
website and she’s been
kind enough to share her
vast knowledge of art
techniques and how to
achieve them in Painter

Chris Price

Chris Price is an artist
with specialities in digital
fine and commercial art.
Through his company,
Studio|chris, he shares
his knowledge of digitally
created art online

What you’ll find in this section

Don’t get bogged
down in a Corel Painter black hole –
write to us and we’ll 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


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


Send in your questions
for our experts to answer

Brush Tracking
I want to get the best from my
brush work and wondered how the
Brush Tracking palette works?
D���� M�F�����
It helps to set up Brush Tracking before
beginning any painting, especially
watercolours, because it increases
the expressiveness in your brushes, resulting
in smoother strokes. Painter interprets the
input of the stylus, relating to pressure and
how quickly we make brushstrokes. From the
Preferences menu, choose Brush Tracking
and make a representative brushstroke on the
scratch pad. Notice the changing positions
of the four sliders. If you’re planning to
incorporate both light and heavy pressure, and
to paint quick and fast brushstrokes, make one
brushstroke in the window that includes all
of these factors, then click OK. Any time your
brush isn’t behaving as you would like it to, you
might want to go back to Brush Tracking and
experiment with the speed and pressure of
your strokes.

Project mayhem
The brushes in my Painter Brushes
folder are all in alphabetical order,
but inside Painter, when I open the
Brush Category, they’re all jumbled. How
can I put them in order there as well?
B�� B�����
It’s a very good idea to arrange
your brush categories in an order
that works best for you. This is the
same as if you were painting in traditional

In this painting, to get
soft, flowing strokes, we
opened the Brush Tracker
and made a heavy stroke
on the scratch pad. This,
combined with Brush
Control settings, resulted
in us being able to lay
down very transparent
watercolour layers.

You may also want to hide
some categories that you
rarely use by de-selecting
the eye icon. This will
shorten the list of brushes
when you view them in
Painter, but they’re readily
available for when you
need them.


074-079_OPM_10_artclass.indd 74

18/10/07 18:18:14

First port of call
K�� W��

Art class

It usually works best to paint the
background first because you can
begin layering brushstrokes and
colours with greater freedom, keeping in
mind where your foreground image will
be. If you’re cloning an image, painting

the background first will also help in
simplifying the elements of your painting
because you can choose which ones
to recover as you paint. Occasionally,
however, you may paint the image first
when doing a watercolour if you plan
to paint the background around the
foreground image, but do this on
multiple empty layers so that you can
keep the paint transparent and tweak the
layers, trying out various Blending modes
and Opacities.


Which is better, to begin
painting the background �irst
or the main image?

media, where you would have your brushes
in familiar order and close at hand. To do
this, go to Window>Workspace>Customize
Workspace, and in the list of media in the left
window, choose the brush library in which
you wish to rearrange the categories by
clicking the plus sign. Your brush categories
will appear in the right window, and now
you can click-and-drag the brush category
names up or down the list, one at a time.
When finished, click the Done button to close
Customize Workspace; your brushes will now
load in the new order you’ve chosen.

Dynamic Plug-ins
Can you recommend any good
creative options in the Dynamic
Plug-ins menu?

a jungle
01 It’sin there

If we begin
with an original photo that
has cluttered elements like the
leaves of these irises, we don’t
have to choose at this point
which ones we want to use,
but the size, crop, lighting and
composition are important
considerations now. (Photo by
photographer Dave Finley.)

J���� P������
The Dynamic Plug-ins menu of the
Layers palette is full of creative and
very useful live plug-ins for Painter.
Along with fully non-destructive Brightness
and Contrast, Equalizing, Burn, and Posterize
effects for live colour adjustment, there are
some fun effects like Liquid Metal, Liquid Lens,
Image Slicer for web layouts, and the everinteresting Kaleidoscope effect.
Dynamic Plug-in layers work like any other
layer in Painter. To add a new Dynamic Plug-in
layer, click the Plug icon in the Layers palette
and choose your new layer type. After filling in
your preliminary settings, a new layer is created
and you can instantly see the layer at work on
your painting or drawing. Your preliminary
settings may be changed at any point without
affecting any structure to your main painting
by double-clicking on the layer in the Layers
palette. Here’s an example of the Kaleidoscope
Dynamic Plug-in.

The Kaleidoscope Dynamic
Plug-in slices your canvas
into eight triangular
sections and mirrors the
top-left triangle to each of
the other triangles. This
creates a kaleidoscopic
effect that can be used
on photos, or for a bit of
fun, can create beautiful
symmetrical patterns and
motifs as art itself or for
use in other paintings

02 Setting the stage

We’ve used several layers
of colour and loose brushstrokes,
arranging them around the centre
since that is to be the focus of this
painting. At this point, you may
also want to determine your light
source and paint in lighter or darker
background areas accordingly.

Splashes of
and green

Once the image
begins to appear, there are
new decisions to be made
about those ‘lost and found’
edges, new colours to be
introduced, highlights, and
the movement, direction and
depth in our brushstrokes.


074-079_OPM_10_artclass.indd 75

18/10/07 18:19:19

Q&A Art class

Don’t work against the grain
Any advice for painting wood texture? I saw a
traditional artist paint on wood and would like to
try the same effect.
N��� G��������
A realistic wood texture can be made quickly and simply
with a little ingenuity. Most woods have the same
underlying structure, so this technique is versatile and
should be able to reproduce any type of wood needed with a few
tweaks in the colours, level of detail and texture.

