Corel Painter - 20 - Magazine, Art, Digital Painting, Drawing, Draw, 2d

Ofcial Corel Painter TM Magazine
Create
digital art
today!
Official Magazine
Video tutorials on the disc

Learn to draw from scratch
Guides to using the brushes
Issue twenty
Creative pack
Quick fix
Improve your
portraits
Liven up
landscapes
Top tips for adding
life and movement
Master the art of portraits

with our complete course
Over
50
Vital skills
pages olfs
tutoria
Working
with light
Use Painters lighting

options to enhance
texture and realism
Expert tips
Sargent
brushes
Create the cover
Get to grips with

these lively loose
brushes
Visit us online www.paintermagazine.com
FREE CD
INSIDE
PC and Mac
Movement
Discover how to capture fluid
movement in your paintings
Cover_OPM20.indd 1
Paint Art
Nouveau
Learn how to create stunning stylised scenes
VIDEO TUTORIALS | STOCK PHOTOS | TUTORIAL FILES

Brush primer
Create quick and easy collages
with the Image Hose brushes
Art study
Quick tips for painting realistic
reflections on surfaces
ISSUE TWENTY
ISSN 1753-3155
6.00
20
771753 315000
www.paintermagazine.com
23/7/08 12:08:38
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Light up your
artwork
Explore the world of

Corel Painters Apply
Lighting settings
Pg 52
Reflect on this
This issues Art Study teaches

you how to paint reflections
from glass, water and other
shiny surfaces
Pg 66
Drawing 101:
Coloured pencils
Theyre not just for kids!
Coloured pencils grow up
in our drawing guide
ISSUE TWENTY
Pg 42
This is oficially my irst

month at the helm of the
magazine, so what better
way to introduce myself to
you than with a paint-packed
issue brimming with creative
inspiration? On page 20, artist
and photographer Susi Lawson brings you the
ultimate guide to painting a beautiful portrait,
and youll ind her accompanying video tutorial
on our disc, too. Tim Shelbourne goes in-depth
on one of Corel Painters most popular tools, the
Sargent brush, on page 30, and on page 38 Brad
Sutton shows us how to bring landscapes to life
with his tutorial on adding people to a scene.
Our Paint Like this issue on page 46 comes
from Joanna Michalak, the undisputed queen
of re-creating classic paintings. This time its
much ado about Mucha as she delves into the
stylised, organic world of Art Nouveau with
our stunning cover image. And in complete
contrast, reader ZhuZhu shows us how to
re-create his loose, expressive and energetic
style to make the complex subject of movement
easier and more rewarding to paint on page 58.
Enjoy your painting!
Visit our website!

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

[email protected]
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NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
Submissions are invited from

all digital artists for MOCAs
inaugural exhibit and its
upcoming Digitalism I exhibition
Museum Of Computer
Art gets a gallery space
Museum curator invites entries for MOCAs first exhibitions this autumn
GALLERY
The Museum Of
Computer Art will
continue to exhibit
work online in addition
to its gallery space in
Brooklyn, NY
stablished in 1993, the US

Museum Of Computer Art was
founded by digital artists Don
Archer and Bob Dodson. Their
mission was to create an online space
where computer-based art forms could be
celebrated. As well as digital painting and
image manipulation, the museum (located
at top-level domain, www.moca.virtual.

museum) also showcases enhanced
digital photography, fractal art, computer
animation and mixed media. Over the past
15 years the museum, known to its fans
as MOCA, has become a great source of
inspiration and offers online exhibition
opportunities for all kinds of digital
artists. Now its moving into a physical
gallery space in Brooklyn, New York, and
is inviting contributions for two upcoming
exhibitions this year.
The irst of these is its inaugural
exhibition, which is running from 2-18
September 2008. All entries should be
submitted as digital iles via the website.
The second is Digitalism I, running from
7-25 October 2008. This is a combined
exhibition, competition and art sale. You
can submit a maximum of three entries for
consideration via the website. If accepted,
youll need to ship your work ready to hang

