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,'~ Composition
Learn how to arrange objects for maximum effect

)~ Edward Hopper
We reveal how to paint in the style of this iconic American artist

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Our panel of experts
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Maga,_I.B Editor JoCole 'll" 0~202 586224 jo,cole@jmagine·,uk Art Editor Lora Sykes Sub Editor 1<OnWhile Group Art Editor Ross Andrews Contributors Mark ~nnerman, Wen-Xi Chen, Mork Corotan, Sophie Elliot, Hannah Gal, Jeff Jchason. Stewart MoKlsslck, Jennifer Miller, Tim Sherboume, Philip Straub 000 Joerg Warda Special thanks to ... iSlockphOto and the doncing pixie Cover artwork Katarini) Sokolova. WW'W,katarinasokolova.c:om CO'll'erdlsc Inter-active Media Manager Lee Groomblidge Multimedia Editor Rodger Pajle Advertl.lflS Digital or printed modi. pacl<s are available on request. Advertising Director Scott caisley

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SI """ Andover, Disclaimer The publiSher cannot accept responslbilrty for an.y unsolicited material rOSI or da~ In 1he post. All t""l anclla)Qut is the copyright of Imagine PubliShing Ltd. Nothing in inls magazine may be ,eproduced In wllOle or port wilhom the written pemnission of me publisher, All' copyrights are recognised ood used specifically for Ihe purpose of criticism 000 review, Although Ihe magatine has endeavoured to ensure all inf<Hmabon is correct at Ume of print, prices and availability may change. This is fully i"depeMent aoo not affiliated In allY wtry with the companies mentioned herein, Trademark(s) or regiStered trademarl<l5l of Corel Corporatron and! or its .$JJb$idiaries in Canada, the US and/Or other counmes ScreensllOlS Official are CCopyright Corel Painter 2007 Corel Corporation, Magazine reprinted by pemnisslon

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This is THE magazine for anyone wanting to further their Corel Painter skills or learn how to become a better artist
Na doubt a lot of you will have tried Corel Painter X by now and no doubt you will have been very excited by the new RealBristle brush category. This makes Corel Painter act even more like traditional media because it allows you to make the brush behave as if it was a real brush. Our tutorial on page 38 shows how it works using a rather lovely seascape as an example. And keeping with the brush theme, our feature this issue explores some of the best brushes for creating certain artistic effects . While a mere feature could never hope to capture the complete power of Corel Painter's brushes and controls, it's enough to give you some creative ideas! And.for even more ideas, turn to our Paint Like ... tutorial (page 56) and discover how to re-create one of the most iconic modern paintings of our time - Edward Hopper's Nighthawks. Also learn about composition on page 66 and see how it can improve your artwork. Happy painting!

1130 ....

Clone and glaze

Build up a glaze effect by manipulating the clone command and produce a glorious portrait

~ ~Ir .....
~~ !:!.!~ ~~ .~ -



... ry {}(
Brushes: Airbrushes
Discover how these brushes work and use them in your art




Paint like: Edward Hopper


Use Corel Painter to reo create this classic image of America

)0 Cole Editor j



I/ffl:IfJRliS@G?FIJ7N(. FRfZCNiOt1PNJ::ED~".__..rsr~eDWrrH l2eAL. We try this A3+ printer and see if it's good enough for your work 88 Books Three more fantastic titles that will inspire you and expand your working knowledge of traditional art techniques 76 ArtCIass A hotbed of solutions to creative queries.._--"-----. as well as specific software questions 90 The Big Print Com panv Learn more about this professional printing company and then see how you can order an MDF block mounted print 94 Reader's Gallery Jennifer Miller shares some of her exquisite work in the latest Reader's Gallery .this is where you can send your art and comments l]Cfl Big artisti c id eas req uire a big pri nte r to let others see them..71i(.f5RJJSHES Df6uAL PAINrTN6 seo« Titf'bri'JN.m lXGITiV.ONtI9N(.! I ! i I I I I i P38 tJS1N611fE m 6t.--.- Nif19{t51N COReLPAiN11!R X 08 Subscriptions Sign up to subscribe to the magazine and save yourself up 97 Reader's Challenge Load up the supplied images and enter our regular challenge t040%! 10 painter showcase Look out for the special pages presenting some of the best work from Corel Painter artists 98 On the disc All the content found nestled on this issue's special CD-ROM YOUR WORK PRINTED TO CANVAS WIN! 84 Fujifilm FinePix F3lfd We take a look at the Fujifilm FinePix F31fd and see wh ether its face-detection technology is pure gadget or sheer genius 86 HP Photoshosmart pro B9180 12 Letters The newest addition to the mag ..I5NfM (f)Uf(TIONCiF I e5SeNf7N.BRJsrl. N<r FMilUJi..-..- - < - ---. 1-----------.

Re-create his Nighthawks painting and learn more about his style Getto Feature focus know your tools 48 Select colou r You have a few choices when it comes to setting a hue to work with ." 36 Effects: Tonal controi Use th is menu to unea rth the commands for colour correcting your photos and artwork 38 RealBristle brushes Discover how this new brush catego ry in Core I Painter X ca n be used to produce art 64 Brushes: Airbrushes The best options for using these delicate and smooth collection of brush effects 52 Create your own gall. that your work is as pleasing as possible to the eye.we show you what they are .ery We reveal how to set up your own gallery on the magazine website and also see what else you can do there 56 paint like: Edward Hopper 66 Learn about composition Applying the tried and tested rules of composition is a good way of ensuring.Read this guide to discover which brushes work best for which style of artwork and guarantee yourself great pictures every time 30 Clone an image and get a glaze effect Emulate the look of an old master by cloning an image and applying glaze effects Getup and Primer's . We look at the best and show how to use them His paintings became cultural icons of America.

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You will be delighted to hear that we'll show how to re-create a famous painting each and every issue.4"""". especially the still life studies. Also. We get a big kick out of deciding who to decode and will be looking at classic works as well as more contemporary artists. and the brush strokes are think and luxurious..d ~~'''''''-.. '''''~II''''''''''.cQm ..II. so find it Invaluable to save work in the RIFF Famous paintings I've just bought issue one .com Formal Betty check our how Lynne has applied textured srrokes to all areas --- 121 painter .. and open up to chang e sur lace texture 01 play with depth. BOlJrnemouth.rabbitholeproductions.with your help. because this means I can keep' my Impasto layer editable. A lot of artists offer prints of their work from their site..l'OOr_..deviantart. of course! Now onto your question. can you give me the contact details of any artists who sell prints of their work? By the way. co. 5u>ttira o« If you nave a creative tiP you'd like 10share With others.corn. The thing is.Ijust want somewhere that I can visit from time to time to get some inspiration. 33 RiChmond Hill.shing..- It sounds like you could have a career in the art forgery business... send you r message to opm@ imagine·publi.'RI.. Please keep up the good work! ~~!~r:!~~ Keep your impasto canvas wet for later edits I always change my mind.. She has a flawless application of paint.. p56.___ ·. as well as calendars. It's already help me get the hang of Quick Clone. Dave I Just keep our names out of it.. send It in to us and we'll print It! If you'd prefer to contact us via email. 1I'" ""' . Offi cia I Corel Painter Magazine. " ~ ... Dorset BH2 6EZ.V Welcome to the part of the magazine where you can come and share your thoughts on anything you fancy! ~ \} d Hello Steve.. Her eye for Ii ghti n9 is also excellent and manages to enhance the painterly elements even further.great stuff! I particularly liked the Van Gogh tutorial and wondered if you'll bedoingmore of the same? I've always been fascinated with copying masterpieces. make '/Our way over /0 the clevianlARTstore http:// shop. This issue we look at Edward Hopper. Richmond House.. It's exciting to think about how the title can develop . Ifeel as though I have missed the boat in terms of finding helpful online resources . ery Lynne impressed all of us with the images she posted on the website.devianta rt. thank you to everyone who has written in and said how much they enJOYthe rnaqazlne._"'_. Imagine Publishing. puzzles and various other novelty items. The shop allows you to buy prints (canvas and paper) of your favourite work. found at www. UK Buying artwork I've wanted to get into digital art for a while now and finally have the time now that I am retired. but by far the best way to shop for some digital art is to visit the deviantART site. For some very reasonallly· priced aItwork. thanks for getting in touch and for the praise I In fact.. congratulations on a great magazine. Send your letters to . Visit the Site to see Lynne's work or pay a visit to her main website. Find it all at http://shop. so I am more than pleased that it has come out.-:.I'I'MII'~ __ __ . It might be that you've already found it but if you haven't._t6''-''''~.. it is a bubbling cauldron of talent of artists covering all disciplines.

atadesigner. 1 had some inspiration to paint the portrait of a lady that I love.paintermagazine.. so never be shy about sending stuff in. Ata. We love seeing what readers are creating.·1 palner'" CC>. Ihe bW5h stroke. So in the Fall image. make sure you pay a visit to our website at www.ra. Since I was a child. Iwas trying to duplicate some of the colours that nature offers and I did my very best to get it r igh t. Once it's done. For a full guide on how it works. nature has inspired me more than anything else to create arts. get yourself over to www. It took me 16 hours to complete it. but this only takes a few moments. I used Adobe Photoshop for the final touches like tonal and the odd bit of colour correction. you're free to upload your images for all to see. And on the subject of show. I was wondering if you'd be interested in printing my images in the magazine? They are titled Fall and My Love. II you'd like to see more of Ata's whicll is clearly expressed in Ihis beautifully serene image CorelPainter portfolio Hello. turn to page 52 for a tutorial. don '( hurt either! . inspiration. Am AlisJwmt Thanks for sending in those images. nature is the best . This image was painted in Corel Painter IX and the Artists' Oils brushes were used for the medium. Ala'Sportrait of his lave works because of the srrong (OIOl1fS and also the unusual us your work. Of course. When it comes to colours.painler 13 .co. . Autu mn in Canada is one of the most beautiful 0ffiQiI1 MII!!~~ Ata finds inspiratioll in the natural cotouts of canada. You have to sign up as a member to create your own gallery. Ialways wanted to paint portraits and with My Love. .We·re going to keep plugging this because the ga Ilery featu re ma kes it a pe rfeet pi aee to show off your portfolio.



IABOVE] The Hive "This WM the fir. HoW do you start a digital painting? Do you have a typical workflow process or does it differ according to the particular piece you are doing? The answer is yes and yes! I have a couple of different workflows [use depending on my mood and the project. For my more free-form personal concept illustrations the process is usually quite chaotic. that's a rea Ily tough one! Probably winning a Silver Medal in the Society of Illustrators annual illustration competition. Usually after a short while something takes shape and I refine down from there.. I usually begin refining down the technical aspects of the painting. I just simply start throwing down shapes and colours onto the canvas and see what happens. What is your proudest creative moment so far? I don't know .. focusing on perspective and/or anatomy. and composition as I worked" When working on a commissioned painting the process is usually a bit more precise. I have to finish two other book projects I'm working on before J can complete this one though. building up tile texture. I really feel like I still have so much to contribute to the art field and am just getting started. In this situa lion. First. 1usually begin sketching in black and white at a fairly low resolution so that memory limitations don't stifle the creative process. She [MIODLE PAGE] Enclia nted Evening This imilge won an award at the Society of Illustrators LOS nge/es A 2005. I worked on only the canvas layer. During the sketch phase I'm primarily focused on basic shape construction. I'll begin adding colour to the image. I finish the book the goal is to distribute it worldwide eventually. How did you make the leap from digital artist to home decor products? I really like the idea of diversifying my portfolio and the work that I produce. I do some research on the subject matter by gathering all kinds of visual reference so I can have as complete an understanding of all the elements in the painting as possible. overall composition and positive negative space. Next.t painting I created using only the Artists' Oils ill Paillter IX. Once I'm happy with the overall composition. Once I'm feeling comfortable with the drawing. as well as being tealured ill TheNe w Masters of Fantasy 11/ . she suggested I begin tailoring some of my work towards the licensed market. When I began working with rep. color.

artists contemporary and classic. depending on how much you want to do with you r site. I can't take all the credit though. When Istarted at Mercer's studio I remember th inki ng how difficult Photoshop 1. I was introduced to digital illustration at my fi rst real art job working for children's book illustrator Mercer Mayer. stationery and wa llpaper products I produce. What inspires you? So many different th ings. There were a few classes just being offered to the Graphic Design and Interior Design majors but many artists still hadn't made the transition. Did you find the move from traditional painting to digital painting smooth or was it a bit of a jolt? I'd say it was a bit of jolt! [was trained as a traditional oil painter and at the time I thought that was how I wou ld produce paintings for the rest of my life. very few illustrators were using it topai nt' and much of the computer-generated illustration at that time was flat and's kinda funny looking back on those days. how he uses Corel Painter and Phowshop to create Intricate scenes . I'd played around with computer-aided design with a variety of programs before but never thought of it as a 'real' ilIus tration tool. Films. television [ABOVEI Nightmlst 11lis image is part of Philip's concep: series.felt that my more whimsical children's book style could find success on licensed products so Ibegan to expand that out into the flatter. It's important to keep in mind computer illustration was still in its infancy when Iwas in school.. As mos til lusrrarors will tell you. and show. painter 17 . my fiance helps me out with a lot of the brand deveJopmen t.0 was . [wasn't alone. Are you thinking of expanding the products for sale on your website? I'm currently not set up for e-cornrnerce simply because I've just not found the time. more graph ic style seen in the scrapbooking.. Right now I currently have some of my images available as fine art archive quality pri nts th rough Imagekind but I may expand that down the road. maintain ingan online presence can become very time con su mingo 1 try to post regu lar updates on my site as well as post as much of the imagery r produce once it's available or [ have clearance.

many are also for my fantasy projects._ . avrd torth ()5 ( •• • • bdwe. pop over to www. The cover pencil is a mainstay of my workflow. books.fts. especially in the early sketch stages. - c Uhabttatiolll shows. after all that's what my clients expect! My personal work tends to be almost therapeutic and an extension of my subconscious.sand: eX?ffl'W1ellltat ted7l11tr~ Durilllj the c. and every day life. If you'd like to see more of Philip's work or buy one of his posters or prints.siPi both pa~e. Corel Painter has always been really amazing at reproducing traditional media and it's just a blast to experiment with. ['ve also used the nozzle tools within Corel Painter quite extensively to quickly create different types of foliage. reatly {earilled a lot 1/Vforeabout the allid power 01 the bf'U5h jtJ1era.." .. usivrj 0w7e ot n:Y lal/()urite bf'U5he. experiments trying out new techniques. it really allows you to recreate the rotating of your canvas/paper in trad itional med ia.elll PhottJd-iop allid Pailliter wor/:e. and rocks.s.tit:m toot iJII Pailliter: .td7edilll Pailliter 8 usilllj a W1nety 01' dihertJ1t bf'U5he.xibility rquiAriy do. I find there's inspiration to be found everywhere you look! Is your personal work different to your professional art? Absolutely.coml81 (abolJt) 'Orij~atly ~ke. Why did you start using (orel Pa. ( bOW1ceri bad::. Although I try to always bring my personal touch to all the professional work J produce. What's your favourite (orel Painter tool? My absolute favourite is the Rotate Canvas tool.Interview Philip Strd11a - - - .. [ can't even remember the first version Iused but I think it's been in my workflow for around ten years. While some of my paintings are simply exercises.d..Phlkr Straub 18 1 painter . music.inter and when did you start? I've been using Corel Painter almost as long as Photoshop.{ lte.phiHpstraub. leaves.reatum tJl thi$ piece { »taae a t~1II01' lIIew brushes till Pailliter and.

Feature Get started with Corel Painter brushes c.. .:.. - ~ --'""- ~ ... ."'1 =_ J -~- -'~ -~ -.

Corel Painter's brushes are divided into categories which relate to traditional painting and drawing media. such as Oils. You can completely change the way a brush behaves.for any artist. These brush controls relate directly to every aspect of the brush. you need to choose the category that relates to the medium you want to simulate. with a number of preset settings applied to it. ) painter 21 . even if we hijacked the whole magazine for this feature there still wouldn't be enough space to give you the full low-down on all the brushes. including its size. for the novice Corel Painter user.Charcoal and so on. with a unlimited amount of spending money at your disposal. a dream come true indeed! Now multiply the excitement of that perfect scenario by ten and you'll come close to the experience of stepping into the artists' heaven that is Corel Painter! Within Corel Painter.of tools is so vast that. every painting and drawing tool and every painting and drawing medium is at your fingertips. or via the Brush Creator (Window>Show Brush Creator). by changing the settings applied to it via the Brush Controls palette (Window>Brush Controls>Show General). It's true to say that this collection . We'll look at these settings in more detail throughout this feature. Pastels. and the marks it makes. most well-stocked art shop in the world. it can be quite overwhelming and that was the inspiration for this feature. how much paint it carries and the kind ofstrokes it makes. and before you start to paint you need to choose this from the Papers palette (Window>Library Palettes>Show Papers). A brush variant is a particularly shaped brush. But we'll give you the basics so you can dive into the wonderful world of Corel Painter brushes with more confidence. The actual brushes that relate to the chosen medium reside inside the category. and there are many brush variants to choose from.I magine being let loose in the biggest. . Ofcourse. with a mindboggling selection of brushes that no paint box could ever hold. to lead you by the hand through this mammoth collection. among a plethora of other characteristics. Watercolor. the way it interacts with paint already applied to the canvas. the way a brush behaves also depends on the kind of surface you're painting on. Of course. so before you choose an actual brush.