01 Underlying

Start by filling your
canvas with a warm
peach. Use the Pepper
Spray brush from the
Airbrushes category at
a large size to fill your
canvas with a darker
noise pattern. Then use
Motion Blur in the angle
of your final desired
wood grain to transform
your noise into streaks.


Here is a composite of some Woodcut effects that can be created. This is part of a stone column, but the effects works
well on many subjects. Traditional woodcuts are often simplified but may also be very detailed

Woodcutter work
How do I get a good image with the
Woodcut effect? Enlighten me!
T�� B������


On a new layer set to
the Multiply composite
method, create your
noise pattern again.
Apply Motion Blur
now with a slightly
different angle to add
depth to your wood
grain. Create a new
layer, this time set to
the Overlay composite
method and repeat.

on the
final dimension

the darker swirls created
by the tree’s rings,
choose Art Pen>Tapered
Gouache. On a new
layer, set to Multiply
again and paint your
swirls in the general
direction of your wood
grain. Adjust your layer’s
Opacity and apply the
Soften effect to set the
rings into the texture.

The Woodcut effect is useful for
creating woodcut or linoleum block
prints of photographs. You can save
preset Woodcut effects to apply to other
photographs or paintings by clicking Save
in the Woodcut dialog box and specifying a
preset name in the Save Preset dialog box. We
like to create several layers of duplicate images
and apply different Woodcut images to each
of them. Then we can combine using Blending
modes or discard layers that don’t work for us.
Output Black uses the black part of the effect
in the final image. Disable this checkbox if you
want to use colour only in the final image. By
experimenting with the sliders, you achieve
subtle or dramatic effects, retain the colours in
the image, go black-and-white or incorporate
a new colour set. The best images to begin
with are those with defined areas of highlight
and shadow.

With the variety of Blenders available
in Corel Painter, it can sometimes be a
difficult task to find a specific Blender
that matches your painting style. There really
is not one specific Blender that can match all
styles of painting. Luckily, Corel’s developers
have made it very easy to transform any brush
into a Blender! This is especially useful when
painting with an obscure brush and you
just have to blend something and want to
maintain the style of your painting.
For oily, smeary brushes that use the Drip or
Plug-in Liquid brush methods or to apply paint
(Window>Brush Controls>General>Method
and Subcategory), simply change your Opacity
or Strength setting to 0 per cent. The brush
will no longer apply new colour. For those
brushes with a Grain setting, the Grain may
also be lowered to aid in blending. This is
especially useful for the Sargent brush from
the Artists brush category.

Blender mind-bender
Are any of the Blenders good for
all-purpose use or are they speci�ic
to certain brushes?
N��� G��������


074-079_OPM_10_artclass.indd 76

18/10/07 18:20:22

Feeling edgy

That’s a good question and one that
doesn’t have an answer that’s carved in

01 Going over the edge

You can
see that the brushstrokes in this oil
painting go right up to the edge. We often
add a border before we begin to paint so
that we will have that extra room to crop
when it’s finished, and the brushstrokes flow
smoothly to the edges.

is applied. The edges may be taped, resulting in
sharp, clean edges, or the artist may paint soft,
drippy, splashy edges. Mostly it’s a matter of choice
or the artist’s own style. How the painting will be
framed may also figure into your choice of edges.
In a painting whose image contains a good deal of
unnecessary information around the edges, you may
decide to paint it anyway because your frame or mat
will cover it, and this gives you more leeway at the
end to decide just how much cropping to do.

Art class

S������ E����

stone. We usually see oils and acrylics painted to
the edge of the canvas or to the edge that will be
wrapped around the stretcher bars. Chalks, pastels
and coloured pencils may also end at the edges of
the rough sheet of paper, or they may be vignetted
to a soft and painterly edge within those borders,
and the same holds true for watercolours. Often
the watercolour paper will be soaked in clear water
and stretched over a wooden frame to dry in order
to keep it from buckling when watercolour paint


I’m having dif�iculty in deciding how
to �inish the edges of my paintings.
Are there differences in how the edges
of a watercolour, oil painting, or chalk/pastel
would be �inished?

02 Painterly boundaries

watercolour edge where the paint drips
and runs transparently and irregularly onto the
white paper can be a beautiful element of the
painting. This technique requires a light touch and
some time to master in traditional as well as digital

03 A finishing touch

A neutral mat can draw attention to
a creatively uneven edge as in this pastel painting on blue
sandpaper, and it’s simply a matter of deciding where to stop the image
and finishing out with soft, wispy strokes.

Don’t glaze over…
I’m new to Painter, and I was
wondering if you could tell me how
the Glazing brushes work?
L���� T��������

To achieve the same
effect for brushes set to
the Cover method, which
is set for most of the
default brushes included
with Corel Painter, simply
lower your Resat setting
to 0 per cent to suppress
colour application, and
change your Bleed setting
somewhere in the range of
50-100 per cent. This will
cause colours to blend and
bleed together smoothly,
no matter your brush. Just
as with the Drip method
brushes, lowering the
Grain and Opacity settings
can lead to an easier, more
controlled blending action.