(framed, lat or tubed) at maximum of
32-inches in size at the longest point. There
is a $190 exhibition fee for each artwork,
payable on acceptance. Youll need to
include a sale price for your artwork too,
so remember to factor the exhibition fee
into your inal price. Competition awards
will include irst, second and third place, as
well as ive honourable mentions.
International artists are welcome to
submit their work, but for those exhibitors
who ind themselves in the area there will
be a reception at the gallery on 11 October
2008, between 4-6pm. MOCA is located
at 139 11th Street, Brooklyn, NY 11215.
Digitalism I will also be viewable online
throughout the length of the exhibition.
If you plan to submit your work for
consideration then let us know wed love
to hear from you!
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WEBSITE
In short
Down in the dumps?
Creative happenings from

around the world
Amuse yourself artistically with Dumpr.net

nline photo editors are ten a penny
these days, from Photoshop Express to
Phixr. For average users theyre great,
but advanced image makers may ind them a
little lacking. Enter dumpr.net, a web resource
that makes photographs fun again. This site
will allow you to use your photos or Corel
Painter artwork in images of everything from
LEGO to a Rubiks Cube. Our favourite fun
tool however has to be Museumr, which puts
your painting onto the walls of an art gallery,
complete with adoring viewers looking on.
Theres more to the site than laughs, though.
Tools from the Pro section feature fantastic
effects, like peeling paint, or create the illusion
of a sketch artist who has been photographed
drawing your image. Used cleverly in your
paintings, they can create a bewildering sense
of reality distortion.
RESOURCES
Art Now: The Way In

Which It Landed
Dumpr.net is full of fun

stuff, and you can use
some of its tools to great
effect in your paintings
Banksy unmasked?
You Suck At
Photoshop!
Cheaper colour
calibration
The iconic video tutorial series

returns for season 2
EQUIPMENT
e know many of you like to

mix up your Painter pieces
with Photoshop, but many
dedicated Painter users can struggle
when it comes to Photoshop-speciic
tricks and techniques. We ind that we
remember things best when theyve
been presented in an appealing way.
Misanthropic Adobe guru Donnie
Hoyle is one of our favourite Photoshop
masters. By popular demand, his iconic
You Suck At Photoshop series of video
tutorials returns for its second season
at www.tinyurl.com/5pf4yx. Silly,
scatological and sometimes downright
rude, they nonetheless manage to
convey some useful information.
This free exhibition at Tate Britain,

put together by guest curator Ryan
Gander, looks at randomness and the
art of collecting. Its a mish-mash of
styles and schools, focused on chance
encounters and a playful approach to
art. The fun started on 2 August and
runs through until 26 October. More
details at www.tate.org.uk.
Get a cheaper
colour calibrator
from Datacolor by
trading in your
old one for a
discount of 40
Take advantage of Spyders latest

discount offering
olour calibration equipment can be
prohibitively expensive, whether
you favour a Huey, ColorMunki or a
Spyder. British readers on the lookout for a new
calibrator can take advantage of this discount
on the Spyder 3 range from Datacolor. Return
your old device to a participating local dealer or
send it to Datacolor with your order form and
youll get a cool 40 off the price of a new one
from the Spyder 3 range, which is comprised
of the Spyder3Elite, priced at 155.99 and the
Spyder3Studio, priced at 253.99 (both are
inclusive of VAT).
These two devices were already reduced in
price in June of this year, and this additional offer
means that you can beat the credit crunch and
still invest in a colour calibrator. The offer runs
until 1 September 2008.
Whether you view him as a vandal or