These are the category of brushes thatyou'll use to create paintings wi th rugged paint surfaces. gestural lines and large.. or where thick. On the whole. within each of the above categories. Wet Brushes: These brushes give the appearance of applying lots of very wet paint. although they still apply opaque paint. catching just the high point of the paper grain and texture. remarkable brushes! First. As far as the specific categories of these brushes are concerned. are rather dry. This conrrol detemlines how the {lartiw/ar dWtacteri5tic of a brush responds to your graphics tablet 51ylus . gloopy mediums such as Oils. and tend to deposit paint rough Iy over your painting su dace. Acrylics. all of these brushes paintwitb opaque COIOUI~ but each of the variants within each category can behave quite differently. and Gouache.Feature Get started with Corel Painter brushes Build up a painting full of texture and gloopy goodness by using this selection of brushes for the wet and loaded look o let's get down to some .. body and texture. Mast of the active dynamic (aregories tor the brushes contain an Expression tonuo! section.. they consist of: t1j ACRYU{S NZlTS13 OILS lOlLS f_ 6O()ACHf Within these separate categories are a huge number of Brush Variants which are designed to apply the virtual paint in many different ways. It's worth taking some timeto lookat the individual Brush Property settings that can significantly affect the way the variants work. you'll find variants that range from soft blender brushes. you'll find a selection of brushes which can be divided into four distinct types: DIY Brushes: These brush variants. which can mix and blend with any paint already applied to the canvas. ~ we're going to take a look at the brushes within Corel Painter which use opaque.. how they interact with paint already applied to the canvas and how they react to your choice of painting surface. opaque areas of paint can be laid on to the canvas. You even get heavy impasto brushes which apply lots of nice thick paint that holds marks made by the brush and produce impasto effects where the paint stands proud of the painting surface. painterly areas of colour. for instance._ .. through to dry and grainy brushes which react strongly to your chosen painting surface. where the marks made by the brushes can either be wonderfully oily and wet. within Artists' Oils. So. You will often see this effect used in many traditional oil and acrylic paintings. Broadly speaking. Impasto Brushes: Here we're dealing with brushes which apply very thick paint which stands proud of the painting surface and create impasto.. . which apply very wet paint in a very soft way. creating stunningly realistic impasto effects. These types of brush are great for quick. specifics about these ..

you can see and modify all of the attributes applied to the brush. if you dick on Impasto.Bristle Oils I .Round Oils . many of these brushes create impasto effects and this can be switched on and off via the small button at the top right of the document window. simply make a few representative strokes on the scratch pad as you would normally use your stylus and Corel Painter will adjust the brushes responsiveness accordingly.--.. You can also control the depth and shine ofthe impasto effect via Canvass-Surface Lighti ng. Within this panel.Opaque Smooth Brush Gouache . Marks made with these brushes blend together as you paint.--.Smeary . you'll be able to control the extent of this Impasto effect via the Depth slider. ! I ! Oils .Thick Wet Oils Thick Acrylic Flat i ! In the dl! choosing your brush variants carefully from these categories..Wet GOl. so that the Corel Painter brushes know how to respond to the unique way you use your stylus.------------. pointed and fine detail brushes and rough bristles for real texture and dynamism. --. Remember. it's vital that you first set your Brush Tracking via Edi t> Preferences> Brush Tracking.----Gloopy.painler 23 .. The same applies to changingany other brush characteristics within the Brush Creator. while any properties which don't feature in the brush are greyed out. For any of these brushes to work properly. which is often a very important characteristic of these opaque media brushes. opaque brushes Layer the paint on nice and thicklv Acrylic .------.-----. blending brushes: This group of brushes apply wet paint which readily .. One great way to get used to exactly what these brushes can do is to use the Brush Creator (Window>Show Brush Creator). Any brush characteristics that are applied to the current brush are shown lu black down the left hand side.------ .Broad Cover Brush Gouache .Thick Acrylic Bristle AD Clumpy Brush AO Dry Brush AD Impasto Oils AO Soft Blender Brush Gouache .Soft..-. 1Ioe! pcinr and iICW1l5added using impostobroshes. and tes t its appearance in the large white scratchpad. f-------. induding round and flat brushes. creating very subtle transitions between different colours and tones.blends with paint already applied. To the right. you see a selection of brushes from these categories that create the range of techniques and effects that you'd expect to see with opaque media ..Fine Feathering Oils Oils . All of the usual brush shapes appear within these categories.Within the dialog you can also modify the direction and intensity of the light that falls across the image and create the highlights and shadows that describe the surface of the impasto.lacheRound I I Oils .-. voo rom dearly SIll! lIle dram~lic diffe/ffice between <lrea5 at smooth.Fine Bristle - Gouache .. superrealistic effects can be achieved. Asyou can see from the painting above. BrushliS fhill use impi)5/o am arid <l rf'~lllIfIl!'-dimemiQllal qlJillitylo YOU of)ilque media pi)inlings i Wet Acrylic l--. Within the Brush Tracking dialog. 1'01' instance.

Pencil. which sticks to. At relatively low values. The exact same rules apply within Corel Painter when you are using dry media brushes.. they are all dependent on particular characteristics when it comes to controlling the marks the 'brushes within the categories make and the effect you can achieve with them. one of the most vital setting you will come across is the Grain slider. However.ORfD PfNOLS v: {RAYONS Although these categories are distinctly different. the dry media penetrates deeply into the paper grain. it would not make a single visible mark. By theirvery nature. unlike paint or ink. just the lightest strokes would create a gloriously dense. the dry brushes are very hard to beat. the surface texture of the drawing surface. This setting determines how much effect the surface of your chosen paper has on the strokes made with the eu rrently selected dry media brush variant. and is absorbed by the painting surface itself. the drawing mediu m itself. the marks made by the brush penetrate the paper grain very little. At high grain values. but also by the ii unique settings you apply to the particular brush variant you are using and we will lookat these variables here.. Here's a look at the best . and the su rface you draw on work handin-hand together and in terms of the effects achieved.Feature Get started with Corel Painter brushes When it comes to traditional real media effects. black mark in an instant. If you were to try a nd use cha rcoal on a completely smooth surface. a slight difference is the fact that the result of the marks you make is governed not on Iy by the surface you choose to work on. When you're using any of the variants within these categories. dry mediums work by depositing themselves on. or within. so the paper texture is very obvious within the strokes of colour. for instance. if you were to use the same piece of charcoal on a piece ofrough sandpaper. in a stark contrast to this. such as Charcoal.4S(tLS jll OIL 'rtT] PA>rtLS II (f)L. Dry media depend on their particles of pigment being shaved off and held by the paper texture. Chalk and Pastels. However. so . The Dry Media categories within Corel Painter consist of: ~A· {f{ALK IYi PfNOLS Iii (f)N1C P. hen it comes to dry media.

At100% the colour will be at rnaxirnu m saturation all the way through the stroke. Artist Pastel Chalk Soft Pastel Square Hard Pastel Chunky Oil Pastel Soft Oil Pastel Waxy Crayons • . which is pretty important in determining how your brush behaves. opacity and grain. the stroke ofa brush will be made up of multiple . simp. Essentially.. One final point. the kind of marks you make with the brush variants is key to replicating the effect of a traditional drawing. The Resat 51ider controls the amount of colour that replenishes within the stroke. the difference between a 10% Grein selling and a 100% setting is hugely dr arnalic Soft Vine Charcoal 768 Rows 768 Co.hard'. many of these variants also respond to the pressure you apply to your drawing stylus. The Jitter slider adjusts the placement of these footprints. You'llalso see a Bleed slider when using dry media variants. This feature can be very useful to avoid the edges of your brushstroke being too uniform and is worth experimenting with. The actual look of the brush is also dependent on its footprint. the Bleed value footprints of the brush. Try each of them and vary the paper surface you use with them to see the different effects that can be created. scattering them either side of the central line of the brushstroke to a lesser or greater extent dependent on the value of the Jitter slider. . whereas for the brush variants labelled .lyby making a single click with the brush on your canvas. A practica I demonstration of this is that any dry media brush va riant that contains the word 'soft' in its name will automatically have a medium to high bleed value.:Z • ' "1 ) Sketching Pencil Oily Variable Pencil Dull Conte Charcoal Gritty Charcoal Soft Cilal"Coal Usjng Ihe SQllare Hard PiJslel variant. while others have either hard or soft edges. At high values. so experiment with first filling you r canvas layer with a solid colour rather than automatically choosing a white canvas. so it's vital that you cons ider this as you draw. t ~ For brilliantly-textured papered effects ! ! i Dull Grainy Chalk . You can easily see the individual footprint of the brush. It's good to bear in mind that drawing is an exercise that depends very much on building up tones with lots of linear shading and crosshatched strokes. You'll see from this footprint that some brushes contain texture within their footprint. Square Chalk determines how much a current stroke ofthe brush blends with any other colour already applied beneath it. At low Bleed values it will blend very little. By default. remember that dry media brushes often work very well on a coloured ground.the surface texture itself will be much less obvious in your finished drawing. namely jitter. this saturation within the stroke wi!! reduce at lower Resat values.lumns Thesurface vou ciloose /0 draw on is vi/iJl with dry roedliJ brushes. 1/5 Brlgiltness and [antra. the Bleed value will quite often be set to zero. Yau can also adjust/he scale of dIe paper grain. In the boxout to the right you'll see a selection of examples of some of the best brush variants from each of the dry media categories available within Corel Painter. the settings within the brush is not the only thing that determines the look of the strokes made with the brush. Ofcourse. As well as this. placed closely together and in line with each other.. Here we come to another feature of d ry med ia brushes which should not be overlooked. in regard to size.f drawing media and as such. colour from your brush will blend readily with any colour beneath it. Remember that all of the variants within the dry media categories here are I Dry media brushes w----------------- t-----! •__ ••• --- ••••• _.

they can still yield super resu Its and are dependent on very particular brush property settings. There is a charm.. This slider.. Although these brushes are a less advanced version of the Watercolor category brushes. Low values here create strokes where the individual hairs are densely packed. atercolou r painting is often seen as synonymous with the very best in British art.~ 5IJM{-e tI WATtR[[)LO/( D(6rrAL WIfTtR{J)LO/( . common in many of the brushes in the watercolour-like categories control the density of the hairs. dry . or bristles within the brush. leaving unpainted gaps between them. the watercolour and translucent options are well worth investigating. Each of them feature the Resat setting mentioned in the previous section and another brush property. The brush variants in this category include broad mop brushes. Here are the categories which can be regarded as transparent media: create beautiful. producing more solid strokes. notice [he special watercolor Layer· that appears in the Layers palette . broad washes of colour. which apply beautiful wet. namely the Feature slider. and some of the most realistic results can be achieved. or normal floating layers to create effective watercolour paintings.Feature Get started with Corel Painter brushes When you need a bit of subtlety in your work or just the bearest hint of colour.(6 uou» {Nt: The Sumi-e category features variants similar to those traditionally used in Chinese brush painting techniques and can When you U5e Watercolor varianlS. High values produce strokes where the bristles of the brush are more sparsely packed. Try these suggestions to start with . delicacy a nd directness associated with water-based transparent media that simply cannot be replicated by any other techniques and this fact holds true within the rea Ims of Corel Painter. effective water colourlike paintings. The variants within this category vary from broad bristle brushes through to small detail Sumi-e brushes. This is one a rea where Corel Painter particularly excels. The Digital Watercolor category contains a wealth of brushes which can be used on the Canvas layer.

ffu.Low Diffusion values mean that is the Water section of the Brush Controls liOli Ypf. Cfl'l'§. This group of brushes is fantastic for spontaneous sketches and bold..-----.. gloopyink to fine.: ~JG t. From soaking the paper to creall'ng a drip effect. buthigh values mean that the edges of thecolour you apply diffuse into the surrounding area.~THn: . The first of these variables. it has il all Watercolor .Smooth Runny Camel I • i Watercolor Wet Wash Flat 'Theres a charm OS5tJdatedwith water-boseli tra~~parevrt edia that r. Diffusion. TheseWatercolor brushes require a special type of layer.ap TIl rt'Jib: -011e ~1"LlIt: r! ---------. Water(olor...1't 270' ow . Again this group of brush variants work on a special layer.Grainy Wash Bristle brushes which will give the impression of a fairlydry brush Just brush ing the su rface grain of your painting surface and even brushes which appear to spatter COIOLI r andwater across your canvas.I Transparent ! ! i Dry Ita. working with a watercolour.. how far it runs and diffuses and even the direction in which colour appl ied by the brush flows. All of these brush variants feature two very important brush properties to create the feel of watercolour.--- . The settings in this category of brush properties allow the colour you apply with the brush to diffuse a nd flow across the painting surface and in this section you can control how wet the paint and paper is. The Wet Fringe setting is great for simulating the effect of water colour paint 'pooling' around the edges ofa brushstroke the effect intensifying at highervalues applied to this slider.:n Sumi-e Dry Ink t.Diffuse Camel Watercolor . ----- brushes Use for subtle washes and calm landscapes A. dry brushes which can create areas of textu re that take advantage of the surface texture of the paper.--- . Traditionally. With these variants. They alsorely on some very specific settings.essentia Ily controls how wet thesurface is that you're painting on. Thissetting creates exactly the same effect. ~ O.. if you apply paint to wet paper it spreads anddiffuses as soon as you make a mark.a~i1tJt be reflicated!1 m flow over the paper. Smoothness and Volume. A«.. graphic images.Watery Soft Bristle I 1 i 1 Watercolor Spatter Water thebrush you use keeps its distinct edges. which can range from thick.. The variants themselves include runny brushes which apply pools of really wet paint that will watercolor . .. The Watercolor category group of brush variants deserve special attention. you'll also find two new brush property settings. diffused washes of colour.sic.."II/III I I Liquid Ink Calligraphic Flat . which allow you to control the amount of ink on the brush and the smooth ness of you r strokes. almost penlike calligraphic lines ofink.Velocity Sketcher """'11 Liquid lnkClumpy Ink Liquid Ink Sparse Bristle ..Spatter Water The Water section of rile Brush Concrols allows you /0 bend and twist the waterw!or brushes for exceptiona fly realistic resull5. which will be added toyour image as soon as you begin to use oneof the brushes.. The feature of these brushes which deserves special attention I '" 'I Liquid InkSmooth Bristle Liquid Ink .---- .Diffuse Water ow . !1SI j f I .uri. The Liquid Ink group of brush variants imitate the effect of inks. as thestunningly realistic effects you can achievewith these 'brushes eq ual those ofreal-world watercolour effects.xtor.Runny Wet Flat Watercolor . sponge effect brushes and wash brushes that can be used to apply broad. added as soon as your begin to use one of the brushes. There is a vast range of variants within the Watercolor category of brushes and all of them are directly comparable to traditional techniques.

Ifyou haven't got Corel Painter X. Because Ihave spentso much time gawking at masterworks from the Renaissance. Icopied and pasted her mouth and resized it to 98%. including adding parts of the body. using the technique of slowly bui Iding up light. using a m ed ium brown tape red a rtist chalk 10.Tutorial Clone and glaze Jell )ohll1~oll1 tOU how to ~how~ a glaze effect to create a digital masterpiece Tutoria. 03 Create a reference study 30 I painter . 02 Alteringand rotating the photograph With the photo still On a . I am even likely to learn a few things in this tutorial! Corel Painter is so versatile that effects ca n be achieved in many ways and I encourage everyone to approach painting digitally with that in mind. It is evenly matched by the forgiving nature of digital painting in general. Ithen dropped both layers and saved as a RIFFuncampressed. The project at hand should leave us with a very nice emu lation of a character painted in oil. a common practice in portraiture. 01 Scalingthe reference photo Wow. do this by eye. Iworked side-by-side with the original to create the study on the right (it's on the disc). Using the Lasso tool. Using Canvase-Compositionss-Show Layout Grid Iplaced the eyes 011 line with the upper third of the canvas. Via Effects>Orientation>Scale Iresized it. I am given to trying every way Ican discover to achieve my ends. there will be a flavour of that look in the final piece. I rotated the head two degrees via Effects>Orientation> Rotate. After establishing a light source. shade and colour harmonies with semi-transparent layers of digital paint.1 traced around the head and features lightly and did so m e ea rly sha d in9. as it felt slightly too full for the period flavour Iwanted. itis also forgiving. After saving that layer as a new document. selected and on a separate layer. Ibegan to draw in the rest of the figure. Because the process is a gradual one. so can you! 2 hours 5kllllevel Intermediate On the CD Starter photo and sketch Photo and sketch The two starting elements what a nice thinq to have to stare at for the next few hours! Icopied and pasted the photo ontoa new canvas (37(m high by 23cm wide). It expresses some of the shading Iwill add to make the forms rounder. We will begin by dol ng a few necessary things to a photo reference. Jeff Johnson walks you through how he cloned a photo and applied eing a restless sort.l info Jeff Johnson TimeJ1eedetl Pointer master Clone and glaze In this tutorial. We will then transfer the figure to a background we will prepare together. If a muddle-head like myself can do it. we will build up the kind of atmospheric effects that one associates with oil painting. I also pinched the Ieft side 0 n to p and botto m via Effect5>D stort to fix so me minor lens d isto rti0 n. new layer set to 45% opacity and toned slightly brown.