The Glazing brushes, found within the
Acrylics brush category, work similarly
to Painter’s Watercolor brushes, but
without the restriction of having to be used
on a watercolour layer. They add a transparent
layer of colour, known in traditional painting as
a glaze, to your image wherever applied. They
may be applied on either a layer or directly onto
the canvas layer. When on the canvas layer,
these brushes do not affect the paint below
them, and that means that they do not smudge
the structure of the paint below at all. The only
effect that occurs is a colour shift. As ever, you
lose nothing from painting in digital art, this
method is reminiscent of traditional art as a
wet layer would not mix when applied onto an
already-dry layer in traditional painting. They
are quite useful when only a small amount of
colour is needed.


074-079_OPM_10_artclass.indd 77

18/10/07 18:21:42

Q&A Art class

Advice set in black and white
I know you don’t see many black-andwhite paintings about, but are there any
tricks to painting in black and white?
R����� S�����
Working with black and white teaches us to
control the value structure of our paintings,
balance blacks, whites and greys and
master tonality and contrast, making our paintings

wonderfully readable. Many artists make preliminary
sketches in black and white to serve as maps for
shadows and highlights before they proceed to
paint the image with colour, but a finished blackand-white painting can be very powerful, partially
due to our associations with white as the essence
of light, goodness, innocence, purity and all things
positive while we often equate pure black with
mystery, evil, death, formality, the unknown and

grief. We need to create shades of grey to bridge the
gulf between black and white, and this is easily done
in the Color and Mixing palettes in Painter. You will
find a colour set in your Support Files>Color Sets
folder called Grayscale Colors that’s also very useful.
Though we’re told black and white are not true
colours, they are considered neutral, achromatic, or
possibly the most striking of complementary colour
schemes available to an artist.

01 Gathering light and shadow

is a relatively easy colour set to create
as we select a colour on the Saturation/Value
Triangle by dragging the circle between black on
one end and white on the other and playing with
them in the Mixer palette, saving them as we go.

02 A closer look

From a distance, this
painting of a pair of old shoes
reads primarily as black-andwhite, but in detail we can
distinguish quite a wide range
of greys that bridge the gap
and softens the look of it.

light on
03 New
old shoes

end result is one that will
be noticed hanging on the
wall. Our eyes are used to
seeing images described
with colour. When colour
is absent, the part of our
brain that discerns shapes
becomes interested.


074-079_OPM_10_artclass.indd 78

18/10/07 18:22:39

How does the Pen tool work in Painter? I’m
�inding it one of the trickiest tools to master.
A��� N�������

R������ H���

General Brush Control
I’m a bit confused about the options
available in the General Brush Control
palette – which are the most useful?
S����� D����
The most useful Brush Control options
vary with each artist, but it’s helpful to
have these palettes showing in your
workspace for ease in changing settings on the
fly, and in time you’ll have developed preferences
and favourite options. However, here are a few of
our personal favourites.
Even though there is an Impasto brush
category, many of the others can be given
impasto depth by changing the setting in the

Art class

The Pen that keeps on rollin’…

What’s a good way of producing a
vignette frame on an image? I really
think it will �inish the piece perfectly.

There are several ways to create a
vignette around an image in Painter.
We chose this 1,700 x 1,300-pixel
image of four-year-old Ian taking off his boots
as an example. First, go to the toolbox, choose
the Oval Selection tool and drag to make your
selection. You can reposition and adjust the
size in the next step. Now choose the Selection
Adjuster tool in the toolbox to move the selection
or pull on one of the corner handles. In order to
fade the edge gradually, go to Select>Feather
and type in a number. We used 50 for this one;
you may want to experiment. Next reverse your
selection by choosing Select>Invert; now choose
Edit>Clear to delete the background, leaving a
soft transition into the white border. A vignette
draws attention to an image and gives it a feeling
of timelessness.


Vignette fretting

The Pen tool creates vector shapes using Bézier curves
and lines with control points and control handles. Tricky
it may be, but it is also a vital tool to many illustrators.
One good use of the Pen tool is to create inked lines from a
sketch to create cell-style shading for animated characters.


Start by
opening a scanned
drawing or creating
a quick sketch to
guide your Pen tool
experience. The sketch
does not need to be
clean or refined; that is
what the Pen tool is for!

This photo was taken off-centre, with Ian at the edge,
so we began by cloning in some leaves and grass to fill
it out and leave room for our selection. Afterwards, we
cropped to centre it again

Impasto Brush Control palette where you can
paint with Color Only, Depth Only, or Depth
And Color.
One of the most interesting palettes is
Color Expression, and we often switch to
Direction in order to give our brushes the
ability to paint in two colours, depending on
the direction of the stroke.
Whenever a brush is behaving badly, the
first place to check is in the Spacing palette.
By making slight changes in the sliders here,
we can create a lot of brush variants.

02 Outlines

Start with
a circular area. Clickand-drag your mouse
to the left from the top
of your circular object.
Move to the opposite
side and click-and-drag
once more to the left.
Select your original
control point and drag
to the right. Keep
going until you’ve
outlined your sketch.

ne and
03 Refi

Brushes are the life force of Painter; the better we
understand its intricacies, the better digital artists we
become. Try variations in the Brush Control palette
– there’s always the Restore Default Variant option

To refine
your shapes, the Shape
Selection tool may be
used to move control
points and handles until
you’re happy. Fill your
Pen-drawn shapes with
colour as you would any
other shape. To colour
your shapes, doubleclick the Shape layer
created with your shape,
check the Fill checkbox
and choose a colour.