a latter-day Vermeer, guerilla artist
Banksy is shrouded in mystery. Now,
UK newspaper The Mail On Sunday
claims to have revealed the man
behind the monkey mask. Is it or isnt
it? The artists representatives refuse to
confirm or deny any rumours. But the
picture on which The Mail On Sunday
has based its claims has actually been
in circulation for the past four years.
Gnomon Workshop
Check out this issues disc for some
Painter-based video tutorials from
artists resource, the Gnomon
Workshop. Focusing primarily on
fantasy and sci-fi art, the Gnomon
Workshop specialises in illustration,
especially comic-style vehicles and
people. Whether youre a beginner
or an advanced user, youll find
something fascinating in their tips,
tricks and techniques.
SEPT
21 of
OPM on sale!
11 Issue
Donnie Hoyles unique approach to video
tutorials makes Photoshop a much less daunting
experience for beginners
Make sure you get your hands on the

next issue, as were featuring complete
guides to creating custom brushes and
customising your program interface.
So put Painter in your comfort zone
next month!
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Welcome to the part of the magazine where you can com
and share your thoughts on anything you fancy!
Send your
letters to...
Ofcial Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond
Hill, Bournemouth,
Dorset BH2 6EZ, UK
If youd prefer to contact
us via email, send your
message to opm@
imagine-publishing.
co.uk
Painter and Photoshop
I am an avid reader of the Oficial Corel

Painter Magazine and have greatly reduced
my use of Photoshop as a result. But I have
a nagging problem with the transition
from Photoshop to Painter, which relates
to adapting years of Photoshop work to
Painter. My problem is that I cant adapt
methods of using ilters, tools, brushes,
etc from one application to another.
Would it be possible to have an article
or a spot on your website that helps in

ways to converting and understanding the
difference in adapting these methods? This
would certainly improve my worklow, and
probably that of a few others.
John Swenson
Hi John, we come across a lot of people who

mix Photoshop and Painter to create their
artwork, and it seems like everyone has their
own technique. Some will set up all their layers
in Photoshop, save a PSD file and then import

it into Painter. Others will start in Painter and
move over to Photoshop to complete the final
tweaks to an image. Our sister titles, Photoshop
Creative and Advanced Photoshop, are both
brimming with tips and tricks for using Adobes
software to create amazing artwork which
you might find useful but like Painter, theyre
specialist magazines dedicated to one piece of
software. Are any other readers interested in a
feature about mixing these two applications?
Do you have any techniques youd like to
share? Let us know so that we can publish
the definitive guide to combining Painter and
Photoshop some time in the future!
Custom categories
I have created a few Custom brush

categories and now wish to delete one
of them. It is quite easy to delete a brush
A lot of artists will merge

Photoshop with Painter,
such as Cheryl Blanchard
in her tutorial in issue 15
You should be able to find your custom brush

categories inside the Painter Brushes folder in the
Program Files directory, but we cant. Can you?
Featured gallery
The Warrior
Entering The
Deadlands
Our favourite readers gallery this month
Alan Lathwell
www.paintermagazine.co.uk/
user/Alan Lathwel
Lathwell
Illustrator Alan Lathwell is a recent and
very welcome addition to our readers
galleries, and his traditional fantasy
art has stormed them! We love Alans
understated colour harmonies and
combination of smooth paint with
awlessly represented textures. His
high fantasy subject matter of swords,
sorcery, warriors and mythical races
wouldnt be out of place on the cover of
Lord Of The Rings. Visit his gallery and
you will also see his beautiful, previously
published illustration, Elf Queen.
Gawaine And
The Green
Knight
Alan Lathwell
Alan Lathwell
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If you cant get hold of our bookazine then try our

eMag its full of Painter goodness!
variant within one of these categories, but I

am unable to ind any information on how
to delete the Custom brush category itself.
I have looked in the Program Files>
Corel>Corel Painter X folder in Windows,
but can ind only the standard Painter
brush categories. Where are the Custom
brush categories located and how do I
delete them?
Lincoln Bennett
According to the Help files weve come across