I have used the Eyedropper tool to match colour between the rough background and started by using the Paint Bucket tool to fill the canvas with the darkest va Iue. The greenish hue compliments the flesh tones nicely. 09 Cloning the figure 32 1 painter .. I felt like I had a magic paintbrus h. I have a plan! Once I cobble together the basic picture. 08 Cre~ting for cloning aguide This step was a hoot.i used the largest Airbrushes possible for each part of this step. I created a new layer set to Darken and blocked in the basic tones for the whites of the eyes. 05 Painting in the figure Finishingthe blocking After flattening the image. so I simply copied our latest version onto the enhanced back round and reduced its opacity to 25%. namely 'soft'. set to 60% opacity. I . I felt prelty cl eve r untl II learned that a number of Corel Painter users have stumbled upon this useful application. copied and then pasted our doctored reference right over a copy of our study. I needed a gu i de fo r my strokes. an oth er document. We now have our basic underpainting and will begin to modify it. I had in mind all along that I would wantto use an oil brush cloner d irecti ana Ily over forms to create a handpainted feel. I then spent about three minutes with a Soft Blender Stump enlarged to 60 smoothing out some rough edges. Here I am in the process of erasing the unneeded parts. brought back someofthe details of the original. so I can see where to erase. hat and frills. I have set her layer at roughly 70% opacity. modifying mid-tones 07 Preparing a background Open and shadows Say what? One day I was experimenting with the Soft light layer and discovered that if I painted onto it with a dark colour. Using this layer combined with a fairly large soft-edged brush set to less than 100% opacity creat es wonde rfu lIy Iumin ous effects with very little modification ofthe edges needed. body. It has become a staple in my bag of tricks.. it would subtly darken the area painted. as the fields bordering these areas are darker than the goal values. black dress and a very rough background. I then zoomed in and using a Straight Cloner. Using FIIe> Cion e Sou rce I selected ou r cobbled together version as the source. After a few experiments.. This is a snap..- Soft light layer for -" . in order to create fairly smooth transitions on the first pass. Using the Eyedropper tool I borrowed some of the reference's colours to roughly paint in the new hair.. Note how my brush strokes follow the contours of the forms. because it takes advantage of the operative term. 06 ::.Tutorial Clone and glaze Merge photos and sketch Get that traditional look I then used the Lasso tool. We're going to do a refined background. Using a size 180 0 igital Ai rbrush set to 60% opacity. O4 Transferring the reference Next I painted out the hair. I gradually worked from dark to light. the sam e size ad before. I set this layer at 80% opacity. I decided the Smeary Camel (joner was the ticket and I began to done directly onto the background. I am going to transfer it to a prepared canvas via an oil cloning brush that will give me the opportunity to fi nesse every pa rt of the pa inti ng .

vou painstakingly observed every colour you could see and mixed up a slew of separate hues and values. blending them seamlessly. mid-tones The nextthree steps help define our light source coming from in front of and above her right eye.t discover new methods all the time. The indirect method takes a different approach. eyes. First. I also continued rounding out areas like the far cheek with mid-tones. Finally. lope ned a dela ult laye r.10 Add and highlights. corrected sam e area s andbegan to draw in detailsof the hair. The truly astute observer Will notice that I nudged I ent i re he mouth up a fractio n. thinner and oil. using various Digital Airbrush brush sizes. 12 Add depth and nuance to shadows After creating a new I added to the shadows and mid-tones aro und the nose. I created a new layer set to Soft Ught and using a size 27 Digital Airbrush. reintroduced some handpainted deta iI arc und the eyes and eyebrows. mouth. Multiply 13 Usinga layer ~------------------------------------------------------------------ 'painter 33 . Understand glazes The shining light from the darkest shadows So you just painted an apple. That is indirect painting in a nutshell. usually some mix of varnish. Simply reducing the opacity of a layer or a brUSh works. vou JLIS! employed the directmethod of painting. This included the entire left side of her face.and cheeks on aMultiply layersetto 25%opacity. I increased the size to around 70 and selected a yellowish-white lor passes over high lights. glazing usually involves very little pigment suspended in a thinning medium. I then selected a m ediu m brown ish-ora nge and added a few mid-tones to the nose and aroun d the eyes. Put a piece of blue cellophane over a patch of yellow and you slOe immediately that you have a green that has optical properties that can't be achieved by mixing paint. made a pass of dark brown in areas away from our light source. picking mycolour from the lightest a rea in the forehead. I used the largest brushes that would fit the various areas to paint a medium reddish-brown into selected mid-tones to add variation and depth to the areas not in direct light. Then you meticulously applied them to your canvas. shadows Icreated a new layer and. Composite layers I ike Gel an d M Ultip IV are parti cu larly well suited for an indirect approarh. In traditional oil technique. An indirect painter begins with an underpalnting that is then moditled by successive semitransparent layers of paint that affect but don't completely cover the previous layer. Corel Painter places a number oftools at one's disposal tnat (an be used to paint indirectly. I offerthis side-by-side forcomparison. 11 Broaden the value range layer set to Gel at 16%.

17 II is good pr a ctke to II ip th e pictu re a few times.... Indirect painting is a process of harmonising elements together. alIe riflg only the directiofl and placement of the source. com/materials/ IndlrectP. a Salt Lig ht layer for sorn e subtle highlights. . I gently brought some of those cooler but lighter blues into the picture.. I like to Ieave sam e dither and dash.. ) 2 After merging and saving. The majority of my work is done with the entire painting visible on the screen. as is the case when glazing traditionally as well. began to softly blend out marks that either didn't look man-made or detr a(ted from the pi cture.ighten layer to gel rid of a few annoying marks along the frills.. so I didn't spend too much time smoothing_ 19 Cleanup 34 painler ... ..noteaccess. that usually translates to roughly 25% magnification. 15 Apply lighting On-line resources Here are a couple of websltes that offer valuable insights: www. 16 Apply lighting Colour correct layer I copied our image onto rtself again and this time worked on the lower layer. and a L. I repeated the procedure and chose Gradual Dia gonal. with a Soft Blender Stump as large as I could fit in each area. paint on your nose !worked through th Is tuto rial without zooming in to near 100% until the very last step.sis of Reed Kay's excellent notes on indirect pa inti ng techniques. I saw several small a reas that need ed attenti 0 nand created a Multi ply Iayer for da rke nlng. I used the separate layer in case I wanted to da b a bit of the effect off in places. and one has to see the whole painting at one time to tell if anyone step Is working towards that end or not.. http://forum5. cgsoclety.. q. Owing to the size of my digital canvas. 14 Adding in some details 1 Th is step and the next will help create an atmosphere and put ou r su bject in to it. It is written for natural media. focusing on creating rhythms of spot detail versus finishing everything completely... : ..Tutorial Clone and glaze Lighting and colour tweaks Going from good to great \1 . made the picture a bit too dark and it brought in a little colour balance as well. D "M Working with a Soft Light and Darken layer open.. Via Effects>Correct Colors I opened the Color Correction dialog box and chose Curve>Auto Set Then. as imbalances tend to pop out. I chose warm globe. 18 Flipping the picture Nowlzoomec to 200% and. This time I chan ged th e opacity of the affected layer to 50%.l~Ung Mew"r. working on the top layer with my 130 sized eraser. .... focusing on the highlights and the dothinq.211> AmbhJ1o'~ ~h~CaJor .. I painted in selected details throughout the painting.. ) ( Ub'arr.. merged and saved. I gently dabbed back some highlights. I alternated between them and the painting itself to finalise some forms and has a thread devoted 10 Corei Pa inter and Its art lechniqueslorum has handy tutorials an d top ad vice from some 01 the most skilled digital painters out there. but most of it holds true for digital painting as wen. U'[.. ) (s . The page also has links to other insightful articles on painting. The last two steps had.. This prevents me from los ing trae k of th e overall Impact of a step on the pa Inti n g.... Using a 130 eraser set at 60% opacity. I co pied and pasted our image on lop of itself and via Effects> Apply lighting.htm has a 5ynop. but it did the trick. Note hoy I modified the sliders and placement of the source. Don't get c ...

.. brightness and contrast across an image..... The Using drop·down menu allows you to control how the colour is adjusted. Brightness/Contrast Overall colour edit The Brightness/Contrast option allows you to alter the. When you open up the Correct Colors command.... -~ _. In addition to edits that improve the colour of an image. This is a great way of experimenting with different looks without having to worry about running out of Undos and ruining your original image. The Adjust Color command allows you to determine the hue. we'd suggest that if you are painting from a photo that you always first pay a visit to the Tona I Controls options.. . Original Luminance uses the luminance in the clone source.Primer Effects menu Tonal Control Use this Effects group to make sure the colours in your image are loud and proud ur next stop on the journey down the Effects menu is the Tonal Control group. These are great if you want a certain look and can be used to kickstart the colour scheme of a painting. There are four options in the menu. .. Open the dialog. a dialog window will open.. In fact. Contrast and 6rightness.. EFFEffi MENU Video Legal Colors One ronat Contro I option is very useful to movie-makers and that's the Video Legal colors command. Unless you make a selection. saturation and value of an image. satur alion 0 r va Iue. Curve. Some of the edits will work as dynamic layers.. Once you've set the using menu...._ ' . From here you can perform tasks such as adj listing brightness and contrast. The sliders change according to the option selected in the menu. see the right side panel. a window will appear with a Contrast slider (top) and a Brightness slider (bottom). the options in here allow you to edit the colours in an image. Paper will take the current paper grain and use as the adjustment. uniform Color will tweak all pixels. For more on dynamic layers. -. hit Reset. Move the sliders right to increase the effact or left to decrease. you see a window with a big area for curves and then a drop-down menu below it.. editing selected colours and applying postertsatton effects. By boosting saturation or enhancing shadows.. allowing you to make changes without permanently affecting the original image. If it goes wrong. Image Luminance will take the lurninante in the image as the starting point for adjustment. use the sHders to aIter th e hue. outlandish results. choose your format and press OK to set. This ensures your image's colours are compatible with either the NTS( or PAL video colour.. Corel Painter is just a tool for creating digital art... using RGB values. itis also possible to use some of the controls to create wild. erm. _.. Freehand and Advanced. 0 nce you se lett the Brightness/Contrast command from the Tonal Control set. 36 I piint_e_' __ . Once selected. Making adjustments with this tool is intuitive and i 5 based arou nd sliders. Adjust Color Enjoy complete colour control . you can make a photo more 'painterly'..!to .. but it also has an impressive set of tools for editing photos and the Tonal Controls effects playa major part in this. To many people. As you can guess by the na me... the edit will be applied to the whole of the currently selected layer..

. Anything towards the top of the graph will be lighter than the starting point.k and white markers . no foul! 02 03 Negative and Posterize For when you need precise contrast edits Equalizing an image allows you to improve contrast and brightness by setting black and white points. for example.. Go to the bottom of the palette and click the Dynamic Plugins icon (second in from the left). The black square is the 'master' curve and controls all colours equally. a line will appear on th e curve rep resenti ng the changes you've made. blue and green in an RGB image.. Pick the command you want from the list that appears. The red.I>Posterize and enter a value of S or less for the number of levels. blue or all) you can move the sliders to adjust the curve. " 3' ID . while anything towards the bottom will be darker.. Once you have decided on the colour to edit (red.READIN.G THE CURVE As you move the sliders. with a little dynamic plugin icon just so you don't forget which one it is. Edit on a dynamic layer Experiment without any regret! Dynamic layers are a fabulous way of trying out an effect without worrying about ruining vour original image. a red line will appear in the grid.values to the right of the white marker become vou make adjustments by moving the blac. The Posterize option allows YOll to limit the amount of colours in an image. this does change according to certain images but if we don't like the effect we can just delete the dynamic layer. . You'll see your edit appear in the main grid in the corresponding colour. Dramatic effects with just one click Two 01 the Tonal Control options are parttcutarlv good for dramatically altering a photo or image. You can also posterise using a color SEt. Go to Effects>Tonal guessed it . blue and green squares relate to the red. please Assoon as you make a choice from the menu. However. 01 start the edit New layer. If you edit the reds. TO the right olthe drop-down menu is four coloured squares. green. No harm. you are free to make your edits. By setting a dynamic layer. and values to the left of the black marker become . the image will be adjusted so the lightest colour is while and the darkest is black. After going to Effects>Tonal Control>Equalize. Your image will now have a more illustrated look to it and is a great starting point for vector or comic book-style images. painter 37 . Once you have these set. it pays to stick to eight levels or less. Open your photo or image and then call up the Layers palette. Click one ofthese to edit that colou r. The Negative setting will create a negative version of your layer or selection and is particularlv effective in collages or backgrounds. Corel painter will then use these two points to evenly distribute the values across the layer or selection. Equalize and Posterize commands. Ready to edit Now the dynamic layer is all setup. When it comes to postsrisinq an image. a new layer will appear above your original one. We decided to go fo r Posterize. you work above the original and can set one for the Brightness/ Contrast.

no foul! 02 03 Negative and Posterize For when you need precise contrast edits Equalizing an image allows you to improve contrast and brightness by setting black and white points. If you edit the reds..I>Posterize and enter a value of S or less for the number of levels. you work above the original and can set one for the Brightness/ Contrast. . green. it pays to stick to eight levels or less. 01 start the edit New layer.G THE CURVE As you move the sliders.READIN.. Go to the bottom of the palette and click the Dynamic Plugins icon (second in from the left). please Assoon as you make a choice from the menu. Dramatic effects with just one click Two 01 the Tonal Control options are parttcutarlv good for dramatically altering a photo or image. TO the right olthe drop-down menu is four coloured squares. Once you have these set. Corel painter will then use these two points to evenly distribute the values across the layer or selection. the image will be adjusted so the lightest colour is while and the darkest is black. After going to Effects>Tonal Control>Equalize. a new layer will appear above your original one.values to the right of the white marker become white. for example. Pick the command you want from the list that appears. blue or all) you can move the sliders to adjust the curve. Once you have decided on the colour to edit (red. blue and green squares relate to the red. Go to Effects>Tonal Contro. No harm. We decided to go fo r Posterize. " 3' ID . painter 37 . Open your photo or image and then call up the Layers palette. You'll see your edit appear in the main grid in the corresponding colour. The red. vou make adjustments by moving the blac. Ready to edit Now the dynamic layer is all setup. a line will appear on th e curve rep resenti ng the changes you've made. Equalize and Posterize commands. The Posterize option allows YOll to limit the amount of colours in an image. you are free to make your guessed it .. You can also posterise using a color SEt. By setting a dynamic layer. The black square is the 'master' curve and controls all colours equally. Click one ofthese to edit that colou r. Anything towards the top of the graph will be lighter than the starting point. this does change according to certain images but if we don't like the effect we can just delete the dynamic layer. a red line will appear in the grid. Your image will now have a more illustrated look to it and is a great starting point for vector or comic book-style images. blue and green in an RGB image. Edit on a dynamic layer Experiment without any regret! Dynamic layers are a fabulous way of trying out an effect without worrying about ruining vour original image. However. while anything towards the bottom will be darker. with a little dynamic plugin icon just so you don't forget which one it is. and values to the left of the black marker become . The Negative setting will create a negative version of your layer or selection and is particularlv effective in collages or backgrounds.k and white markers .. When it comes to postsrisinq an image.


Using the RealBristle brushes
Tutorial info
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Tim Shelbourne
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P~lnter master



Skill level


RealBristle brushes are new to Corel Painter X and in this tutorial, we demonstrate just how easy it is to use them to create stunning paintings full of brush strokes!
fyour primary goal in using Corel Painter is to produce images which are as close as possible to real world oil or acrylic paintings, in version X you have a new super-powerfu I creative weapon right at your fingertips, namely the RealBristle painting system. In the following tutorial. we're going to illustrate and prove to you just how incredible these brushes really are and produce a landscape painti ng which you would be hard pressed to tell apart from its real-world equivalent! RealBristle brushes are the closest Corel Painter has ever come to actually putting a real, traditional artists brush in your hand! Essentially, these brushes very accurately mimic the shape and behaviour of traditional bristle brushes, with all of the same variability and vitality that artists have come to know and love in these brushes. The brush variants themselves range from short flats, through to lovely full-bodied round brushes and even include tapered varieties which mimic traditional filberts. As well as the selection of preset brush variants you'll find within the RealBristle categories, you're also able to customise and change every aspect ofthe particular brush's characteristic within the RealBristle section of the Brush Creator or the brush controls. You can change behaviour such as bristle length, bristle rigidity and the shape of the brush head, right the way through to the amou nt of friction between the brush and the surface and the wetness of the canvas. Remember, this project is all about pa luting, so use the fi nished image as you guide, but don't be afraid to inject some of your own personality and vitality into your brush strokes as you work. Use these brushes with enthusiasm and the rewards Will come!





RealBristle brushes

From sketch to painting
Laying down the base colour












Download the starter sketch and colour swatch from Open it up and go to File>Save As and save the file under a new name and as a Corel Painter .riff file. Click the Papers swatch and choose Artist Carwas, Click the Brush tool and choose the RealBrlstle Brushes category. Choose the Real Round bristle variant Choose a mid brown from the Colors palette.


Open the sketch

With this brush at arou nd 10 pixel si ze, rei nforce the distant shoreline and landscape simply by roughly painting over the sketch lines. You can leave the sketching in the sky as it is..Change to the Real Flatvarianl.lncreasethe brush size to around 60 pixelS and in the Size category ofthe Brush Controls, change the Minimum Size to 65%.


Reinforce the sketch


looking skyward Choose a mid blue colour and begin to paint in the blue areas of the sky. Use lots of short strokes here in random directions. Remember this brush loses its colour quickly and starts to blend after being in contact with the canvas for a while so regularly lift you stylus and then begin to paint again.



Loading the Color set
We've supplied a colour set which features all the colours used in this painting. once you've downloaded itfromwww.

water As you paint the blue ofthe sky, periodically choose either a slightlylighler 01 darker shade ofthe colour to vary the blue here and there. Now choose a darker blue fro m th e colour set and using the same brush at a smaller size, rough Iy pa int in the water using energetiC horizontal strokes.


Paint some

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Choose the Real Oils Short variant. Set Blend to 21%, Feature to 4.4 and Grain to 72%. Choose a very dark blue/green from the swatch and reduce the size of the brush 10 around 29 pixels. Now begin to paint in the distant hills. Again, use short strokes here at various angles.

O 5 The hills are alive!

palntermagazine. co. uk, in Corel Painter
go to Window>(olor palettes>Show Color Sets. In the Color Sets palette, dick the small right-pointing arrow and choose Open Color Set. Click Load and locate the downloaded colour set on your computer. Once the set is loaded, click the small rightpointing arrow again and choose Sort










Choose a very dark olive green. Reduce the Bleed of the brush to 12%. Now, using the brush at 19 pixels, paint in the hills below the most distant ones. Try and use fairly long sweeping strokes here. Choose a darker shade of the same colour and add some darker accents here and there.