074-079_OPM_10_artclass.indd 79

18/10/07 18:23:32

Using the
Wacom’s Ba

Discover some of the best products
out there to extend and improve
your Corel Painter experience

The creative products on test this issue…

Wacom Bamboo
fun tablet
Its small size yet full feature-set
could make this the perfect entrylevel tablet. We see whether it’s
all it promises to be

olympus [mju:] 820

Book reviews


It’s waterproof, has a 5x optical
zoom and boasts 8MP, all in a
compact and sturdy case. We
took it for a test drive to see how
it performed in the field

We settled down and read
through the latest offerings
of creative titles that promise
information and inspiration
beyond your wildest dreams!

We took a look at the Memories
On Linen company, which offers
professional printing options at
a very affordable price. See what
products they offer


Fun tablet wa boo
s taken
for a spin to tu
autumnal pho rn this
to in
chalky paintin to a


081_OPM_10_reviews.indd 81

19/10/07 12:55:46

Reviews Wacom Bamboo Fun

Wacom Bamboo Fun
FROM £69.99 | Wacom adds another reason for you to be cheerful when
creating great digital art, with its stylish new graphics tablet
Touch Ring

f you’re doing anything creative for any
length of time on your computer, you
really should think about getting a
graphics tablet. Armed with a digital
pen, not only can you make more subtle
artistic marks but also ease the wear and
tear associated with repetitive tasks such as
dragging a mouse across your desktop.
Although other tablets are available, Wacom
has established itself as an industry leader with
an award-winning selection for all budgets and
size requirements. However, Wacom continues
to re�ine and diversify its range of pen tablets
and interactive displays. The Bamboo tablet
range launched this year aims to attract those
not yet seduced by the thought of some mousefree action. New styling, colours and functions
such as the ability to unlock pen-based
features, including handwriting recognition in
Microsoft’s Word and Apple’s Ink, makes each
an attractive proposition.
The Bamboo Fun is a bit of a misdemeanour
as all Wacom tablets are essentially fun, even
to the novice user. So reassuringly intuitive,
the learning curve is as �lat and smooth as
the tablet itself. Install the software and plug
in the USB-powered tablet and you are away.
Creative applications, typically photo-editing
software, really come to life when you can
manipulate your images with such controlled
precision. Draw a line and you can determine its
length and stroke with added �inesse, giving a
subtle tone to even the broadest of strokes. The
pressure-sensitive pen bene�its from 512 levels
of sensitivity. Nicely weighted and ergonomic,
it’s a pleasure to use, especially for any length
of time. Although you should still take regular
computer breaks, the scourge of repetitivestrain injury should be signi�icantly eased.
Two separate pen buttons, one of which can


All white
Designed to give everything you
do on your computer a more
personal touch, the new Bamboo
Fun comes all in white, giving
the tablet, pen and stand an
attractive, contemporary look

be con�igured as required, are a bonus while a
digital eraser, available at a �lick of the wrist,
sits at the other end of your pen.
A new redesign in a contemporary, iPodlike white adds style to an already attractive
design. Wacom tablets weren’t always this
design-conscious so it’s good to see such a high
value placed on something you’ll be looking at
most days. Four programmable ExpressKeys

and a new Touch Ring, resembling a smiley
face, are positioned above the main active
area. Illuminated by a blue hue, the ring lights
up when the tablet is powered by the USB.
Functions like Cut, Copy, Paste and Undo can
be accessed via the ExpressKeys, potential
short-cuts for anyone wanting to limit keyboard
usage. These can be user-customised to make
the most of your creative applications or simply

Handwriting recognition
Get illuminated
For added effect, the Bamboo Fun Touch Ring is illuminated with a
subtle blue glow that stays active when the USB-powered tablet is
plugged in, reminding you to unplug the tablet when not in use

The new Bamboo range unlocks and
works with handwriting recognition,
inking and pen features found in Windows
Vista and Apple OS X, making your
creations much more personal to you

Take control
Open the control panel and you have
the ability to adjust ExpressKeys and
Touch Ring tablet settings to suit you

Pop-up Menu
To display the Pop-up Menu, assign a
tool button to it and when you press
that button, the menu is displayed


082-083_OPM_10_Bamboo.indd 82

18/10/07 15:45:13

Bamboo specs

Wacom Bamboo Fun
New design
On top of the new, iPod-style white
design, the Bamboo Fun comes
with a helpful one-on-one tutorial


£139.99 (medium),
£69.99 (small)

Operating systems

PC and Mac

PC requirements

Windows 2000, XP,
or Vista
Mac requirements

Mac OS X 10.3.9
Intel or PowerPC

Grip Pen

Work area

Customise pen settings

Good to go
A new detachment
USB cable ensures
your Bamboo Fun
is the ideal travel
companion to your
artistic endeavours on
the road

for money, both sizes come bundled with Adobe
Photoshop Elements 5 (Version 4 on a Mac) and
the ever-fun ArtRage 2.0, a cheap and cheerful
drawing program. Unlike earlier models in the
Wacom range, both sizes are suitable for widescreen monitors.
The pen-tablet control panel can be easily
accessed to adjust default settings. Here you can
customise speci�ic functions, adjusting pen and
eraser-feel for instance, to suit each application.
Although the presets will suit most, options
like the ability to map to multiple monitors
will be essential to the pro or experienced user.
Bamboo Fun carries a Microsoft certi�ication
of ‘Certi�ied for Windows Vista’ that allows
you, with practice, to convert handwritten text
to type; useful if your keyboards skills aren’t
up to scratch. Vista can also convert sketches,
drawings and shapes into symbols, charts and
diagrams. Apple Mac users with Microsoft Word
can annotate documents, as well as have access
to Apple’s own Ink handwriting-recognition
technology. These new features further widen
the tablet’s appeal beyond artistic endeavours,
covering more mundane but vital daily
tasks. The Bamboo Fun, then, is all things to
everyone and Wacom can be applauded for this
tremendous new edition to its tablet range.