you should be able to find your Custom brush
categories within Painters Brush Library. In
Windows this should be in the Program Files
directory that you looked in. However, we
suffered exactly the same problem when we
tried to put this into practice. We admit, after
a couple of hours tinkering, were as foxed
as you are! Our only option is to suggest
the crowbar method of fixing it uninstall
and reinstall Painter with its Default settings
(remember to back up any custom brushes
that you do want to keep!). But its not the

best way to fix a software problem, and its a
far from elegant solution, so were going to
throw this one out to the crowd. Have you
come across this problem? More importantly,
have you found a solution? Please let us know
on the forum at www.paintermagazine.
co.uk.
Wheres the bookazine?
Im a big fan of the magazine, but some of

my older copies are looking a bit
well-loved these days! Id like to get hold
of the bookazine, but it seems to be out of
stock on the website and I cant ind it in
any stores. Help!
Tamsin Grey
Sadly for you Tamsin, our bookazine is a

popular product and has sold like hot cakes!
You could try our eMag its a whole years
worth of Painter on a single disc, which means
it wont get dog-eared either.
www.paintermagazine.co.uk
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Come and join our

forum and website
Make yourself known!
www.paintermagazine.co.uk
Not only do we deliver inspirational and practical
tutorials on your favourite program every month,
we also have a dedicated Corel Painter website
that you can visit to get your artistic ix while you
wait for the next issue. From here you can join up
for a free account, then create your own gallery for
the world to see! You can explain the process or
inspiration behind each of your images, comment
on other members artwork, share your wisdom
and take part in regular challenges. Theres also
an area to download tutorial iles from previous
issues in case your CD has gone missing. If you
feel like a bit of creative interaction, we also have
a forum for you to come and leave your thoughts
about the magazine. You can ask Corel Painter
questions and pass the time with other digital
artists. So what are you waiting for? Visit www.
paintermagazine.co.uk today!
ENTER T
WEBSITHE
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Dont be
shy
welcome everyones
t
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in
co.uk/co termagazine.
mpetitio
ns.php
Goblin Charge
Alan Lathwell
Alan Lathwell
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Interview Marc Scheff
WEBSITE
JOB TITLE
CLIENTS
www.dangermarc.com
Freelance
Electronic Arts, Olivia Wilde, Mothership Pictures,
private commissions
An interview with
Marc Scheff
For the last year, illustrator and conceptual artist Marc

Scheff has been using Painter to wow audiences with
his own Live Digital Painting. Nick Spence meets him
Q. As a digital illustrator, what attracted

you to Corel Painter above the other
software programs?
Corel has the best tools for artists who are
used to working traditionally. I studied
computers in college, so I used Photoshop
which is still great for colour correcting
and printmaking. However, after I went
to art school, I found Painter to be much
closer to the experience of actually
creating on paper and canvas.
Q. How does Corel Painter complement
your illustrative style?
First and foremost, I like to experiment
and push boundaries. I also do various
kinds of work, illustration, video
portraits, live painting, and even more
cartoony character work sometimes.
Painter lets me try new things very easily.
If I were in a studio and wanted to see
what oil would look like, Id have to take
the time to set up and clean up. In Painter,
I can not only try these things, but I can
do things that just wouldnt work nearly
as well in a traditional studio, like laying a
beautiful watercolour over an oil painting.
Q. Do you use Corel Painter when you