Ch oose the Rea I Flat Opaque variant. Set Bleed to 5%, Feature to 7.1 and Blend to 2%. In the Brush Creator (Window>Show Brush Creator), choose the Color Variabilty category. Set H slider to 10%. Choose a very da rk b Iue/bl ac k from the Colors palette. Add a new layer (CtrIlCmd+ Shift+N). Now begin to paint in the foreground hills and land mass,


Darker features


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Our pick of the RealBristle brushes
For the initial blue of the sky, we will use the Real Flat variant. This is a great RealBristle brush because it quickly enables you to cover large areas with colour thatstill maintains lots of visible brush strokes for interest and texture. These brush strokes become visible because of the fairly high Blend value featured in the brush.

The sky's the limit thanks to Corel Painter
For the lighter parts of the douds we use the Impasto brush we created, which is a modified version of the Real Oils Short variant. The great thing about this brush is that it paints wi.lh impasto and is best used in short dabs in various directions. For all of these brushes one of the most important values is that of Blend. At high values the brushes will create strokes and colours which blend together, at lower values your brush strokes will be more distinct.

For the darker cloud areas in the sky, we're ustng the Real Round Bristle variant. The attributes we apply to the brush means it has a fairly high Feature setting, which allows the individllal bristles within the brush to remain visible in the areas of paint it applies. The low Blend value means that the colour remains for longer as you continue to paint. It's best to use this brush at a fairly large size and with a distinct scribbling motion.

Real Flat - High Blend
With a high Blend setting, the Real Flat variant blends readily and quickly with the canvas and other paint.

Real Flat - Low Blend
With a low Blend setting, the same variant blends less and leaves much more distinct brush marks as you paint.

Real Round Bristle
The Real Round Bristle variant leaves visible bristle marks within its stroke, making it ideal for soft areas such as the darker shades in the sk y and clouds.

Real Oils Short -lmpasto
Because we've modified the Impasto properties of the Real Oils Short variant, it paints with very realistic impasto, making it ideal for the bolder areas of the sky.

Real Oils Short - No Impasto
Here you call see the same variant without the Impasto value applied. You can easily achieve a mix between the two simply by using a very low Impasto value.

Continue with the colour
We're still applying base colour!
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Use short, scribbling movements here, regularly removing you r styl us from the ta blet Reduce the size 01 the brush as you start painting in the narrow areas along the shoreline. Add a few llllall vertical strokes to indicate trees and areas of interest.


suggesting detail

Change to the Real Round Bristle variant. Set Bleed to 10%, Feature to 2.8and Blend to 11%.lnthe Layers palette, return to Layer 1. Increase the size of the brush to 60 pixels. Now begin to add the darker areas to the clouds. Use nice, random movements here, reducing the size of the brush where necessary. Refer to the finished painting for placement of these areas.


Darker clouds

Redl1ce the size of the brush a little and paint the darker areas of th e sky just ab ave the horizon line. Aga in, use short, da bb ing strokes, brushing over some areas repeatedly to blend those areas a little. It's a good idea as you go to choose a slightly warmer or cooler hue of a similar tone from the Colors palette.

10 More sky

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RealBristle brushes

Suggest detail with subtle shading
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create the


It's all in the brush work



choose the Real Oils Short variant and set Bleed t037%, Grain to 72%, Feature to 1.2 and Blend to 26% in the Properties Bar. Now go to the Brush Creator and click the Impasto categcrv, From Draw To choose Color and Depth, and set the Depth slitler to 14%. Click the Artists Oils category and use th ese settings: Bristling 9%, Clumpiness 95%, Canvas Wetness 50%. In the General category, set Grain Expression to None, and in the Size category, set Feature Expression to None. Once you're back in corel Painter, click the small arrow next to the variant selector and choos e Save Variant, giving your new brush a name.

Using the Mixer pad, mix a range of very light pinks, yellows and bl u elg reys. Now choose the Impasto b ru sh yo u made earlier (see lmpasto Brush boxout to the ieft).ln the Mixer pad, choose the Sample Multiple Colour; Eyedropper and click anywhere within your mix of light shades in the Mixer pad.

11 Mix some colours

Begin to paint in the lightest parts of the clouds, Remember, this brush paints with impasto, so the more you pant over one areas, the thicker and more three-dimensional the paint will become, Refer to the finished image for the placement of these highlight areas.


painting the clouds with sunshine!

Pai nt and Blend Reserve the thickest areas of impasto for the absolute highlights in the sky, For where the lighter areas of the clouds meet the existing dark areas, increase the Blend value of the brush in the Properties Bar so that you get smoother transitions from one tone to aneth e r here.




Reol Flot Opaque

Add a new layer. Choose the Real Flatopaque variant and in the Brush Controls palette, set Minimum Size to 75%. Set Grain to 64%, Bleed to 5%, Feature to 1,5 and Blendto 17. Now, choosing lighter greens, ochres and yellows from the supplied swatches, begin to add some more colours to tbehills.

14 Another brush

Suggested detail Use long strokes . that suggest the contours ofthe land and remember that the lightest areas will be on the tops of the hills, As you work further down the hills, use darker shades of greens, browns and blue/greys. In these areas, increase the Blend setting to around 40% so that the brushstrokes aren't quite as distinct. There are really no definite shapes to paint here, we're simply adding texture.


Increase the size of the brush a little and begin to add some real darks to the large tree bank on the left ofthe painting. It's important to break up this area with stokes of slightly different dark colours from dark browns through to very dark dusky blues, A great range of these colours are in the supplied colour set

16 Dark shades, broken colour

Refine the detail Use this same brush at a smaller size to add some small strokes to the top edge of the distant tree mass, to break up its outline and blend itslightlywith the sky, Now continue adding dark areas of interest all along the shoreli ne, sti IIvaryi ng t he-colou rs you use here and there, Small, random brush strokes here will work well.


Small, upward strokes of the brush along the dark of the shoreline can easily give th e impression of small trees and objects. Again, at this distance you really only need to be quite impressionistic. but it's still useful to zoom close in to the image so you can sf IIsee the brush when you're using it at a small size.

suggested 18 trees

421 painter


Add some extra elements
But still keep a loose style!

•.. c Controlling the impasto effect
Sometimes, by default, Corel Painter can slightly over-egg the pudding when it comes to showing the impasto effect in your paintings, but you can easily temper this via Can vas-surface Lightl ng. use th e Amount slider to reduce the impasto effect in yo u ima ge. Often, ver y small values applied via this slider can give a much better effect than more extreme ones. Just click OK to apply the change.


Reduce the brush to a very small size (around 5 pixels) and choose a very light blue/grey from the swatches. Distant boats along the shoreline can be indicated very easily. Simply make upward strokes for the masts and sai Is and two 0 r th ree horizontal strokes for the main body of the boats.

19 Distant boats

At this stage, you can add a new layer to the image for the final details, or continue working on the existing layer, whichever you'd prefer. Continue to add horizontal strokes of this light colour along the distant waterline to serve as simple highlights on the water.


water highlights

The foreground boat is really quite easy to construct as we're using a flat brush which helps a lot with the shapes. First, set the Blend value to 7% so the paint from the brush does not blend too much. Set the brush size to 9 pixels. Choose a very light blue/grey and paint a long vertical stroke in front of the tree mass to serve as the mast of the boat.

21 let the brush do the work!

lnrrease the brush size to around 22 pixels and paint in the two . triangular shapes for the sails. Apply more pressure towards the bottom ofthe strokes to widen the brush there. You ca n always reduce the size of the brush to sharp en up the shape of the sails. Make sure to stroke in some thicker highlights, using the brush at a smaller size.


Painting the sails

Boatbu ilding! Choose a slightly darker neutral grey and use horizontal strokes to paint in the main body of the boat. Use short, deft strokes here, before reducing the size of the brush and adding a couple of small highlights here and there, By using the brush at a very small size, you can refine the outline of the boat.


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Real Blender brushes
The Real Blender brush variants (Real Blender Flat, Round and Tapered), are very useful for refining your paintings. If there are areas of paint where tones and areas of paint don't blend together as much as you would like, use one of these brushes to brush over these areas with an app I"OX imate co lour to subtly blend the areas together.


Choose a very dark colour and reduce the Blend and Bleed to very low values. Now use the brush at a very small size to add the dark details to the boat

24 Darker details

Increase the Feature setting to 6.3, ChoGse a deep petrol blue and set the brush size to 39 pixels. Now use this brush to add long hori zonta I stro kes to th e wale r. Also add some of this colour horizontally beneath the boat.

25 Watershadows

More refinements This step relies on your own preference. Using the techniques demonstrated throughout this tutorial, refine the painting by adding more areas of in dicate d detail, such as more distant boats and sharp highlights on the water. Using a range of colours from the swatches, also take the time to add some finer details to the hills and sky.





COiliinler p -- .


This means that you can visually see which colours complement each other or which belong to the same 'group'. The main man (plus additional) Two squares are better than one One thing that confuses most people when they move from a program such as Photoshop over to Core! painter is the two coloured squares in the toolbox. Once you have selected your main colour. Work with RGBvalues If you are creating a piece of art that you know has to have certain RGB colour values. the Mixer palette is phenomenal. the Color squares and the Color Sets palette. 0. In Photoshop these would be the foreground and background colours. Selecting the perfect hue is vital to any artist and it comes as no surprise to discover that Corel Painter has plenty of options for is to click the front coloured square in the tcolnox. you might think that the little readout box in the corers pa lette is useless.. two· paint gradients or whenever more than one colour is applied. You can use this to mix up paint as you would with a traditional paint palette and can also set the brush to pick up multiple colours. When it comes to emulating traditional art techniques. though. but in Core! Pa. MAIN AND ADDITIONAL COLOUR Thefront square here sets the main colour being used. Well. Click inside the wheel to select a colour and adjust how bright or dark it is bV moving the slider up (brighter) or down (darker). we'll be explaining everything over these pages! In addition to the Colors palette.inter they are the main (front) and additional (back). there are various other methods of selecting colours. If you haven't got a clue what this means. < 100% I~ aleed: 0% t JiI. with a colour wheel and a slider to the right. As you'd expect from Corel Painter. including a walkthrough on how to create and save your own Color Sets. since it shows HSV values instead. If you dick on this readout it will turn into RGB. Again. so it's worth mastering how to select it! olour is one of the big boys when it comes to creating artwork. These include the Dropper tool. The main colour selection takes place in the Colors palette.Feature focus Selecting colour Selecting colour Canvas 34% layers Select Shapes Effects M01 L 1110 . To set the additiona! colour. we'll be looking at how all of these work in more detail. The main co lour is the one currently selected. where you'll find out how to use it and what options are available. so you can see how things are shaping up! Select using squares Quick and easy colour selection The quickest way to select a colour and the most intuitive if you're used to using an image editing program. double-click on it and pick a colour as normal. this is entrenched in traditional art theory and is based around the concept of a colour wheel. you can then adjust its saturation or colour value. editing and saving colours. We've got a special walkthrough just on this feature over the page. These range from co lour spectrums througll to web-safe roloers.00 ( Colour is at the heart of any painting. The additional colour only comes into play when you have multicoloured brush strokes. The backsquare is the additionalcolourand comes into playwhen you use dual colourcontrol on your brush. There are also icons at the top of the window that anow you to set a different way of sel ecting acol 0 ur. This will call up a Co!ors window. 48 1 painler .

this palette allows you to set a hue 1. Typically. clothes . clean color set Start by picking a colour from the Colors palette and then click the Add Color to Color Set button (second from right). you lighten the colour and create a tint. Pick a locati 0 n 10 save to and dick Save. once the palette appears. COLOR SETS These sets are a handy way of keeping colours of similar values or uses together.. Choose Save Color Set from the menu and give you r set a na me in Ih e Save As box.maybe you are designing for the can see the colour values for RG8. c: . Usethe triangle for tints and shade The triangle In the middle of the ring controls the saturation and value of a colour. Create color sets Group colours for easy location Color Sets are a fabulous way of grouping colours and creating bespoke colour palettes. painler 49 . Corel Painter ships with several color sets. Saturation is basically how intense a colour is. By default this will display as a ring of colour with a triangle in the middle (although you can make it smaller). 51 mply dick and drag th e small black circle. landscapes. this model begins with you picking a hue. Value refers to how light or dark a colour is ana lets you pick tints or shades of colours... hence why it's presented In a ring. which is represented by the circle. To sel ect your hue. As you move it around the wheel. or create your own for the perfect control. A move to the right will increase it for a very strong colour. Start by 9 oi ng to Wirldow>Color Palettes-Show Color Sets. You might make some for portrait painting. By moving the circle to the lop of the triangle. 01 Open up the sets If you have to adhere to certain colour rules . You can use the ones that ship with Corel Painter. saturation and value colour model._"'-IIfoIo--~I. click the small rightpointing arrow and then select New Empty Color Set."h~. Moving the rirda to the bottom of the triangle will darken the colour and therefore make a shade.. Now it's time to fill your nice. By moving the triangle's circle to the left.The hub of choosing colours. HSVand Web RG8 from here.. n o o This palette is one of the most e)(citing features of Corel Painter and allows you to blend colours just as you would with a traditional paint palette. 03 Repeat and save The value of saturation USingthe Color palette's Hue ring to set colour The best way to select colour is the Colors palette.!!!L&. you reduce saturation. Hue Indicates a colour's position on a colour Wheel. V1 CO r0n ::::l OQ cr.\ and also control the value an d satu ration of that hue. This is based around hue. the triangle and main/additional colour squares will update accordingly.•• it's completely up to you. 02 Pick your colours Continue until you have all the colours you want and then click the right-poiflting arrow again. but it's worth creating your own.

yo u can also save yo ur creation 5 i It the Mixer palette. Watercolor Camel. pay a visit to the Dropper tool. givi ng ve ry rea Ilst Ie results. As long as it's a visible colour. Found in the toolbo~ (or by hitting '0' on your keyboard). NOW go to Select>AII and press delete/backspace. Swap between the two by holding down Cmd (Mac) or Ctrl (Windows). you can use certain brushes to mix colour directly on the Mixer pad and then move over to the canvas to start painting straight away. Return to the Mixer pad and pa int. LOad it up by picking Open Mixer pad from the pa lette menu. 02 Applycolour To get started with the Mixer pad. The variants that support this are ones that use these dab types: Camel Hair. Bristle Spray. Do this by clicking the Sample Color tool at the bottom 01 the Mixer palette .FeaturefocU5 Selecting colour Mix colours with the Mixer palette" Enjoy a true real media effect version Users with IXor above of Corel Pa inter will be able to enjoy the Mixer palette. choose where to save it and then click Save. Maybe you have created the perfect concoction for und erwater scenes. the colour will be an approximation of the clone source's colour. This allows you to mix and merge paint just as you would a traditional paint canvas. 05 With Corel Painter will become the main colour. If you're using a brush that has dan-basad dab types. you need to apply it to the canvas. Rendered dab types sample various colours. 11allows yo u to sel ert 11 co 10 U r fro m 11n image. the Mixer pad is on a white background. it will appear in your square. For the shortcut fans. This is good p ractice if Y0U are pa inti ng on to a colou red ba ckground as you'll see how th e eolou rs will appear once mixed. Simply go to the palette menu arrow and click Save Mixer Pad. Give the pad a name. O1 Open up the palette A new background By default. you might find that you can't get the hue that you need. Here's how it works . O6· All in the brush The Dropper tool Sample colour from images Even though the Colors palette is an extremely accurate way of selecting colour. go to Window>Color Palettes>Show Mixer to open up the Mixer palette. click on the Apply Color tool at the bottom ofthe Mixer palette. Flat. If you paint over the orig ina I colour you added. Pick a brush and open the Colors palette. Now paint with the new colour. so return to the colour swatches and click on a different colour. For Cimes like these. Go up to the row of co lours at the top of the pa lette and cI kk on 0 ne you like. Watercolor Flat and Watercolor Bristle. Click the main or additional colour square. Your chosen colour will appear. Click the Clone Color button and start painting! 50 painler . This works by letting a brush pick up dabs of colour from the clone source. IIyou'd rather change this.. Open an image and go to File>Clone. so pick the new colour you want. 03 creations Save your Jllst as you might save a co lor setfo r work in th e future. The Mixer pad was not meant for just one colour. you'll see the hues start to blend together. Paint in the Mixer pad as before. A Colors dialog box will appear.. pick the Dropper tool and then click the COlour you want to sample in your image. just press Cmd+2 (Mac) or Ctrl+2 (Windows). click on the palette menu arrow and then choose Change Mixer Background. use the Mix Color tool. If it isn't already open. Clone colour from images Go for preset colours Another way of using colours from an existing image is to use the Clone Color option. To reallywork them in. but it can take a bit of getting used to. 04 Second helping Use the colour When you are happy with the blended colour. Maybe you are trying to add text to 11 painting but can't get a colour that matches a hue in the image.

use this to load up multiple nues Sample Multiple Colors tool Zoom tool Quickly zoom in and out of areas on the Mixer pad The Mixer palette will open with a default set of colours. and the job's a goodun'! ! Clear and Reset Canvas tool Get rid of any marks on the pad and reset the zoom level to 100% i L-. of co lours. which you can use to adjust the values. the ability to annotate colours means everything will always match up. 08 Multiple fun On palette tools Ensure perfect control Mixe~-I I I I Travel down to the bottom of the Mixer palette and you will find a rangeottools that allow you to control how you mix the colours.[ Know y~ur a traditional paint palette. iJainter" 51 ..-. ---. Get colour information For when things gets technical You can c. Now go to Canvas>Annotations> Annotate. Dirty Brush Mode tool Enable this in order to. a save colours by clicking the palette Navigate to the one you want 10 Save the colours When you have created your new selection pa lette men u a rrow a nd click Save M ixe r location and then save! You can load Mixer menu arrow and picking Load Mixer Colors. Click in the pad to pick up colour and then paint on you r canvas.all up the Color Info palette and discover the HSV or standard RGB values of the colour you are currently using. 09 other swatches Pan tool If your pad expands beyond the realms of the palette. go to Window>Color Palettes.---- Annotate colours Passthe information on If you share your work with others or are collaborating on a project. These are all you need in order to create your own special colour mixes for whatever the job at hand is. The colour you just mixed will be applied. you can see hexadecimal RGB values for when creating for the web. You'll see some sliders. As soo n as you let go of the mouse.---. The square will change to your selected colour.pointing arrow to swap between RGB or HSV colour values. but you can change these to suit your work.---. if you Shift·click on the HSVjRG8 square in the Colors palette. If it isn't already open. picking your COlour from the color set with names. Give ita name. or simply type a new number in the box. does not add any more sample Color tool Use this to sample a colour from the pad and set it as the main colour When you have a pleasing blend. apply colours mixed in the pad to your canvas Making sure you have a brush selected that supports direct mixing.. Also. Paint as normal. although you have to be working from a color set Ihat included names. Save as a RIFF file to keep the annotations. you are able to load more than one colour on a brush. Check that the Dirty Brush Mode tool is selected and then move over to your canvas. It is from here that you can save your Mixer pad workspace. In addition to the tools. move the paint around in the window to get the mix you want.Show Color Info. use this to move about . 07 Mix and apply Apply Color tool Use this to Click on tile top swatches and apply a colour to the pad Further afield Customise your colours Mix Color tool Mixes colours on the pad and unlike the Apply Color tool. the name of the colour will appear. Pick a colour from the Colors palette and then Crnd-dkk (Mac) or (trl·click (Windows) on the swatch you want to change in the Mixer palette. Click the rlgnt. don't forget about the settings available Irom the palette options arrow. go to the Calais. Any alterations you make can be previewed In the colour squares. Put your cursor over the colour you want to annotate and then drag out to just beyond the bo uncart es of the colour. Selectthisand move the Change Brush Size slider to decide how big the sample area is. It's very easy to do as well. You can do exactly the same in the Mixer pa lette t ha nks to the Sample Multiple Color tool.