What we like

Responsive and
precise pen control
Stylish design
and ergonomic
Wacom-quality build

winner to add
to the already
Wacom tablet

What we don’t like

we say

be left alone. The Touch Ring has the potential
to make zooming in and out and scrolling easier.
Move your �inger clockwise to zoom in on an
image or document, and counterclockwise to
zoom out.
The Bamboo Fun comes in two sizes. Small, at
£69.99, with an overall tablet size of 210 x 194 x
11mm and active-area size of 148 x 92mm. The
medium, at £139.99, has an overall tablet size of
280 x 235 x 11mm and active area size of 217 x
135mm. If you’re buying online and unseen, it’s
worth considering this, as small may just be too
small for some users. To add a little more value

Pen appeal
A new white pen matches the tablet and is designed for
comfort and reliability, offering users precise control and
512 levels of pressure sensitivity. The ergonomic design
provides a good supplement to mouse and keyboard input



“The Bamboo Fun is a misdemeanour as all Wacom tablets are
essentially fun, even to the novice user. So reassuringly intuitive,
the learning curve is as flat and smooth as the tablet itself”

Select the Pen tab to change the functions assigned to
the buttons. Each pen button can be set for a variety of
functions, the pull-down menu enabling you to select the
function when pressing the upper or lower pen button

Too small for some
White shows up dirt
No bundled mouse


Ease of use


Quality of results


Value for money




082-083_OPM_10_Bamboo.indd 83

18/10/07 15:45:28

Reviews Olympus [mju:] 820

Olympus [mju:] 820
£180 | The tough little compact that keeps you snapping whatever the
weather. Could this be the perfect holiday companion?

The attractive menu
system is accessed via
a main screen featuring
icons that open up submenus. These feature
large, easy-to-read text
and a simple design that
makes navigation and
changing settings a breeze

Camera menu

eneath the shiny metal casing of the
[mju:] 820, Olympus has packed in
a great set of features that is sure to
entice the entry-level user who likes to
weather the odd storm, or for those situations
when you don’t want to risk your DSLR.
The stylish weatherproof exterior is available
in a choice of colours: Midnight Black, Starry
Silver, Ruby Red or Crystal Blue, which should
appeal to fashion-conscious snappers who like to
make a statement with their camera.
The shape of the body isn’t exactly what we’d
call ergonomic, but it is tapered to be wider at
the end where you’re supposed to hold it, which
makes it a little easier to grip. The relatively small
dimensions of the [mju:] 820, coupled with the
large LCD size, means that the controls on the
back of the camera look a little cramped, with
no space to rest your thumb except on the mode
selection dial. On the positive side, the buttons
and four-way d-pad are raised enough to make
them fairly easy to operate, although those with
longer nails might �ind they need to give them a
trim �irst to avoid pressing more than one button
at a time.
The [mju:] 820 offers a customisable shooting
mode in which you can set the white balance,
ISO, AF and Drive Mode, or just leave everything
on its default settings. For those who prefer to
get on with shooting without worrying about

the technical details, the camera offers 20 scene
modes that cover everything from Sport and
Night Scene to Self Portrait and Fireworks. The
Scene Mode menu is really nicely set out, with a
list of icons down the left-hand side of the screen
for you to scroll through, which calls up a large
image illustrating the function of the mode. Wait
for a couple of seconds and the image shrinks to
a thumbnail, making room for an informative
explanation of that particular mode: how it works
and when it’s best to use it. This is an excellent
feature for complete beginners, and complements
the built-in Shooting Guide, which is accessed via
the GUIDE stop on the mode dial.
The Shooting Guide is basically an FAQ section
featuring 14 different scenarios for you to
choose from. Pick the scenario that most closely
matches your shooting situation and the camera
will display a list of suggested ‘�ixes’ or the most
appropriate shooting modes to suit. For example,
if you aren’t too sure about which white balance
setting to go for, you simply open the guide and
select Shoot W/ Effects Preview, then select
Colour Effects from the list provided. This results
in the screen being split into four, each with a
different setting displaying the results. This
allows you to directly see the effect of each setting
on the �inal image, helping you to pick which one
works best. You can use this feature for a number
of other effects, from Zoom and Exposure Effects

The 2.7-inch HyperCrystal LCD
boasts BrightCapture Technology,
delivering a good deal of clarity for
shooting and playing back images,
as well as navigating the menus

The camera’s stylish metal body is
splash resistant and can withstand
water spray from any direction,
making it an ideal companion for
extreme users

Power button

Face Detection
Zoom in/out

White balance menu

The Face Detection feature keeps
focus and exposure locked onto
your subjects, while Shadow
Adjustment Technology ensures
correct exposure

Mode dial

Scene menu
Macro button

Smile shot

Menu button
Main screen

This ingenious little feature
automatically detects when your
subject or subjects are smiling and
takes a picture at that point: no
more glum-faced shots!