work on concept portraits?
Yes. I work with a sketchbook a lot too.
Using a pencil on paper is still a very easy
way to get messy and work through a lot
of ideas. When I ind a composition that I
like, I scan or just re-sketch it in Painter.
Then I build up values and colour until
I decide which one to use. This is useful
because I dont have to pick just one.
Painter makes it easy to try a few ideas,
and even develop them before you decide
on a inal look.
Q. Can you briey explain your work
methods to us?
I like to think about my work as a kind of
planned chaos. I put a lot of thought into
composition, colour and concept, but I also
like to leave something to chance. I can
give myself a little chaos with Painters
Jitter settings, and I can clean it up easily
when Im done. I have a PC desktop, a big
Dell monitor, and a 12 x 19 Wacom Intuos
3. Andrew Jones, the only other live digital
painter I know of, recommended the big
Wacom and Ive never looked back. I also
have an Epson 2400, and use a semi-matte
paper that HP makes.
Q. What would you say are your favourite
Corel Painter tools?
The Pattern tool and the oil brushes. You
can get a remarkable amount of lexibility
with the Pattern tool, and making your
own pattern is really gratifying. Mixing
the clean pattern look with some Smeary
oils is something thats really hard to do
All original artwork by Marc Scheff
ith a background studying

both computer science and
illustration, Marc Scheff
has put both to good use
in recent years, designing for the games
industry and working on a range of
illustration projects. Skilled in both Corel
Painter and Adobe Photoshop, Scheff
works out of his home studio in Brooklyn,
where he lives with his wife.
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I found Painter to be much closer to the

experience of actually creating on paper
Remember, by Marc Scheff.

I like to contribute to online
blogs and communities. This was
created for an Illustration Friday
weekly competition.
15
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Mixing patterns and

textures is something
that has become a bit of a
trademark for Marc
International internet guru, Danah Boyd,

hired me to do this portrait that shows off
both her funny and geeky sides.
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with natural media, and yet it looks like a

painting. Its also a very satisfying effect
in the video portraits and live painting.
When you see a clean stroke made up of a
perfect ladder, or dots in varying colours,
it kind of makes your eyes pop.
Q. You have recently been doing a lot of
Live Digital Painting with Corel Painter.
Can you explain what it is?
Live Digital Painting is a performance
art where I create a painting
spontaneously in front of an audience,
usually at live electronic music events. Its
quite a rush, standing there with a blank
canvas, reaching out for inspiration. I
dont know what will happen when I
start, but I begin by laying down strokes,
usually with the pattern marker for some
cool random shapes. As I begin to see
something in the chaos, I try to pull it out.
Sometimes its a igure or an object, and
sometimes even a word. The music and
the crowd gives me creative inspiration.
My setup is my laptop on a music stand,
and my Wacom on another music stand. I
project part of my screen on a large wall
or screen so people can watch my work
progress as they dance to the music. Last
week I did this in San Francisco, at an
event called Alchemy. I collaborated with
an acrylic painter who painted on the
canvas where I was projecting. It was the
irst Live Digital/Acrylic mashup ever!
Alight, for Boomtown,

created live during
the Burning Man
Decompression party
held in Portland
Q. Generally, whats the reaction been

like at venues across the US?
People love it. Its really unique and
uplifting. For me its great to just let go
and try new things, and people really
like to look up from dancing and see
my images evolve.
The challenges are sometimes
funny. On New Years Eve this year I was
performing at an underground party on
a loor that was designed for dancing (it
was very bouncy). Imagine trying to draw
and ride a horse at the same time thats
how it felt. There are other times when
I feel like Im in Spinal Tap. I just did a
demonstration at Columbia University for
a multicultural event, and when I arrived
there was nobody there, my cables were
the wrong kind, and all I could think
about was death metal at a nursing home
fundraiser. We did work it out though,
people showed and it was a great demo.
Q. Do you plan to develop this and
produce video portraits?
Yes, this is another new thing Im doing
with Painter, and you can see other
people getting into it on YouTube. I get
a photo from a client, and some ideas
about their personality and what they do.
I use the photo as a reference to create
Tree. We wanted
something to give
to our guests at the
wedding, and we
thought a portrait would
be a nice gift. I also made
a video of this image
from start to finish, set to
appropriately sappy music.
Another painting Marc crea