52 painler .

. """":~ Navigate to where the image is you wa nt to use and select it. painter 53 . This is easily done.. Now click Choose File. Register Pop along towww. You'll betaken to the home page of the website.. Fill in the form and make sure you enter the correct email address. but you might prefer to add your own image. Click the link and you're now a member! Your profile There's a default avatar. Go up to the Sign-up link and click on it. but the image will be automatically shrunk to fit the space. Go down to the avatar bit and click Remove This Image. For ease of use..... ~ '~ (- . Make sure it isa square format to start with... Make sure you are logged in and then click on Edit paintermagazine. Set the file . ~ . click Create User and wait for an email. Once make sure it is relatively small....

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Discover how to re-create one of America's most 56 1 painler .


with strokes being highly visible at times. He remained a private person who spent much of his life in his house on Cape Cod. Hopper is reported to have said of himself: "I guess I'm not very human. Nighthawks is a timeless piece. His style was a success from the very start of his career and his acclaim continued to grow during his lifetime. In the spirit ofimitating real life. Josephine. we will use the simple 28 Pencil. to find spots ofinterest. The locality of the all night diner is interesting to note but the place could in fact be a nywhere. In 1920 Hopper had h is first solo show at the Whitney Studio Club in Greenwich Village." According to the artist's wife and muse. Hopper had a very clear idea of a piece before he sta rted the work. The dark black areas are in fact made of black and dark we will explore Corel Painter's tools and array of paint media. We will also end up with an oil painting but instead of applying impasto di rectly onto the guidi ng sketch. I TiJis oil painting is full of sllades and tones. Hopper's paintings were of an outsider looking in. They are lost in their own thoughts and inevitably make us wonder of their personal circumstance. often using Josephine as a primetime/Csi/ diner/! ighthawks was based on a Greenwich village spot that attracted Hopper's native eye. Hopper was already a wellknown artist. All I really want to do is paint light on the side ofa house. where many of his most famous works were created.a 5UClt:Z IrtJW1 the ~tarld his Wed . adjust and test the results before applying 58\ Painter . The three silent customers are eerily captivating.Tutorial Paint like Edward Hopper Nightllawks has found its way into many culture references. we will create a sketch of this piece as a guide. The artist was known for roaming the streets of New York. fluorescent lights were new in the early 19405 and here they create a unique glow and the place stands out on the dark street corner. Also. often lonely in a sea of landscape. including chis season promo tor tile popular (S I tete visio« programme (www. He made his name painting houses and other buildings. Be it a rural or urban setting.(Jl tojrow rJ.wivIj his liletim/ He was fasci nated by light and its changing nature at different times. Like many truly great works of art. OYIrJ his acclaim Ct)vravuJ. Its strength is in the strong sense of place and atmosphere. In [lie Brush Creator you can access. where he lived for S4 years. To produce our own work in the style of Hopper. He mixed the original sketches with extensive studio oil paintings. Consider Illis when applving painl for a more sensitive piece "His ~tylewas. Hopper's preferred painting medium was oil and it is usually applied quite smoothly. He would make a few sketches on location but continue to do the great bulk of work in his studio. barns and farmhouses. At the time of Nighthawks' first exh lbition.

.. You might want to open the final painting from the disc. We will start with filling in the sketch and move on to the Airbrush. If you haven't got Corel Painter X.l:. you can always use the Sketch effect Set up the document Establish the basic sketch TUtorial info Painter master Hannah Gal Timeneedet! 3 hours Skilllevel Intermediate OntheCD Final file and sketch guide S 01·etting up openanewfilesize30. Use the new grid to guide you as you draw background and cha rae te rs. .. we control the Draw 70 option.......-- q.'-~ -~"""'''' ~~ c£iiliiv DttdI bpiilDl:" pi a Pni~ . for example... We will adjust the Impasto settings as we progress using di fferent Draw To options in the Brush Creator. Go to Window>Show Grid to open the Layout Grid box. Set Ver~cal and Horizontal divisions... Layout We've also provided a quick sketch. . you will have to make your own lines.. -. there is more than one way to achieve different effects. mil i... For the option to step back when needed.. providing the oil painting look. . Create a grid to help create an accurate guide. . Th is is used to smooth the surface in preparation for oil paint application. As expected in such a comprehensive application. to Preferences in the main menu and set a high number of Undo levels. choose DepllJ for an oil painting look [TO P RI G H TJ Under [RIGHT) If you'd prefer to not draw an ourline. tne Impasto category in the Brush Creator. open a new layer. Name this layer 'reference'.7cm high by 40cm wide.-. Set Opadty to 30-40 to beg in with.. The last painting stage is the Impasto brush.... Once the piece i5 covered in smootn Airbrush... A black-andwhite sketch. _".. can be created by drawing using a pencil or you could take the Effects automatic route.. 03 .. Airbrush i5 used I)ere to smooth out/he paiming in preparation application of the mighty Impasto for ~ rr-. Size and Display colours. 02 Pencil drawing In the Brush Selector choose Pencils and the 2B pencil. but if you'd rather create your own. painter 59 .J (t' 0. You can apply canvas texture to the fi n ished piece or start offwith a textured canvas and so on.. The final piece of the puzzle will be to adjust the tone and textu reo We will apply Image Luminance to the oil paintto see its effect on the paint stroke itself. This is useful for selecting colours or to make sure you are progressing nicely.

continue with different colours to build up your set. 04 Colour Set Create a new layer to apply paint and name it Background. Opacity can be adjusted to when it needs to be changed. O8 The first character Layers To organ ise the Layers palette more efficiently.Tutorial Paint like Edward Hopper Laying down base colours Set up your palette Design a palette dedicated to the making of this piece. woman. This means placing relevant layers In a group. Open a new layer for the man in the centre of the image and name it accordingly. opena new layer and name it Man on Left We are ready to start colouring in the four characters. A good example here would be the man on the left. With the same brush as before. observe the final image. Follow the previous step to loosely cover the man with paint. saving both space and time. Vary Opacity between 2 and 10% as you apply layers of paint. If you feel a shade is missing. O9 central figure Create a new layer for both the woman and bus boy. Keep the General and Size palettes open and adjust controls as you paint. 07 Keepon building In the Layers palette. sample and add to the set to complete it. To group layers. 05 St~rtto paint Observe our finished image and start applying paint. Set Expression to None at this stage. Brush size for the vast spaces can be large but it needs to be reduced for smaller ones. This can be quite loose as we will apply fresh pai nt later on. This will include the many different shades within the originaL Use the Eyedropper to sample a colour. bus boy and man In the centre. You can work over the drawing at full opacity or reduce it in the Layers pa lette. Double-click on the Main colour square to open the main Colors palette. Choose the Cover Method and the Subcategory Soft Cover from the General Brush Control palette. A separate layer for each will allow greater control as you progress. Start with the blocks of dark areas and move to light. zoom in on the man and apply paint. Now select Color Palette (third from rightl>New. Use the reference layer as well as the guide drawing to see where colours change and how tones vary. Remaining 10 two 60 painler . We are filling in the drawing with guide colour. consider grouping. so don't cover every bit of white with this colour. Observe the orig inal as you use you r own co 10 ur pa Iette. O6 Painting Continue to cover the drawing while obse rving the Ii n ished one. Drag the sampled colour down tothe newly created colour palette. We're only laying in some base colour. Go to th I" Brush Selector and choose the Oils brush category. Now select Smea ry B ristl e Spray and set Opacity to 3-5%. Shift·select them In the Layers palette and then choose Group. You can open that in a separate file aItogether or tu rn th e Refere nce layer on and off as needed.

however. Remember to vary brush size and apply paint in low opacity layers. Open Brush Creator and in Stroke Designer adjust settings. 17 All in the details Go back to the black and green Main and Additional colours and start refining edges and shadowed areas throughout. You can now toggle between the two as you deepen the black and green walls behind the characters. . To do this. does wonders to the overall look.painler 61 . Go to Window>Show Brush Creator and select the Airbrush category and Digital Airbrush. 18 Final Airbrush . Observe the original. IiIIIC. This helps to spot problem areas and ones in need of enhancement.. choose the brush. This flat file will be easier and considerably faster to work on from this point onwards. Choose white as your colour and cover these with small 10-12 brush. filling in areas and smoothing edges everywhere. smoothing out the layer underneath the thick oil paint. 11Zoom out The original painting is oil on canvas so you can now select an Impasto brush and apply straight to surface. o ro . Once you reaChed Impasto heaven. set Opacity to 5-10 and reapply one layer over the other to create depth. 12 Brush Creator . zoom out and assess progress so far. Smoothing and enhancing the colour Usethe Airbrush category to deepen the painting . sample the dark green and black colours for the Main and Additional colours. Again. Set Express io n to No ne and brush size to 30-40. it is easy to lose sight of the whole picture. -0 -0 As you apply paint on zoomed in areas. Save the flat version as a TIFF file. You need to cover the entire piece before moving on to the Impasto paints....13 Build things up Choose Cover Method and Soft Cover subcategory. Now flatten it by going to th e Laye rs pa lette and choosing Drop All.. Once you finish coven ng the to p-left corner move to another section and repeat. Add missing details. it would be wise to save the file as a layered RIFF. Tidy up the composition by straightening lines.. When you have finished applying the Airbrush to the canvas. • Impasto Any brush can be adjusted to paint in Impasto style. Set Draw To to Depth or Color and Depth. be sure to save It... The Bristle all brush we used here.. When you feel you are nearly at the end of the 'guide paint' stage. More paint! 14 Save! Use the Digital Airbrush to continue applying paint to the canvas. 15 With all layers in place. choose the relevant colour from your colour set and start coveri ng the a rea.- \j "': " . 16 Deepen the colours The seats. Start with a low 5-1 0% Opacity and zoom in on the top-left corner ofthe canvas. will also benefit from adJusl'lng Smoothing and other aspects. Painters do this in real lile by taking a few steps back... cups and other small items add a great deal of interest to the composition.. for example highlights on seats. for example... .

While us ing th e Impasto brush. To achieve that we will apply canvas texture to the painted piece. Zoom in on an area and sta rt app Iying paint to the layer u nd erneath. Set Opacity to 55-65% and Grain to 13%.sion opto n 5 brin 95 in you r own personal style to the piece. At the bottom of the toolbox. You can adjust this setting at any time to what looks and feels best as you work. Now select the Artists Canvas option. For this option. 20' This painting has a very clear canvas look. 01 DrawTo Impasto 2 Go to the Brush Creator and click on the Impasto category. Try your brush out on the Brush Creator pad before continuing. An important part of understanding how the program works Involves getting to grips with the Brush Creator.llcr ucialfaclors in what the b rush looks like and how it 'behaves'. in which ca se you wi IIset your Expression to No ne. Increase Saturation to 30% and click OK. any possible imperfections will show through the dee p strokes. 02 While applying Oils you can decide to apply identical strokes throughoutthe painting. Viscosity and Paint as well as Brush Look and Ca nvas Wetnes. use a selection tool to create a small area in the image. 19 Impasto 1 Although the Stroke Designer is the area used the most. Choosi ng any of th e other Expre<. Start working with a 70-80% Depth. II you wish your strokes to be similar throughout. you need to have a smooth Airbrush layer underneath. Th ese are a. you will benefit greatly from understanding Transporter and Randomizer. 03 Express yourself Go to Effects>Tonal Co ntroI>Adjust Colors. The best options are Paint Amount. click on the Paper Selector to open it. Here we take a closer look at how to build up realistic paint texture and depth.s. go back and adjust it. We wantto boost the colours a bit to match that of the original. To save time. 22 Adjust Colours 62 Painler .Tutorial Paint like Edward Hopper The Brush Creator For the ultimate touch of realism The reason why Corel Painter is 50 good at emulating real media effects Is because it has such amazing brushes. set Draw To to Depth only and Expression to None. Lay it on thick Build up paint with Impasto In the Brush Selector choose Artists' Oil. Set Expression to Pressure. II you Ie eI that 5atu rsti on level is too high. use the category within th e Brush Creator to choose the appropriate Draw To option but also to adjust both Depth and Expression. 1 2" Canvas Modify behaviour Use the Artists' Oils category within the Brush Creator 10 control the way pa int is ap plied.

... ---------"_I~_. choose Paper.. Again.. . The Preview window will now show you your selected texture in action. Experiment with Light Contro Is to see wh at effect they have on the final brush look. 2 7 New paper you have applied the new experimental texture to the painting. Picture to 100% Shine to 70% and reflection to 10-12%. to Edit>Fade and move the slider 1040-50%...:1 ". Choose the Uniform Color setting and move sliders to see the effect Apply and compare the effect to that of the previously applied canvas texture. Shine to 90% and Reflection to 10-15%.._ Go to Effects>Apply Surface Texture and under Using.---.. 25 Fade Go . C More Impasto ..---. Set Amount to 5560%. It is memory hungry so be sure to clear any Impasto effect you do not wish to keep. Under Using.. Apply to see on the painting itself. you (an adjust level of Shine for more gloss. 26 In the Paper selector choose different paper textures and experiment..------. To properly assess the effect.. select Image Luminance. Under Canvas> Surface lighting.. 23 Texture Go to Effects>Suriace Control>ApplySurface Texture. When ready to try any texture out. 24 Surface effects Continue to edit colour Perfect the colour texture for a great look The Impasto brush look is determined by its lighting and depth. The Impasto lighting box is a time saver allowing application of the Impasto look to the entire image... Leave softness at 0 and set Amount between 50-60%.~~ .--.--.. go to Effects>App Iy 5u rface Textu re... --.- painter 63 . 28 Adjust Tone Once ~-------------------------------------. Seethe effect change in the preview window and adjust according to personal reference.. __. Amount and more.. you might prefer the look of one of the many textured papers on the ilst. . Picture to 90%. use the preview window to see it in action but be sure to apply and view at full magnification on the painting itself. go to Effects>Tonal ControbAojust Colors.. Even though the original is painted on canvas.. The Image luminance has added texture to the stroke itself. This will tone down the effect you have just applied. view at full magnification and even print out. giving it a 3D look. Luminous quality Zoom to 100% to see the effect in full.--~... -.-.

particular areas again and again rather than trying to lay down colour in one hit. The airbrush is synonymous with very fine. slowly reinforcing the tone of the lines. And what's more.B/(/)SH LATf60RY 'Airbrush If your prefer your paint sprayed rather than plastered. When set at lower values. At h Ig'h valu es t hes e grains are large and packed closely together. you need to paint inside selections. even responding to the tilt of your pressure-sensitive stylus so that they spray colour across your image. tiny versions that can be used to create super-fine details and even really coarse. polished illustrations with beautifully soft gradations of tones and highlights. which is ideally suited to creating interesting texture and grain in you r illustrations. spatter airbrushes that feature almost tactile grain and grit. Use the Lasso 1001 to draw over the object you're pa inti ng an d the n paint insi de the shape with the selection stili active.. you should experience the flawless finish of Corel Painter's airbrushes! he humble airbrush has been one of the most trusted illustrator's tools for many years.oIIDIo' . Alternatively. the sketching was achieved using th e Deta iIAirbrus h. with which you can build up supersmooth tones and gradients. The Pepper Spray variant sprays a very coarse pattern of colour. rather than just perfectly circular footprints of the airbrush! The art of using these supersensitive variants is to build up tones • gradually. Corel Painter Airbrushes work just like the real thing. paint the shape onto a separate layer with one of the smooth pen variants and then check Preserve Transparency In the Lavers palette. Corel Painter has a huge selection of airbrushes and you never have to breathe in any fumes from sprayed paint! The Corel Painter Airbrushes feature variants that spray a very fine mist of colour. by very gently working over . because it determines the Size of the individual grains or speckles within the airbrush stroke. Airb ru shes are great to sketch with as they allow you to build up your drawing gradually.w Brush Size Control the speckler The Feature slider is critical when you're using the Airbrushes. airbrushes produce strokes with very sott edges. Soft centres It's vital to remember that by their very nature. You can now paint inside the shape without any colour marking the transparent areas of the layer! 641 painter . so if you want hard edges around objects in your paintings.Primer Airbrushes SKETCHING You can actually draw with airbrushes too! Here. its use dating back to pre-digital times when photographers used it for retouching photographs. . the airbrushes that use the Feature control produce strokes where the grai n Is very fine indeed. See the samples opposite for the cream of the crop of Airbrushes! PEPPER AND SALT Here the Pepper Spray variant was used to create yeast speckles and surface interest on the grapes. "t-:~l'".