084-085_OPM_10_camerareview.indd84 84

18/10/07 15:40:49


Metering options

Megapixels (effective)

Exposure modes

£180 ESP, S

8 A, 20 scene modes,
Max resolution Panorama
3,264 x 2,488 34 scene modes
Lens data

Flash modes



camera specs

Olympus [mju:] 820

f3.3-5.0 (36-180mm) A, RE, FI, Foff
5x opt, 5.6x dig USB, AV


70cm-inf/20cm 125g
(Macro), 3cm Dimension
(Super Macro) 6 x 56 x 24mm
Shutter speeds


ISO sensitivity


4-1/2,000sec Li-ion

A, 50, 100, 200, 400, 47MB int, xD
800, 1600, 3200 LCD
Build design
The Olympus [mju:] 820 is a robust camera,
with that extra bonus of being waterproof

“The scene modes lead to sharper, more vibrant shots, proving
that presets do work when applied to the right conditions”
Versatile for different purposes
The camera also allows you to apply creative finishes to photos,
such as trying them out in a calender surrounding. It’s good for
testing out different presentation ideas

What we like

What we don’t like

we say

market, which appear to limit their zoom to 3x as
standard. You can boost this with the camera’s
5.6x digital zoom, but obviously you’ll need to
weigh up the bene�its of having a closer crop
against the decrease in image quality.
Overall, image quality is generally good,
although we found that bright conditions led to
washed-out images that were also a little soft.
The scene modes improve matters, leading to
sharper, more vibrant shots, proving that presets
do work when applied to the right conditions.
The [mju:] 820 is a fun camera that would suit
a budding photographer with a sense of style and
adventure, who doesn’t want to get bogged down
by the technical aspects of photography.

A stylish, robust
compact with
plenty of features
to keep budding
very happy



to Colour Effects and Metering. The guide acts as
a great learning tool and an invaluable source of
information for users who are new to digital.
The [mju:] 820 also offers a Panorama mode,
although it’s only available when using Olympusbranded xD cards. The same goes for the 3D and
Art Effect functions, which is a bit of a shame as it
means that some users may have to replace their
existing xD cards in order to make the most of
the camera’s features.
The 5x optical zoom is handy for those
situations where there’s distracting detail that
you want to crop out of the frame, or you just
want to get closer without disturbing your
subject. This is more than most compacts on the

8MP sensor delivers
images up to A3
5x optical zoom for
added functionality
Face Detection
feature makes
portraiture easier

Bright scenes can
appear washed
The fact you need an
xD card to use
some functions
is disappointing


Ease of use


Quality of results


Value for money


Stunning photographs
The 5x optical zoom is a real bonus as it allows you to take shots you
might otherwise have had to miss or only get with the digital zoom.
This makes for a powerful compact

Suitable for all weather conditions
The colours are strong and true, plus you get the added bonus of
being able to take a picture in all weathers (such as this light rain)
without worrying about breaking the camera



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Reviews Books

Painter X Creativity

£28.99 | Aid your technical proficiency with help from your Wacom graphics tablet

Clear layout
Making sense of a powerful interface, Sutton’s book
does a good job of explaining basic concepts in a
clear manner

kay, so you already know that
Corel Painter X is a powerful
program that takes plenty of
time and practice to master. An
important part of learning a new program
is to have a clear and informative manual
to work through. Painter X Creativity calls
itself the ‘digital artist’s handbook’.
Rather than spending time focusing on
creative tutorials, the book concentrates
on working through techniques and
results that can be accomplished with
the program, from a basic setup to
advanced techniques. Working through
the essentials in a clear and methodical
manner, it can easily be digested into
manageable, bite-size chunks. Most
pleasing is the book’s layout. Featured
are a batch of colourful and inspiring
illustrations, each accompanied with
useful captions, quick-to-follow menu
commands and informative text. Painter
X Creativity is split into eight chapters
that cover topics such as exploring
brushes, painting from a photograph and
collage portraiture.
Each chapter is joyfully tackled by
Jeremy Sutton’s relaxed and chatty style
of text. Most pleasingly, as the book is
often written in the �irst person, there are
numerous tips and techniques that you
know Sutton has found to be invaluable
from experience, so rather than reading
like a school textbook, it is enjoyable and
easy to read. The only disadvantage of

the book written in this style is that the
illustrations and examples are based
heavily on the art of the author. While
it’s technically ambitious and inspiring,
Sutton’s style is extremely stylised, with
an approach that might not appeal to all.
A solution may have been to include some
guest artists as individual case studies to
expand on the potential of the program,
but this is a minor gripe.
The rear of the book includes some
helpful Appendix sections, including
project checklists for getting the
most out of the software, and a quick
troubleshooting question that answers
the most common baf�ling experiences
when working with Corel Painter. A
CD-ROM is also included with �iles
that include source imagery so you can
follow some of the techniques and some
entertaining movies that explore Sutton’s
work and other artistic concepts in closer
detail. Although Painter X Creativity is
quite pricey, it’s a valuable resource for
any Corel Painter user.