ted
live during the Missing Piec
e
grand opening. Scheff loves
to
paint while an audience look
s on.
17
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ple of
Another exam
tterns
pa
of
e
us
s
rc
Ma
ments
with portrait ele
Pleased To Meet You,

for Boomtown, created
live during the Burning
Man Decompression
party held in Portland
a portrait that really communicates

the personality of the subject. I record
my screen at about a frame every two
seconds and then I have a video of the
whole painting in process, which I set
to music. Im starting to build up a
portfolio of this work and marketing it as
a product. Painter is great at letting you
ind success as an artist in ways you just
couldnt by using traditional media. You
can see a few samples of these videos at
www.sketchbook.dangermarc.com.
Q. Finally, please tell us about your latest
book, Alchemy, and your future plans?
Alchemy is a survey of my work,
everything from sketches to live painting.
Truthfully, I would probably change
a hundred things about it now, but
incorporating what Ive learnt is what the
next book is for. As for my future, I just
moved to New York, got married, and plan
on pursuing freelance opportunities. Im
looking for clients for video portraits,
and Im interested in breaking into
illustration work for magazines.
Marc has supplied two of his videos for
our disc check them out now!
Painter is great at letting you

find success as an artist in
ways you just couldnt by using
traditional media
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Feature
Create effective portraits
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Whether traditional or digital, your

portrait needs to deliver impact. Susi
Lawson shares the techniques needed
ortraits have been one of the most popular visual art forms since
the beginning of time. Whether you are painting to honour a
world-renowned queen or your adorable nephew, you want the
portrait you paint to have an impact on whoever views it. There are
certain elements that must be implemented to achieve this, and we are going
to present them to you in this tutorial. All portraits must have good light,
tonal range, colour balance and, crucially, convey something (like an interest
or personality) about the subject. The portrait should be interesting enough
that the viewer does not need to know the subject in order for the image to
attract their attention and keep it.
The background must be suitable for the foreground and the subject to
create compositional unity, and the objects or props in the portrait must
convey something about the subjects personality. This can be an occupation,

hobby or even a time period. The expression on the face must create an
emotion that is compelling, whether it conveys glamour, joy or sadness, and
the viewer should be drawn in to feel this. The eyes do not always have to be
looking right at the spectator for this connection to happen.
In this portrait, the subject is a 16 year old girl on the brink of
womanhood, and her look seems to convey this longing to grow up. The
costume and jewellery convey a certain sophistication; whether pretence
or real, it is there. Though this photo was taken only a year ago, the props
make this image appear a bit retro. This could be a teenager in the Fifties or
now, which gives the portrait a timeless quality. Discover how the image was
created in the steps, but also check out the video tutorials on the CD.
Photorealism
All portraits must start with a good image, whether the subject is sitting for the portrait or you are using a reference photo
01 Set up the under painting
All
portraits start with an under painting
which can be used as a reference for your over
painting. With Corel Painter, cloning is the magic
behind the painting! Open your image and go to
File>Clone, as shown.
02 Choose Clone Color
Ensure that you

have selected Clone Color so that youre
picking up the colour from your photo. When you
want to use your own colour you can go back and
unclick this option. This is very easy to overlook, so
make sure you keep it in mind.
03 Start cloning
We have chosen the Acrylic Capture brush to clone

our image. Were using Opacity of around 28 per cent and following
the contour of the image as a guide for our brush strokes. The hat net provides
a cloning challenge which we will cover on the next page.
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Feature
Start your portrait