Fille Air Detail Tapered Detail Air I Tapered Detall Air 5 Tapered Detail Air 8 • Tiny Son Air 5 Fine Spray Tiny Soft Air Fine Tip Soft Air Tiny Spattery Airbrush Control yourself Dictate every stroke The Brush Controls palette has a complete panel dedicated solely to airbrushes. each grape was painted inside a selection. the same airbrush was used with Preserve Transparency checked in th e layers palette to add the dark and lighter modelling.--.. gradually increasing in intensity into pure white catchliqhts. -...... where you can control how much colour flows from the airbrush as vou paint with it and also control the spread of the strokes it makes..--..... • Fine Detail Air 3 Fine Detail Air 5 • Fine Detail Air .[iJ] Airor slies j~ IT] Broad Wheel Airbrush 20 BrOild Wheel Airbrush 20 I----------.-.....------pinnter~ 65 ..... Once the initial colour was filled in. .. ... --..--~-----.. .. Selecting a brush requires nothing more tha n cI icki n 9 the brush va riant menu an d then clicking on the brush you want from the menu.... --.- -. which can be used to create an airbrush effect or just smooth colours. Set this option Via the Expression option in this section of the palette.. such as being affected by the tilt of vour stylus Of by the pressure you apply as you paint.. • Fine Tip Soft Air 30 Coarse Spray Pepper Spray Detail Airbrush Pixel Spray I Inverted Pressure Digital Airbrush Soft Airbrush CATCHING THE LIGHT The high lights h ere were added with one of the Fine Tip Soft Air variants.8 Fine Spray • Fine TlpSo Air 20 =i' Broad Wheel Graffiti ro VI c VI zr ------------1 Soft Airbrush 20 Initially..--.... You can choose for these characteristic to be controlled in a number of ways. ~--_ _--_ ...~ . l> cr . ...... -.-.. There's a healthy amount of variants to choose from. _ . Fine Wheel Airbrush variable Splatter Finer Spray I -~---. - -.. each grape was then filled in with the base colour with one of the Soft Airb rush va ria nts... .. With the selection active.. allowing the highlights to be bu iIt up ve ry slowly and subtly..-.---. Choosing your brush Get the perfect effect each time The Airbrushes in Corel Painter offer users an excellent way of gradually building up effects in their paintings....

When an image feels wrong. composition is a jigsaw puzzle. when you read your eyes go in a certain direction and most people tend to look at the top third section of an image. A truly successful image is one that plays with a viewer's eye. it is. we know that th is sou nds like a very wispy concept and to be honest. our painting can be set to succeed or fail before you have even applied any colour or form onto the canvas and it's all because of composition. In essence. Also feel how your eyes 'wander' about the scene. Everyone is obviously different and you'll never be able to come up with a fullproof way of ensuri ng that every single .Drawing 101 Composition Composi~Qns-··· The core of a successful painting is good composition and there are lots of theories and rules that can help you set up the dream arrangement. While this may sound quite lofty and annoyingly vague. it is most likely because it is forcing the viewer's eye to move in an unnatural or awkward way.. Try it for yourself -look at an image and try and remember where your eyes land first. the good news is that a lot of composition theory is based around instinctive behaviour. For it to work properly you'll need to work out exactly where to place objects for the maximum effect. moving them arou nd the different areas in the most pleasing manner. It is this behaviour that can be controlled by what composition tech niques the a rti st has employed. For example. We take a look at the best here () Vlder5taVlr1 the rules of . Our eyes travel in certain directions and it is such an ingrained action you probably haven't even noticed it. Now.

While it's easy to think of composition rules only in relation to where objects are placed. having a n even balance of Iight and dark a reas will give a more balanced image. you could just have one thing filling the entire frame. the rule of thirds and divine proportion. to general advice for arranging elements so they have maximum impact. From the scientific principles of the golden section. Not all of them will work in all situations and sometimes an image's colour or structure or texture will override any composition factors. never ever feel as though you have to rigidly stick to them. The textured brush strokes and sub/Ie direction lines allow you to discover the cwo figures and olher detail . Well. Have an image wi th too much dark area and you can drag everything down . In the above example. Although some of them have come to be known as 'rules'. (he two ligures actually make rwo rriangles Arrange your objects Bigger is not always better Try not to fill a frame with your main object being used really large. you will be more in control when it comes to painting a scene and will be able to make in formed decisions about how sornethi ng should be arranged. so we'll also look at what these are a nd how they work. but even that technique can be improved by applying composition techniques. have resulted in a set of guidelines that will help you geta good composition. it's important to remember that every single element in an image contributes to the success or failure of the composition. Use a smaller size so there's room for other elements to give a sense of setting This is iI grea t example or leading a viewer's eve around a picture. demonstrating how they can help your images become stronger. Thankfully there have been many studies on what makes for an aesthetic arrangement and these studies. This forces the eve to look around the painting.TOkeep (he viewer's interest. The fact is that composition covers everything you put in your image.go for too much light and you have a floaty result. go for a meandering path thatieadslnto an image. Corel Painter also has some inbuilt tools for handling compos ition. For example. We'll be looking atsome of the most common composition rules over the following pages. But by familiarisingyourselfwith some good composition practice. whether you are actually conscious of it or not. A triangular composition 15 very handy lor porlfait paintings and sits wetl in the frame. plus centuries of artists trying new techniques. A straight path to the centre tea yeS little room for exploring person who looks at your pai nti ng will respond to its composition in the same way.

The intersecting lines created by this grid became the hotspots on a canvas and marked the spots where the viewer's attention would fall.'in be seen in arrhiteclUre. Now draw a line from the midpoint of one side over the oppositej] Scholars believe that me divine ralio c. they created a grid that has come to be known as the golden section. because it allows the eye room to explore what's there. By constructing a canvas into eight parts horizontally and vertically. Plus. This. if you have a moving subject in a painting such as an animal or bird. especially those that have a directional device for leading the eye upwards. a square format will help frame this and force the eye to look into the picture. If you have an image that you're not happy with. but that doesn't mean it's any less effective. Their studies led them to a certain ratio. it would fit into the ratio grid perred/y.Drawing 101 Composition Pick a format Your first decision n image's format is an important part of the composition process. golden number. A square format isn't as popular as portrait or landscape. The portrait format works well when you have a stationary subject that you want to emphasise. Thereare a/50 those who Ihink it was more of a case of rhe GlT!ek5having a good e]lt' for proportion! 68 painter . many people will cite the ancient Greeks as playing a pivotal role. Well it's actually been called all sorts of things. As artists and architects. portrait and square. because certain formats give you certain benefits. It's also a good format to use for. It is also good for landscape subjects. • The golden ratio/divine proportion What happens when maths meets art ronically. try cropping it in a different format. making a square. This gave artists a guide as to where to put the subject(s) for maximum impact and interest. You can use any shaped format that you like. One of Ihe tI1eories is that (he parthenon conforms to the ratio and if (he roof was mmp/ele. landscape paintings because you can have a meandering river or path that leads the viewer's eye towards a focal point. from golden section. When looking at the history of composition theory. making the experience interactive and interesting. They decided that there had to be a reason why a certain arrangement or balance was pleasing to the eye and why another one wasn't. For maths fans. not surprisingly. the landscape format gives more room around the subject and can help heighten the feeling ofmovement. unsurprisingly. the ancient Greeks were fanatical about perfection and this fanaticism drove them to create objects that are still lauded as true works of art. Because a portrait format is taller. you ca n help ensure that the viewer's attention is on the pa rt of the image that you want. and then five stops in from the top and bottom. You can make one byfirst . Landscape formats are good for when you have lots going on in the foreground. it means that the eye has farther to travel from bottom to the top. but the main three are landscape. It's then up to you to pick the best one for the type of image you want to create. and divine proportion. By choosing the perfect format. You may find that it's the best solution for getting maximum impact. is a rectangle whose side lengths are the golden ratio. You also have something called a golden rectangle. the tech nical definition of the golden ratio is that the slim of two quantities is to the larger quantity and the larger is to the smaller. and then counting five stops in horizontally from the left and right. If you have a scene with lots of detail at the edges. a lot of artistic composition theory is based around mathematical equations.

grid or axis. Divide and conquer Classical division PacioWs De Divina Proportione text also boasted lots of illustrations by Leonardo da Vinci. Save and delete presets as with the Layout Grid. srEP02 Chances are you will need to resize the guide to make it work with your canvas or existing artwork. it's completely believable. This allowed artists to 'see' the human form as measurements and break down parts into their relevant length and width. you can edit and customise the tool and alter the size. The first was De Divin« Proportione by Luca Pacioli in 1509. These demonstrated how different forms could be split up according to the golden ratio. . But it wasn't until the Renaissance period that a ny literature on how the golden ratio can help aesthetics was developed. You ca 0 now complete it. Just as with the layout Grid. The golden ratio has been discussed for over 2. You can also turn off some of the guides to just be left with the spiral. which will then give you the height of the rectangle. angle. Mr da Vinciwas notoriously private about his artwork.400 years. who was convinced that the human body had proportions that fitted with the golden ratio. including the infamous Mona Lisa. It has been said that he constructed some of his most recognisable artwork using divine proportion. colour and opacity of the guide and also edit how many levels there are. The three-volume edition was also illustrated by Leonardo cia Vinci.corner. which will affect how many times an area divides into itself. but they are useful for life drawing. especially the face. simply move the Size slider to the right to make it bigger or go left to make it smaller. you can apply guides to help you make your creations adhere to divine proportion. This is easily done. Obviously you don't have 10 adhere to these rules. Click the Enable Divine Proportion checkbox. with the Greeks attributing the ratio to Pythagoras. You can also choose to just see parts of the guide. you can move the resized grid wherever you like on your canvas. sttr 01 Go to Window>5how Divine p(oportion tocaU up the palette. S("EP 03 Ilyou have the Divine Proportion tool selected in the toolbox. but given his love ofmaths and codes. This gives you a greater sense of where the areas of in Ie rest are and where to place elements to help move the viewer's eve around the canvas. Use the Orientation area to set which direction you want the guide to appear. Use this to make an are. Pacioli applied the mathematics behind the ratio to explain how it produces harmonious proportions. Divine Proportion tool Heavenly composition for everyone With Corel Painter X. thus ensuring the most aesthetically pleasing arrangement. We'll look at the measurements in more detail in a future issue.

we picked Rule of Thirds. Because it also positions subjects away from the centre. you will see a non-printing grid appear on your canvas. sy having a low opacity. the rule of thirds is a great guide for getting the most from your foreground or background. you give yourself a nice amount of space for foreground interest. Horizontal and vertical lines will appear on your canvas.~-.'theoptions. alter the Opacity Slider. except the scene is split into nine equal parts. This avoids bombarding the viewer with the main point of interest and will actually enhance the focal point.lfyou use the rule of th irds to a portrait format. You also have the option to modify these grids by altering the number of divisions. These lines and the points they intersect are the 'hotspots' and represent the optimum position for your objects. Now you have two thirds of the image to dedicate to a dramatic skyline. Even though you have committed to having the top area as the main point of interest . Once enabled.r~ sttr 02 srer 0{ With your canvas open.J~ :.~e.:.((f)L5 Youcan accessthe LayoutGrid here and controlsome of the options.Drawing 101 Composition Rule of thirds Meet the main event . simply click the arrow next to the colour square and then pick a colour from the picker. it makes for a more balanced arrangements. the lower third provides an important 'rest area' before the main event. x Havlng the horizon line direcrJy in the middle of vour frame lessens the impact. angle. . he grandam of composition theory has to be the rule of thirds. Here's how to set the grid up and l!. By placing your horizon line on the highest horizontal line. If you'd rather these were different colours. you can get on with your composing and not get bogged down in guidelines. It is thought that the rule works because the human eye is naturally drawn to a point that's two-thirds up a page. TbOLBOX LONI. th is follows a similar grid system to the golden can then movethe gridabout on your canvas.t. This divides your canvas up into sections and vou get three default options straight out of the box. By clickingthe tool in the toolbox. It '5 betler to use the rule of thirds and place ilin the /oP or lower third The Layout Grid Divide up your canvas We've already seen how the nile of thirds has been used in photography and art to improve composition and this grid-based system is at the heart of the Layout Grid. get the most from skyscapes by placing your horizon line on the lower horizontal 1ine.1~o~. colour. . To change how strong the grid lines are. 3x5 and 5x5. use the drop-down menu to apply one ofthe presets . you have even more room for the foreground elements. When it comes to creating landscape shots. since everything isn't clumped in the mldd te. Any alterations you make can be saved for future use or to give to other p'~ojjLe. opacity or size. Alternatively. These are the rule of thirds. dick the Enable Grid check box to see the grid. Once the palette opens. go to Window>5how Layout Grid. IJItI'~J~'" - """'. Employed by artists and photographers.

Give iI a name and then click OK. set the number of horizontal or vertical lines you want. a 3x5 or a 5x5 the tavout Grid icon in the toolbox and dragthe grid into your new position. You can also create your own presets or delete ones that are of no use to you. To delete a preset.near the side is better. A quick way to boost interest By using the rule of thirds when constructing your composition. click the Ad d Preset button (looks like a p Ius sign). . To link these val ues. in which case you need to make a trip to the Divisions area. simply click Ihe ~vnlchroni:ze box. If want to resize the grid propartionally. To save a grid as a preset. select the Synch ron ize the Divisions ch eck box. In here. You may find these get lost on your image.Go off-centre SEiTiN6 THE 6RIPrYPf You have a choice ofthree preset grids ~ the Rule of Thirds. Don'! go centre . in which case click the colour square and choose a contr ssti ng shad e. This is easily done. It might be that you'd rather use the grid at si1e to how it appears. move a grid. The default grid colou IS a ra a dark blue and green. VOll can make sure you have maximum impact from the objects. Go to area and move the Vertical and Horizontal slider. choose it and then click the De!ete Preset button. 03 srEP 0'-1Youmightwanttomakeupyourown ster 05 If you wantto compositional guide.

The paint can bonus Limited edition tools If you have bought the limited edition paint can. try mixing things up by adding vertical detail such as trees. but when thinking about compos ition. the fact it has ho r izo n fa I. If you have lots of mountains or vertical elements. Lines of interest Make the viewer's eye travel around the canvas Mix and match lines When there are no objects.Drawing 101 Composition Other rules General guides for getting the best composition s artists have developed and started to experiment. Keep one larger than the other. A straight strong diagonal line with objects just on one side won't look that good. If you have a road or river or any other such element. various other rules of composition have sprung up. While they may not be as lccnic as the ones we've looked at so far. The space around the figure will actua Uymake it more powerful and the dean geometry will enhance it even further. It works best if the background is simple and plain and then the figure is placed to the side in a triangular format. It needs to go into the horizon. There are live different grids In this tool. rather than out of the frame. This will be far more attractive than right on top of each otherl In fact. Diagonal lines in a painting are preferable to horizontal or vertical. 72 painler . don't have it leaving the frame. This tool is perfect for if YOLI are out and about. they are still good techniques to employ in your work. It may sound like a bit of a weird thing to say. you need to make sure that you don't push a viewer out of the picture frame. vert ical and diagonal lines makes it dynamic and appealing to the viewer. When it comes to the actual objects in your image. you can physically place a grid over the scene in front of you and then use it to transfer what you see onto the canvas. 5)(5 grid and the diagonal rule. In the example below. use lines to add interest to the scene There doesn't have to be an object in a scene for it to be interesting. and place them diagonally across from each other. if your scene has lots of horizontal planes. try to have elements in both sections. maybe using a laptop to do some digital painting on the fly. Things always seem to work better with odd numbers. vou can then call up the corresponding tool from the Corel Painter X software and use the guides to paint your picture. the trees and sun look lost because there is so much nothingness. When usi ng a diagonal composition. covering the rule of thirds. Do not scatter them all over the image otherwise they will compete for the eye's attention. try to stay away from even numbers or rigidly symmetrical images. er if you end up being one of the lucky 30 to win one in the competition set in last issue. but make one noticeably longer. Even though the example on the right had no real excite m e nt in terms of form. if you can. The most important elements of a picture should then be placed along these diagonals. fluffy round clouds will act as a good balance" In a similar vein. on the subject of multiple points of interest. You can merge all lines. simply pull out the one you want and then hold up in front of you. Triangular composition is an interesting one and is very good for painting portraits. divine proportion (both grid and spiral). With this. try and mix up forms and shapes. If you have an animal or person in your painting. The adjacent side is then divided so the lines connecting the points make a diagonal frame. Keeping a diagonal line in mind when it comes to adding a second object of interest is also helpful. To use it. Also. The diagonal rule splits one half ofa picture into two and then each half is divided into three separate parts. you will benefit from the spatial composition guide tool. it's worth saying that multiple subjects should be grouped within the centre ofinterest. since they do not run parallel with the frame of the picture. have them facing straight out or facing and looking inwards.

Even though the image on the left goes towards a central horizon. Don'l dillide your image into stark light/dark. you should add a bit of excitement for the viewer and avoid straight lines.Keep it odd Stay away from symmetry When you are dealing with landscape paintings.Iines are directing the viewer. In t he exam pie be Iow. Have things on both sides of the line . Always try and keep the viewer in the canvas ~ trips off the side means the eye misses whatever has been painted! A symmetrical composillon may look nice and neal. the path goe 5 past the house and off tile canvas. or space/detail. think about where your . but they work best when 1/ 's a subtle suggestion. As general good practice. the fact that the path leading there is curvy makes things far more in te resting. but if you go for one with angles and odd /)it5 you '/I end UP with a much more inleresting effect Diagonal compositions Good advice for working on a slope Diagonal compositions are really effective.