Colourful illustrations
Although Jeremy Sutton’s designs
are extremely stylised, there’s no
denying that they’re inspirational
alongside the screen grabs that help
you through each step

Advanced techniques
As well as exploring the basics of
Corel Painter, through practical
tutorials the book also delves into
the more complex world of Frame
Stacks and Scripts for the more
experienced user

Edited by

Jeremy Sutton


Focal Press


Throughout the book, the
screenshots are thoughtfully
composed and easy to navigate
from, with keyboard short cuts to
help make your life that bit easier

Stuck on a problem? Maybe the
valuable Appendix sections at the
back can help, packed with troubleshooting advice, or the quick
quizzes at the end of each chapter
that help you see what you’ve learnt


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18/10/07 14:17:24

Basics Photography: Lighting
£17.95 | A short course in the rules of photographic lighting

David Präkel




AVA Publishing



orel Painter users will be at an
advantage if they can capture
their own source imagery
with good lighting. Basics
Photography: Lighting is part of a series
of �ive that focuses on understanding
fundamental theories and practices.
This concise paperback splits the
subject areas of lighting up into different
sections, covering topics from basic
colour theory to exposure, �lash, daylight
and ‘shaping light’ among others.
Unfortunately, Basics Photography:
Lighting is not an easy read. Rather than
explaining some basic technical methods,
the book gets heavily bogged down in
complex theory, reading more like a
school textbook than an artistic self-help
guide. When the book does explain the
concepts of lighting setups, the write-up
feels rushed and vague and the chapters
quickly move onto the next topic before
you’ve had the chance get to grips with
the concept. A dif�icult book to follow.

Lighting theory
Before exploring more
advanced lighting concepts,
Basic Photography: Lighting
takes some time to explain
the basics of light and
colour theory

Although the illustrations and diagrams should aid the
explanations of some concepts explored, the captions are
awkward and clunky

Camera kit
The pace of the book struggles between technical
explanations and some rather basic introductions to
camera equipment

Watercolour Flowers
£17.99 | A guide to the techniques and colour of flora

Janet Whittle


Search Press



till life, and in particular, �lora
subjects make great candidates
for Corel Painter. Armed with
your paintbrush, acrylics or
watercolours, you have the ability to
capture their intricate details and shades
on your digital canvas.
Although Watercolour Flowers is
targeted towards traditional paint
artists, this beautifully clear step-by-step
book offers many valuable techniques to
the digital enthusiast. The most pleasing
aspect of the book is its extremely large
illustrative examples. Rather than acting
as general picture guides, the quality of
detail on each page allows you to examine
intricate details and applications.
The step-by-step guides are
thoughtfully written by the awardwinning author Janet Whittle, whose
prints are sold worldwide. You’ll have
to use a little bit of your imagination
to transpose the methods onto your
computer screen, but you should sure
have fun doing so.

and beautiful
With plenty of space
dedicated to Whittle’s
illustrations, it’s easy
to try out the projects
yourself and compare
with the pro’s work

Although the tutorials are written for traditional artists,
it’s easy enough to follow the techniques and apply the
procedures to your digital canvas

Whittle’s clear image captions allow you to understand
how she approached her individual projects, letting you
follow each creation from the start to the finish


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18/10/07 14:17:59

Reviews Output

No small print
Every detail is explained so you know
what you’re getting

Get inspired
Check out the large gallery
for inspiration. Many
examples show how the
prints could look in various
rooms of your home

Memories On Linen

Friendly service
Customer service is second to none,
including a direct phone number

The easy online way to transform your work into striking wall art

Tutorial info

Rosie Tanner
Time needed

Ten minutes
Skill level


hen you’re really proud of
a project, it’s nice to show
it off, and what better way
to do this than putting your
art on the wall? Memories On Linen offers
an online service to print your favourite
images onto linen stretched over a thick
wooden frame.
The company aims to take all the
hassle out of the ordering process, and
it certainly does a good job. The friendly
service means you can check with them
�irst whether your image is suitable
for printing. You can do this by either
emailing or phoning direct. This is a nice
touch, as many companies will print your
image regardless of whether it has a highenough resolution, leaving you with a
possible dud print and hole in your pocket.
Memories On Linen specialises solely in
producing these linen prints, which does
make you feel you’re in good hands. As a

result, the company’s website is simple
and clean, without the clutter of adverts
trying to sell you other products.
The informative home page includes a
comprehensive price list, which is great
to have from the start. As far as value
goes, Memories On Linen is extremely
competitive, and at the time of going to
print we couldn’t �ind anything cheaper.

Once you’ve chosen your print, the easyto-use order form guides you through the
process, even offering comment boxes for
speci�ic requests.
Our print arrived within �ive days of
ordering, well in advance of the sevenday delivery promise. It was wellprotected, with very impressive results.
The print quality is deliciously smooth

“The print quality is deliciously smooth and the overall
finish of the canvas is impeccably neat and tidy”
Prices start at just £19 for a 20 x 30cm
print. We ordered a 60 x 90cm print,
which came in at a bargain price of £59.
If you have an odd-sized print request,
it’s worth noting that you can also order
custom-sized prints. Simply email or
phone to arrange pricing.

and the overall �inish of the canvas is
impeccably neat and tidy from all angles.
We hope Memories On Linen will be
able to maintain these high standards of
customer service even when the company
expands. An excellent service, which
cannot be beaten on quality and price.