Dorset BH26EZ. but to make it more dramatic. low key backlit scenesare perfect as many old Masters have discovered. you often find little niggles that ruin your masterpiece. d stewart McKissick I We saw in issue one how talented Wen·Xi was when it came to painting. strong scattered sunlight from a sun partially hidden behind clouds will create beautiful variation over your landscape and add depth in a way even bright sunlight will not. One thing to remember is that the lens of glasseswill distort whatever it's placed upon..mb/enf Itgllt W~ichmakes tile charaaer's tetuem fllrows warm buea figllt and arm. Alternatlvelv you can email us at opm@imagine· In light and Shadow. send in your questions for our experts to answer at opm@lmaglne· publlshing. So if the wearer isshort-sighted. For portraiture. sournemoum. Fantasy art seems to often call for mysterious and oddly coloured ambient light and many different light sources radiating from various glowing orbs and creatures. Fine art When it comes to creating art. Notice how the edges of the lenses are outlined with while We sympathise with you Adrian because we also find that glasses are indeed rather tricky to paint effedively. a soft global light can work well. It's good to go for light sources that will cast interesting shadows and pick out fascinating highlights that will add intrigue to the overall painting. Assuming you are not painting the subject under very dramatic lighting you can generally ignore the shadows cast by the'III . Any tips? AORIAN MONTGOMERY your illustrations are in top form by following our advice Illustration Make sure Send in your queries to . Richmond House. . Behind glass l'm trying to do a painting of a friend who wears glasses. The best advice isto observe the way it looks and take a few photos for reference. 76 painter -_ -. If it so happe ns that the eyes happe n to be in shadow while the lens iscatching the light. Wen-Xi Chen What you'll find in this section Don't get b~gge-. A ~eCOnd JlglJIsource from the PUl5 empIJasJson the main characrer . H ere he answers your questions on creating cartoons and character esign. things behind the lens will appear smaller and vice versa if the person is long-sighted. ) in one go. Think about what sort of scene you are painting and what kind of atmosphere you are trying to create.ti d .write to us and we'll help you work harmoniously Software It'd be great to say something like 'top left' but this question cannot be answered (at least we think . skJn look green and casts shadows revealing the best Corel Painter tools to use. --I Official Painter Magazine Q&A.~Your painler questions answered-Make light work of it Is there such a thing as an ultimate light source direction that looks good no matter what? BEN PETERSEN" Your experts Stewart is a long· time user of Corel Painter and is a big fan of the airbrush and illustration potential offered by the progra m. So this issue we have called UpOIl he r services to answer the general art questions.-I down in a Corel Painter black hole . Imagine Publishing Ltd. Modern anti-reflective lenses also mean that there isn't much in the way of highlights to paint except for around the edges where the glass is actually cut.. but I just ca n't seem to get the 'look' of We sort them out I I Leafy environments creare green. So if you're painting scenery. then there will be reflections on the lens. 33 Richmond Hill.

e9 the reflection of eyelashes. pick up a lighter colour and shade the bottom half with the lighter colour.Eye concern How can I paint realistic eyes? I'm fine with the shape and the shading. To start with. O1 Base colours If you find it hard to pa int a eirel e. paint short strokes that 'radiate' out from the centre of the iris. I have the basic form sorted. It is a good idea to have a photo reference or to look at your own eyes in the mirror if you are trying to achieve perfect realism or if you are unsure whattodo Q.l 1Il n r-t- » --. O 2 Shading Using your favourite Corel Painter painting tool. you need to apply some shading to the top half and the outer ring of the iris. Use a darker colour than the base colour. but it doesn't ta ke much to alter th is fl at and IFfelessap plication of colour and tu rn it into a rea Iistic eye that hal ds interest. but don't go for pure black. Once you have mastered creating the 3D look of the eyes then painting the pupil is a simple process in Corel Painter.. 03 Texturing to create the sha pes you need. but always seem to go wrong when it comes to the iris. simpler than the anatomy of the eye. but am having problems with the shadow . A classic 'scary' lighting scheme is to light a person from underneath . You should design your composition so that it can show the cast shadow clearly and perhaps place your light source in an unusual way. Paint a da b of white to sim ula!e lig ht reflection. = VI Things are obviously looking a little grim at the moment. FiII in the outer circie WITh the colour you want the eye to be. and the smaller circle should be black.this is not often seen in normal conditions when the light is usually from above. keeping lighter colours towards the botto m ha If. If needs be. TOByTREGONAL o The iris is far more complicated structurally than you might think To paint a realistic eye is. I chose a basic Digital Airbrush here. use the Ova I Seleetion A touch of evil I want to show that a character is evil and menacing.This ca n be ma ny d ilfere nt colo urs but p Ii marily those that match you r d esired co Iau r. Here we have a scary guy positioned at the bottom of a tall composition so the cast shadow can be used as a long and dramatic Using unusual colours and a strong low /igh t amenadllg shadoweffecli source Co n C!pale painler 77 . it can be a circle but for a more realistic look take into account the surroundings. strong and interestingly shaped cast shadow and the lighting on the character itself.what's the easiest way of creating dramatic shadows? EDDIE DENEHEY The two things to keep in mind here are having a very long. however.

Then Select>lnvert to turn the selection into the shape of the character and the Select>Transform Selection option to drag the selection up and widen it. confused and often downright silly. A green light was eventually chosen to add to the sense of drama. saying this may lead to counter-productivity. Use the Select>Feather command to soften the selection edge before filling. too many colours in a painting can sometimes make it look crowded. Colour concerns Are there any special rules when it comes to choosing colours for a painting? Should it be limited to a certain number? PETEADAMS Unless you really do know what you are doing. add a light to dark gradient. However. SANDRA CHURCH Unlessyou're th ink ing of very short bristl y fu r. Try layering your strokes to create the elusion of fluffiness and depth. this creates soft looking fur. and paint with short decisive strokes from the root of the fur 10 the tips.a good choice is a basic Loaded Clearing a colour set /Telps you to see the varielY of colours other ~rti5ts are using Palette Knife. Using a smaller brush size. Furry critter Any good advice for getting the look of fur? r seem to either not have enough or too much. lastly. Then just paint your character on layers above it. A strong painting has an underlying 'colour theme' to it. painti ng fu r is rath er Iike painting hair.Q&A Art Class element. as in some casesmany different colours go to make what you might conceive to be just one colour variant and 78\ painter . The pressure of your pen should fall most heavily at the start and fade towards the tips. pick out some highlights and single hairs. Your base colour should be relatively dark as upper layers will create a shadow on the lower layers and the layers of fur should get gradually lighter as you reach the surface layer. It is normally a good idea to use your colours very subtly and rely more on different tonal values. Shadows are often soft-edged and variable. Work with a tool that you find easy to control the opacity of . If your character's shape is dosed off you can use the Magic Wand tool to select the white space around it. It's a good idea to create a new layer justforthe shadow and fill it with a neutral grey. The red is a rough plan of where the light will fall.

Here are six simple character heads.ult n gs except for the size. TlJese acrually leel more dimensional than the more complicated versiolls. so a lot comes down to your personal preference. 79 painter .. thicken the brush to make 'shading' strokes +they're still just lines to suggest shadows and volume A final trick is to raise th e Jitter setti ng to 4 and raise the Spa d ng setti ng in the Brus h Co ntrols palette from its defau It to around 120%. For a stylised effect. As with all brushes in Corel Painter. a common mistake in drawing is making things far more complicated than they actually should be. Final Details To . In each caSEwe started with the head shape and then dre w the hair on as masses Ihat 5it on rhe head. . Open up some of your favourite paintings and go to Windows>Color Palettes> Show Color Sets and create a new colour set from the image. Togo back lothe regular Freehand Stroke. The opadty should also be lowered to 33% for more light and dark variety. _-----~ ------ Finish the composition Now to establish the rest ofthe . your question actually answers itself. Just use black for the colour at this stage. rhis is important as it determines how the overall chararler will look. which should be smaller (2. Here we 've simplified and treated each haif5tyle as a few iJasic forms and al50 applied definite highlights. Here we drew many small lines. you can modify rt with the Brush Controls to fu rth er eu stom ise its featu res and looks to how you wish it to appear. One of my favourite sketching brushes is one you might not immediately think of for this: the Pastel variant Square Hard Pastel. bUllhe result is 'buSY'and even thouglJ they followed tne {ace con/ours. A bitofa do I'm illustrating my first character and am having trouble with the hair. lending a loose look to the sketch. It'll give you some indication as to how many colours the pros are using. switch the brush to Straight Line Strokes (keyboard shortcut 'V') for the big trees in Ille far distance. This allows you to make straight lines but you have to hit the 'V' key every time you want to make a new line that doesn't connect to the last one. When you draw and then shade in hair. the grey comes from varying the pressure. finish. You can also use the buttons in the Property Bar. Have you any advice for creating hair that has a bit of defin ition but that doesn't involve loads and loads ofshading? STEVEN WRIGHT 01 02 03 In a way Steven. Switch the colour to white in the end to give the leaves some depth. 02 n Ui i5l iJi 03 Start with a Square Hard Pastel 1O. we all know hair is thousands of Individual strands. just hit the 'B' key. Indeed. This creates a spattery brush that we used for the leaves 0 n th e litde tree. Many artists of all different kinds and styles become much more simple and direct as they mature throughout their careers. the paper textures and has a very nice 'organic' feel to it. You can use the d efa. instead of individual strands Then treat it as you would any other shape and think of how the light hits. background. Rough 01setn in the main shapes often contrasting colours make the painting tell a story. Similar brushes can also be found in the Chalk and Charcoal categories.4) tor a more linear look..Sketching an outline What are the best brushes for making sketch outline? DIANA a SMITH There are a huge number of brushes in Corel Painter that will do line sketching. bul that's nor what we see. This is a captured dab brush that really looks like its namesake. illooks flat. This brush works well with . you should think of it as an overall shape or group of shapes.

02 Think about the structure of lips.the lipswill cast . Colour and shadow Depending on the direction of the light lips are always flat! AUDREY McLAUGHLIN As long asyou have a basic grasp of the shape and contour of lips then the same principles apply to lips asto any other 3D object. 01 Shape Adding some white highlights to the middle of the lower lip and a little also to thG upper lip makesthose areas'pop' and appear closertothe viewer than the restand this again helpsto createthat rounded look. their opacity and surface texture. !ZI 80 I painter . Common mistakes in painting fabric are ignoring gravity and tension. take out some clothes and drape them over furniture to see the sort of shapes the folding create and how shadows are formed in these folds. and the best way to nail each one isto work from observation. for example is reflective and will often form quite dramatic highlighted areas along folded edges. shadows and colours ohhe lipswill vary accordingly. Cotton on the other hand has a matte surface and has a more even tonal distribution. Projecting a shadow under the lower lip helps to create the illusion of roundness and strategically placed highlights will also achieve this effect. The lower lip will casta shadow on the chin in many light conditions. There isa whole myriad of fabrics out there.The upper lip normally looks a little darkerthan the lower lip due to the way the curve of it interacts with light. or to paint too many folds so it looks unnatural.Q&A Art Class Lip service What's a fool -proof method of shading lips? [ can't get the rounded look . The most important part to get right isthe shape of the lower lip and most of that comes down to placing highlights in the right places. Satin. Experiment a little and see how your results vary. in the way they fold.the upper lip curves . inwards slightlytowards where the upper and lower lipspart and the lower lipscurve out and then in again. the way they reflect light. 03 Highlight Painting fabric What's a good way to get an authentic look of fabric? PENNY TROT'r Differe nt fa brics have very d iffere nt properties.

from creating illustrations for advertising and editorial. merging 3D and other Professional digital artist Madonna.markbannerman.MARK BANNERMAN TITLE WEBSITE JOB TITLE CLIENTS Gothic Drive www. Sony and EM! During his professional career. Mark has been involved in the entire spectrum of design. . to producing images for BBC TV He now works entirely within the digital realm. Time Warner.


painler 83 ..

.3 megapixels. DC and USB SOCkets are all present. With 6. so there's no need to keep buying disposables! Set-up menu Playback menu The F3lfcl takes xD Picture Cards. Users can choose to either activate the Intelligent Flash system.=--+""- Playback button '111111'-'1-1-. The Face Detection system works by seeking out eyes. Anti Blur or scene modes. but curiously not in Shutter Speed Priority.. In practice. a green box surrounds the subject's face and you can fire the shutter. This is one of the latest and most exciting pieces of technology to be developed in some time and the F3lfd demonstrates the possibilities it holds for the future of photography very well indeed. once a target has been acquired.. the Face Detection is a great tool that will come in very handy for family gatherings and nights out. or tilted to one side. However. or set the shooting mode to Manual and select the ISO themselves.Reviews Fujifilm FinePix F3lfd Fujifilm FinePix 31fd £249 I Face Detection and low-light capabilities for a modest price t first glance. your on-screen options Navigating .. The system is fooled by glasses and it won't recognise a face that's in profile. on the surface it seems the camera.:. they may move outside of the FO frame. noses and mouths. if the camera is not held correctly.. so you'll end up with a part of the background beautifully in focus. stylish..long. Its predecessor was praised for its performance in low light. even when at full zoom . what we had anticipated as being a fantastic little feature seems to be a little sensitive in reality.S-inch LCDscreen.a bulb that helps the camera to find a point of focus by shedding some light on shady situations . Connections AV.lhe F3Jfd can also be connected directly to PictBridgecompatible printers for fast printing without the need for a computer . which you will need to buy separately. lies the technology that gives the camera the new credentials at the end of its name: Face Detection. let the camera pick the ISOsensitivity automatically. you can activate the Face Detection feature in Auto. and adjusting the camera's settings to a best-fit exposure for all the faces in the frame. However. the Fuji film FinePix F31fd looks pretty ordinary. Memory card r:. 3x optical zoom and 2.. Within the sleek.~-----=-. is nothing particularly special. but not your intended subject! When you do everything right however. helping the AF system to focus qu ickly. In order to discover the true beauty of this latest offering from Fujifilm. Batteries Get to know the camera's menUSYSlem The camera comes with a hardwearing.-Wide angle and loom button .lasting lithiumion battery and a p~r adapter for rei: harging. Maximum zoom 84 j painter . or if the subject is standing on thei r head! That aside. With a comprehensive range ofiSa settings available (100-3200) the F31fd really does let the photographer take control of their creative decisions.. unless the subject remains perfectly still. yet solid shell.. With the touch of one button on the back of the camera. This offering takes after its older sibling: this camera is an upgraded vel'Sion of the muchrevered F30... we must delve a little deeper beneath the F31fd's matte silver body. But that's not the only trick the camera has up its sleeve. although the camera does have26MB of inlernaJtorage s to get yOustarted . The lealis crisp and detailed.. The manual also states that the FD system will not work if the subject is not human.does a great job. it can only locate faces when they are faci ng the camera.5mm Intelligent face detection button Display/Back button Ihis shows the F31fcfs capabflilies when it comes reproducing to vivid and accu rate coiou rs. The Face Detection button doubles as an Exposure button. allowing users to quickly alter . something which the F3lfd certainly upholds: the AF-Illuminator . Aperture Priority or Manual modes.Photo Mode button FUJIFILM LCD F-modemenu I05...

.0 8...IS scene modes Megapixels (effective) 6.. the F3lfd has some great features and produces decent images.FoU f/2..SF. 6.S. 26MB int 800. as the functions it accesses change every time you switch to a different shooting mode. particularly low light features 9. 3200 LCD Metering options 2. excellent image quality and some really innovative technology to boot. the F3lfd manages to feel as good as it looks =thts stylish little number even has specially designed finger grips that make it really comfortable to hold and easy to use with just one hand. especially if you're looking for something light and reliable enough to slip into your pocket and forget about until it's eventually needed.Flash Fujifilm FinePix F31fd £249 P.5" MS. thank> to its higl1 Quality lens The occasional confusing design feature aside..--' Confusingmenu/ shooting mode ~ system .. 1600.AP. "The Face Detectum tMi1 CDW1eU1 havrdy tor Ergonomic grip Microphone Overall though.ithium-ion sees in Night mode) Stora~e ISO sensitivity xQ Picture Card. Build design Lens ~ ~ ~ is a 9reAt f:tr. Max resolution 3. Wide angle capturing a scene is easy using tile camera at a wide angle setting. Although Fuji fi Im has got it right when it comes to accessing important functions like Macro mode.AV sx opt. A huge range of preset shooting modes as well as more advanced settings make this an excellent introductory camera.A Dimensions weight Ergonomic grip Ergonomic grips make the F3lfd easy 10 keep hold of and it has just en ough weight behind it to make it feel robust a nd ready for any shooting sltuat ion .7 ease of use j quality of results value for money The f31Id's ability to captu re pin' sharp . hunt through the main menu . The F-button can get confusing.7 X 56.3 Flash modes A. Self-timer mode and LCD brightness .8mm Shu rrer speeds Batteries 3 -1/2000"ec (I-IS L.FF.a definite plus for users who like to make their own decisions when shooting.2x dig 155g(excl.. Quickstartup Intelligent Face Detection IRcapability wh1t~fik wh1t~~Uk Noisyat high ISOs ~ r-buton is confusing .7 X 27.batteries) 60cm-lnf/Scm 92.016 SRE&S. 400. which sends and receives images to and from another Fujifilm camera or other devices with lR capability. 100. functionality.3 9.8-S (36-108mm) Zoom Focus/Macro Lens data Connectivity Price Exposure modes j l USB. It would be useful if users could program this button to access the functions they use on a regular basis. An extremely quick start-up time. This camera has it all: good looks.things have gone a bit awry elsewhere. great low-light performance.0 painter 85 8.1101S fu II of colour means that it is perfecUy·su lied to snap pi ng resource shots for turning into lovelv works of art .all of which can be accessed with one touch of the d-pad .SP.. 200. A. Another excellent feature is the InfraRed Communicator.! that t():w{ily jatherivtf OJ1d VI~hts (JUt the shutter speed or aperture without having to . Colour capture Overall score 9. Intelligent Flash and Face Detection are just a few of the fabulous features that make the F3lfd a recommended buy.9 .5S.024 X 2. RE. Allot the detail ispicked up too.