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19/10/07 12:53:21

Readers’ gallery issue ten


If there’s one thing that can be said for Ata Alishahi’s work, it’s
that colour plays a vital part in its creation. His work is instantly
recognisable thanks to his confident and bold use of hues. We
caught up with the artist to see what other techniques he uses
ta Alishahi has been a part of
our website community since
the very beginning and the
one thing that has constantly
impressed us is his use of colour. Even
drab images supplied for the regular
Readers’ Challenges become glistening
artwork once he’s applied his con�ident
colour palette. We thought it was about
time we found out more about how he
works, from his favourite tools and
techniques, right through to the source of
his inspiration.
If you’d like to see more of
Alishahi’s work, visit his site at www.
atadesigner or go to his home page at
When did you start using Painter?
I started using Corel Painter in 2005.
Do you have a favourite Painter
technique or tool?
Yes, my favourite tools are the Artists’
Oils, Oil and Blender brushes. Even
though everyone has their own favourite

“Painter is the largest art store you can imagine, which
means tons of colours, brushes, papers and more to use”
tools in Painter, to me, Painter is the
largest art store in the world. Just imagine
if you went to that art store and you were
allowed to pick absolutely anything that
you want.
I would say that my most favourite
techniques in my work are blending and
choosing the colours to work with. Two
of the most important things in my style
are preparing and constructing the image
before I start painting. This requires
many image-editing techniques before
the preparation, choosing brushes, type
of paper, etc.
What is your favourite Painter image
that you’ve created?
I love all my works, but the most favourite
one is called Lady Gala, seen here: www.

Who or what inspires you?
The beauty of nature, women and music
are the best inspiration for me. I also get
inspired by other artists.
What’s the most helpful tip you have
about Painter?
Never be afraid to use different tools
provided in Painter other than the ones
you are using now. As I said, Painter is
the largest art store you can imagine,
which means loads of colours, brushes,
papers and more to use. If you pick a tool
you have never used, don’t worry, it won’t
explode in your hand, just go ahead and
try it. Brilliantly, Painter gives you almost
22 Undos at one time. I would advise to
new users that before you start painting,
make sure you have in mind on what size
your painting will be so you don’t end up
having to resize or cramp your �ile.

Is there an art style you would like to try?
Yes, de�initely. I always think that one day
I want to paint in the style of John William
Waterhouse. I love his methods so much.
Do you have a favourite subject matter?
Not really, I love to paint pretty much
everything, but recently I have got more
into fantasy art.

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 you’re proud
of, send an email


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18/10/07 11:55:32


Title: Small town
“A friend of mine is Polish and when she went
back to visit, she brought back some images of
where she used to live. I liked one in particular
and used it as a reference for this piece.”


Title: My lady
“The lady in this painting is the lady of
my life. She is my lovely wife and we
have been married for almost 24 years.
I wanted to paint her to appreciate her
love and friendship.”


Title: Sunrise
“This is one of my dream places to live; I love
sunsets and sunrises. I did my best to use as
much natural colour in this painting. Every
time I look at this painting now, I feel like
having a coffee.“


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18/10/07 11:56:07


Readers’ gallery issue ten


Title: Dancing
“I have several Spanish and Mexican friends, and from
time to time I enjoy dancing with them. From that, I
was inspired to paint this piece.”


Title: Ballet
“I love to watch ballet dancers. The
way they move with the music is very
peaceful to me. That sensation is how I
was inspired to make this piece.”


Title: Lighthouse
“I have never travelled by sea and I
have never been on big ships, but
for some reason that I don’t know, I
love lighthouses and to me they are a
beginning of a world. I think lighthouses
are the sign of hope.”


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18/10/07 11:56:46


Title: Seaport
“This piece was painted for a
challenge organised by this
magazine’s website for its members.
The result hasn’t been published yet,
but above all, I am interested in
painting cityscapes like this.”


Title: Ships
“This piece was also painted for a
challenge organised by this magazine
for its members, the result not yet
published. But if you visit my gallery,
you will see that I have several painting
of ships and sails as I love to paint them
all the time.”


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18/10/07 11:57:13

Website challenge

issue ten

Website Challenge

See some of the entries we’ve received for the fourth Creative Challenge
e’ve changed the format a little this
issue, and put the regular Readers’
Challenge to bed. But that’s not to
say we’ve neglected the challenge
format completely – instead, we are giving these
pages over to our regular Website Challenge,

so you can see some of the entries we’ve had
so far and also have a sneak peek at what the
competition is up to!
If you’ve never tried one of our online
challenges, the format is the same as our Readers’
Challenge. Download the supplied photos, open

Jodi Clark

them in Corel Painter and then see what you
can create with them! The winner from each
challenge will get a year’s subscription to the
magazine. The deadline for this one is actually
over, so visit
competitions.php and get details of the next one!

Jose Merino



How to
enter the
Visit www.
download the images and
send us an email. You can
also download the images
from the CD and email
your entries to opm@
If they are over 2MB, you
can send them on a CD to:
Website Challenge,
Official Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond Hill,
Bournemouth, Dorset
We can’t return any CDs.

Anne Hale

Remember! You can email your entries to


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19/10/07 12:49:15

Marcia Fasy

Torben Christensen


Cha llen ge

Scott Henderson

But we haven’t completely forgotten our
Readers’ Challenge! We have the results
here from last issue’s challenge – well
done to Ken LaPlante, and kudos also to
Chris and Ken.

Ken LaPlante

Ken Small


Chris Lawton


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