. which is easily located on the front of the unit and is simply flipped open. Avoid damaginganvof There's an output tray extension buill into the unit which can be pulled alit [ocalch larger prints as rhev come out of the printer your work Ink cartridge compartment 86 . If you want to print onto large specialist media such as canvas sheets or watercolour paper. considering that it was voted the best A3 photo printer in Europe by the Tech nical Image Press Association.. In terms of appearance the printer is obviously large and quite dominating. Set aside enough lime for quite a fiddly selup process . the software installation was quick and simple. papers. On-screen instruction There is a small pad for control" which although basic. but we thought itwas worth trying out. so you r---- . After shaking each ink cartridge a precise number of times at a 25 degree angle and wiping each print head nozzle with individual foam swabs. Speciality Media tray .. Once you commit your image to print. the 89180 then impressively feeds the paper out and then back into the printer and begins to print. bigger is always better.. While the printer is obviously tailored for large format prints. but the unit is robustly built inside and out. No need to rush This isn't a machine that's ready for printing as soon as you take it out of Ihe box.Reviews HP Photosmart Pro 89180 HP Photosmart Pro 89180 £499 I When it comes to printing out artwork. The setting up process is a lot more complicated than other printers we've come across.. However. all you have to do is load it into the speciality media tray. still gives you the information you may need will need a considerable amount of desk space available.. painter . It goes without saying that the B9180 is more expensive than the usual Inkjet printer you'll find on the shelves of your local appliance store. it's also possible to print on smaller sizes than A3 by placing them into the main tray of the unit. quite an accolade . the printer then needed to be left for a further 30 to 60 minutes while the initialisation process ran irs course. such as rarwas photo and watercolour HP sells special textures Paper textures . We discover what results this A3 printer will give the home artist t can be expensive to have your images printed professionally at a large size. but it's also just as viable for home users who are serious about printing. It really is an ideal purchase for those of you who work in a busy studio. it has to be said that although this part was time-consuming.. Loading paper into the speciality media tray is simple -it must be fed into the front of the tray until the edge nearest you lines up with the dotted line on the tray and the other edge of the paper is poking out of the back of the printer.. so this month we're testing a printer from HP which enables you to print at As+ size.

so if one runs out you don't have to replace the whole set.J ideal tJt ytJU ~ r-r= ~t)rk.0 You don·t have 10 stick to print. Consumes a lot of deskspac~butth~ is expected Fiddlyand lengthy setup process Wh1t «e rJai fik 5Oious abtJUt rfiv1iiVlJ Pretty bulky. Definitely one to save up for! The 89180 produce(! Geautifu I A3+ prints of a high Quality on all types of pajJer we tested il on.. this more than paid offin the quality and speed of the fi n ished pri nted pieces. However. of A3 slze or sreater. if this is compared to the price of getting a collection of your images printed at A3+ size professionally.8 must be downloaded from www.8 or later (the printer driver for Mac as x 10.When printing onto mattecanvas paper we found the image was improved. from glossy photo paper 10 canvas sheets . and with the 89180.XP Professional As expected.hp. the time taken to output each was fast . Even though the setup process was lengthier than normal.. you can get the same quality but in the comfort of your own home. It wouldn't be unheard of to pay £70 or more for an A3 printed canvas. However. It also has the added bonus of featuring eight individual ink cartridges. We also tested printing a photo onto the HP A3+ Hahnemuhle Watercolour paper and found the results amazing . Artwork looks divine and the quality of the photos means they look as though they could be hung in a gallery. vibrant and crisp colours Easyto load paper. We certainly weren't disappointed when printing onto HP Advanced Photo Paper.hp.. Not only were we pleased with the quality of the prints. even though the result is subtle it's very effective. it really is great value for money. Ifyou buy the B9180 it really is worth investing in the specialist types of paper that HP offers for some really but it5 aistJ = a busy Iud a5 ttJr ti1tJse outstanding prints.2. viable tt)r htJw1e ~f ~ are art gallery. The results were crisp. which is then fed back into the printer automatically Reasonable output time for A3+ prints WhJt ~Iik... especially if the colours are first 'given a bit of a boost. Output prints of different sizes Overall score 9. thanks in no small part to the four HP 70 dual-colour print heads and 8448 nozzles which the printer features. The cost of each HP Vivera ink cartridge is £22.HP Photosmart Pro 89180 £499 Price www. which can be expensive ifrepJacing all at once. XP Home.0 Value for money 8.with an A3+ sheet of canvas taking around five minutes. clear and displayed excellent tone.. Other smaJler sizes of paper can be loaded into the rnain tray quickly and conveniently . but worth it for the exquisite quality of prints Features 8. We printed out images onto a variety of different paper types from HP.0 The pri nter uses eight ind ividual Vivera ink cartridges so you can change each one as and when it runs out Website ~I Operating systems PC ReQu irernents PCand Mac Mac as x 10. appearing to have actually been painted onto the canvas sheet.painter 87 .com) Mac Requiremen15 Windows 2000 Professional.the image wouldn't have looked out of place hung in a fine (((t~ avr dut}k. Versatile printing Produces beautiful pri nts 0 n a varielv of materials Prints rich.0 Ease of use ~1alitY of results ~ . the B9180 works at its best when printing onto HP sheets of paper.0 .2.

Editorial Illustration.the pages are glossy and the colours are beautifu lIy rendered.. The quality of work created by the featured artists is truly breathtaking and highly inspirational. What's also good is that there is nothing to get in the way of the artwork . Wildlife. giving a luxurious feel to the book.. Before YOU get into the artwork. colours and finishes . Artistic indulgence 88 painler .00 Ballistic Publishing 1-921002-18-2 The pages are a mixture of full pi eces of artwork and smaller pieces. It has obviously been put together by people who love Corel Painter and who are passionate about using it to its full potential. Sill Life. envy-inducing Corel Painter artwork. The sections cover a specific style and deal with Character in Repose.. It also makes for an incredibly lush feel . resulti ng i~a glorious mixture of styles. What you have here is a collection of jawdropping. this book really is an essential buy. If ever the term 'feast for the eyes' was applicable. t m ages are crisp and dear and you won't find any washed'Qut colours here! . Character in Motion. Multiple choice Portraits. moods.. The fact that there are so many styles represented in the book means that there is something that will strike a chord with you.00 I A glossy collection of inspirational art sually.. The 12 sections of the book represent 12 completely different artistic styles. it's here! Authors Daniel Wade and Paul Hellard Publisher ISBN Price $45. Even If something isn't printed as a full Jlage.but if anything.just by flicking through the book you will see everything from traditional-style portraits to fantastical scenes and furry critters. It's a clever marketing ploy and the reader generally takes it with a pinch of salt . and each section starts with the artists who were awarded the title of Master and Excellence. so all of the tones are represented faithfully. the artists here have been chosen by a special board of noted Corel Painter evangelists and represent some of the best work being produced with the software. you still have no trouble seeing all of the detail . Colourful stuff Some of the artwork is spread over two pages. Divided into 12 sections. This also gives you a great chance to examine the brush strokes and techniques in much finer detail . They then deftly move on to the other works in that particular style. If an artwork doesn't happen to take up an entire page. Environment. this undersells the extraordinary content found within the 190-odd pages. This means that everything is shown off to its very best advantage. it is placed on a black background. Put simply. you can lind au t abo ut who the judges and advisory board were .The World's Finest Painter Art . Concept Art..Ihe people responsible for picking who went into the book Thejudges The print qualitY of the book Is absolutely perfect. Different strokes . Fantasy..'s PR's way of adding a bit of excitement and zing to the book. Transport and Abstract & Surreal.Reviews Books Painter $45. no matter what your favoured look is.. This offering from Ballistic Publishing has one of these subtitles . any subtitle in a book is taken for show..

. ln addition to the acrylic-specific focus. watch and leam Giovanni Civardi's Comple eGuide to Drawing £19. and use the guide to brush strokes to set up your own specialised acrylic variants. The Acrylics brush category in Corel Painter is very true-to-life.99 I Learn more about this flexible art medium Phyllis McDowell Publisher ISBN Author £9. coming in at just under 400 pages. whether you want to get started in drawing or you're just looking to improve your skills.. There·s plenty of advice for the complete beginner in the boOk . This is a very interesting book that has plenty to teach whether you're working in the digital or traditional format. Starting with basic techniques and a fabulous display of what pencil marks give what kind of effect. Basic techniques . Essential considerations painter 89 . VDu (all see how a drawing was built up.... There's tons of information and interesting ideas on offer.. Colour mixing These pages all what happened wilen you mix certain colours together are handy fur whenyou're using the Mixer palette to paint from scratch The walkthroughs in the book are a greal way of seeing how ·real' crylics work and then transferring that to your a Corel Painter space . .... making this book a worthwhile read to understand how the brushes work.. yet you can also dilute them to get more of a watercolour feel.Acrylics Workshop: Simple Steps to Success £9.99 ISBN Price Search Press 1-84448-206-5 his is a hefty tome. light and colour. The book's author gives a constant narrative of information. Inspiration for all The Gallery pages dotted Ihroughoullhe book can give you some good ideas ror using Ihe acrylic brushes ina variety of ways .---_.99 I In-depth guide to improving your drawing skills Giovanni Civardi Publisher Author £19.. the book then moves onto types of drawing as well as types of medium.. and is packed to the gills with techniques for improvi ng your drawing skills. Seeing the progression from start to finish is a valuable learning tool Perhaps most interesting pages are the oneswhere the In progress The pages ded icated to specific techniques will help you create realjstjc skerclles and ensure [hat everylhiflg is in order ._------ . Every concept is accompanied by detailed instructions of how it works and there are plenty of 'in progress' shots for understanding how to get from A to B. this book also has some excellent guidance to art techniques such as composition. pointing out what's going on in an example and why it's happening. You can also stretch your legs on the walkthroughs for various paintings..we parthu larly liked the guide to diiWent effects using different mediums .... perspective.99 Price Darling Kindersley 1-4053-1578-4 crylics are a fabulous medium to paint in because they give you the depth and look of oils.. .. There's plenty to learn from this title..

which gives a very robust solution to displaying your artwork. MDF board or plastic. Plus we're all fans of Changing Rooms so if MDF's good enough for building a bedroom. or you can send in your prints. it's certainly good enough for us! See how it all works and then try it for yourself. with a choice of gloss or matte finish (but only if you were lucky)? If you wanted a larger print you had to try and scout out professional printers and pay a hefty amount of money to get the result you wanted. Now you can get digital files printed on loads of different media. 90 I painter . You can have images printed on high-quality paper. Over these three pages we're going to take you step-by-step through the process of uploading an image to the site and ordering a print. negatives or transparencies to be scanned in.Reviews Output I All blocks IJave impeccably neal finishes to the edges Mount your images to MDF The Big Print Company offers customers professional printing options at affordable prices. And don't worry if your image is a bit on the small side . If it doesn't. this Is an on Ilne haven for artists and photographers who want to show off their work in the best possible way. We see how the site works TUtorial info JoCoie painter master Time needed 10 minutes Skill level Beginner emember the days when the only option for printing photos was 4x6-inch prints. get them lami nated and even framed so they can take pride of place on your wall. the order can be cancelled at no cost. canvas. One retailer offering such a service is The Big Print Company. in a seemingly endless number of different sizes. the customer is sent a section of the image at print size to check that the resolution meets their standards. We're choosing the example of an MDF board here. so there's hope for those old negatives yet! Before any order is started. The company can work with digital files. Based in Manchester.The Big Print Company can scale an image up to 1600% without a discernable loss of quality.

.. If yo u go the upload route you may need to do some tinkering in your image editor. This will keep you informed as to how much your order is coming to.. You'll see a screen which explains how the process works and what you can order. If you have an old photo you want printed._~I~ Pick your product It's easy to place your order " .. You also have the 0 ption to constra in proportions to keep within standard frame proportions. click OK and return to where you left off at The Big Print Company. and picked the 18mm thickness option from the drop-down menu.eps or . Click Continue when you're finished.. In the frame If you want to add a frame to the equation.tiff.. the next page is where you get to do this. It you pick . so adjust the numbers. but if you're happy with your image. The perfect size Make your choice You'll now see a page with a IIth e different print products.. Each option has a good description of what the product offers... An artistic touch Depending on the image you're thinking of using. make sure it is saved at the highest quality setting.jpg. or enter your own dimensions. It's also preferred to save the file in . it's time to head to the Save dialog. thebigprintcompany. Click the small square on the right to make the selection. but there are guidelines worth following if you're uploading the image to the and click the Print your Images link on the side panel of the main page. just click Continue.pict format. so make sure that the Quality slider is up to the max and there's no compression. A wide variety of formats is accepted by the Big Print Company. The Big Print Company recommends that your file is no larger than 150ppi at the print size. . There are three types of frames to choose from along with the type offinish. . -painter 91 .. You can either pick a preset size form the drop-down menu. Also noti ce that a price has appeared in the You r Cart box at the top of the window.. Pick an RGB image because this allows the site to provide an online thumbnail and actual size image of your file. just click Continue.jpg. so there's no guesswork required. Click the Continue link at the bottom to get going. If you don't want a frame. the next page olfers various options induding the chance to have your print turned into a piece of art by the company's des igners. it's worth choosing the Photo Enha ncement 0 pti 0 n. And you're off The first job is to select the size of your print. Once that's all done.•. We went for the Block Mount Wrapped Edge option.jpg. Save and send Once you have your file at the correct dimensions and resolution settings. o Edit the size The next pa ge gives information about how to get your image to the compa fly. We're saving as a . File formats .. Open the file up and go to Image>lmage Size._ ' - Load up www.

... click the Continue Shopping button.. so don't worry if you're outside the UK..rxt. Once you've found the file destined for printing greatness. tick the square to select the Upload option and then click the Choose File button to get to your image. .tf you want to order more products.. simply click on the Choose button to ad d it to the site. Order summary ..tll!Ca. Once uploaded you'll see a summary of your order. Photos. _ • canvas Uploading Now the file is in the correct format and dimensions. t ..1 . If it's a large digital file.. enter the number you want in the Quantity box and click Update.r:1l(t"C . it's time to add your details. transparencies or negatives can also be posted and will be returned with the final product... burn it to disc and post to the company. - ..._1 - : IIIr . .. Click th e Proceed to Secu re Server button to enter your card details.11~ 8. When all is as you want it to be.. Then just sit back and waitabouta week for your print to arrive! World on a stick 92 1 painler there a re other ways of getting your image printed. 't"'~..-' . • "'Q"to*ljlj OC. Pick and choose Adialogwindow will zip down that allows you to navigate to your file. __ ~ .. _. .t r? _Ii : '11. The first step is to add your name and address. ~1'C't~~~ . You will receive an email confirmation and also be forwarded a print size portion of your image to make sure it's the resolution you want it to be."iiI . dick the Proceed to Checkout button. Press Continue to upload the image.'_. details With the order out ofthe way. Upload and pay The final order steps • .you may have a slow Intern et co n nection or have a ha rd copy of an image .'::canvas rq:.'" Jt1 "' _ L" & pt'CfCQ'03p''JC r9prOO. This may take a while depending on the size of the image orthe speed of your internet connection. and then the country you live in.' : '1'1 .. There it is A little thurnbnail will appear in the Upload box which should be the image you've just selected.Reviews Output ~q"4 "" Getting your file there We've shown you how to upload a file to the company simply because this is the quickest option.. ..KlIIICMMI You will be taken to the secure WorldPay server where you can enter your payment details and finish up your order.Ji::tOf'G _ . The Big Print Company delivers worldwide. Obviously this isn't suited to everyone . including postage rates and final total.__ Details.. If you want to order more than one copy.. __ .

" .Title: December Sunrise "Often th e best way to tou ch a v iewer is to pa in! Ihi ng s that evoke a memory or emotion and when painting this piece. I was reminded of silent snowy mornings I've spend in the wooded areas of my home.

Title: Barn Owl. I started with a black canvas and built up the colours with the Oil Pastel tools." Title: Sunrise Ritual Part commission and part personal piece.Five of Hearts (far left) "This piece was actually painted to be included in an animal-themed deck of cards (can you see the five hearts?). It was completed mostly with the Oil Pastel tools and the rough graphic lines were hashed in with the Scratchboard pen tool. this painting started life as a scenic ocean view. but the client wanted to have a oneof-a-kind piece of artwork so I worked a deal with her and used the background for a different idea I had. this was a joy to paint and experiment with lots of dark colours." <-Title: These Velvet Skies "A commissioned piece. . The stars were created using the Pixel Spray Airbrush.

with a touch of the Splattery Airbrush. They were completed almost entirely with the Chunky Oil Pastel tools. as an experiment The sketch was done with the Pencil tools in a layer set to Multiply." . There is a mixture of Oil Pastels (character) with Palette Knife and Digital Waterc010rtools used in the background. each with their own meaning and a combined meaning when viewed as a triptych.Title: (arvid Triptych "This was a piece a long time in the making. They were done both as a gift for a friend and as personal pieces. then the rest was done on the canvas." Title: Likeshine Portrait "Here is a piece that has more tools used. and as the title suggests is actually three separate paintings.


or simply use as a reference for a bit of freehand sketching NOdoubt you will be aware of the great new features packed into this version.. istockphoto.imagineshop. but if not check out issue one foran in-depth If you missed out you can order your back copy from www. Use as the basis of a cloning project..On the CD Your Corel Painter resources On the CD KandMa( Learn about the creative materials on this issue's free CD-ROM .uk 98 1 painter to enjoy this issue.. Photos You have 25 stock images from iStockphoto (www. Access content Find all of the disc content by clicking the relevant side tabs ..

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