Start painting using traditional art methods combined with digital tools
04 No more cloning!
We have completed the under painting so

unclick Use Clone Color in the Color options. Make two layers for
the hair and skin. To paint over the hat net use your colour picker (or Alt+click)
to sample the skin and hair colour, and paint directly over the net using the
Acrylic Capture brush. (Dont worry, well be painting the net back later and
xing the skin.)
05 Set up layers
We already have the

hair and skin layers, so lets add a layer for
the eyes, mouth, gloves, bracelet and background.
These layers give us security if we make an error
and ensure that we can make changes to specic
areas if needed. Make sure you have the right layer
selected as you work. (To name them, double-click
on the layer title.)
06 Setting up a Color palette
There
are many different ways to set up a
Color palette, but one way that we like to create
an interesting array of colours is to open a picture
painted by a great portraitist, such as this one by
John Singleton Copley. Just go to your Color Set
drop-down menu and choose the Color Set From
Image option.
Light
source and
08
shadows
The swatch
sizes are usually too small, but there is a
way to x this. Go to the drop-down menu again,
click on Swatch Size and choose 16x16. You will
now have larger colour boxes in which to easily
choose the colours for your portrait.
Look at your
image and determine
where your light source
is coming from. In this
image the light is on the
right, so our shadows
will be to the left. We
have chosen the Wet Oily
brush at 30 per cent to
start applying the facial
shadows. We also chose
a reddish-brown colour
from our Color palette
and put a stroke of this
on the background
to refer back to when
needed. But you may
prefer to create another
layer titled Shadows.
09 Continue shadows
10 Deepen shadows
07 Change the swatch size
Background
effects
The background
is essential to any
portrait, but each
portrait calls for
something different
and it is important
to let the subject
tell you what it
needs. Sometimes
elaborate detail is
appropriate with
props and dramatic
lighting. But with other
images, such as this
one, a simple black
background is all that
is needed.
Continue to
paint in the basic shadows of the face,
add a darker colour and use a lower opacity. It is
better to paint over with low opacities than it is
to go too dark. Notice that the shadows further
dene the cheekbone area.
Keep adding the

basic shadows going onto the neck and
arm area, and adjusting the opacity very low as
you go so the shadows appear natural. Dene the
contour of the arm as you did the face. (Note the
small shadows beneath the nose and lower lip.)
11 Add cheek colour
Choose a
pinkish-red colour as shown, and mark this
on your background. Now very lightly apply it to
both cheeks and across the nose to give a healthy
glow to the face (the colour range of the face is
always redder in the middle).
22
24/7/08 14:47:25
Lighting
effects
12
Paint the whites of the eyes Use
your Acrylic Opaque Detail brush at a very

low opacity for the eyes. Choose a soft grey colour
and paint over the whites of both eyes. But be sure
that youre on the Eye layer for this! Now choose
a darker grey colour for the shadows beneath the
top lids.
13
Paint the irises Using the same brush,
sample a soft brown colour from the hair

and paint in a radiating motion around the iris.
Now make the colour lighter and more yellow on
the right side, near the light source, to add more
life to the eyes. For blue and green eyes, sample
from a photo of the subject instead.
14 Block in the hair
Use the same brush

again. Now start blocking in the basic
colours of the hair. You can sample the existing
colours, but you will want to use the darkest
browns near the hat and shadows, and work
in lighter colours towards the outer hair adding
golden highlights. We will get to the details later,
but for now this is a good foundation.
If your portrait is
lacking in light and
appears a bit flat, a
quick and easy way
to add interest and
more drama is to
check out the lighting
effects in the Surface
Control tools. Here
you can play with the
colour tones, light
direction and adjust
the ambience to
exactly what your
image needs!
Small details
Mixing freehand with cloning
a furry
texture
15 Create
Stay
with your acrylic brushes,
but this time choose the
Acrylic Capture brush.
With a dark grey, start
brushing upward and out
to create a fur effect (be
sure you have your Hat
layer chosen). To create
more depth, go lighter
and lighter with your
colour, as shown.
16 Paint the lips
Make a new layer called

Mouth and, still using the Acrylic Capture
brush, sample the existing lip colour. Take care to
resample in the shadows where needed and add a
lighter highlight to the bottom lip.
Custom
brushes
17 Paint the teeth
Use the same technique on the same layer while

painting the teeth, taking care to preserve the shadows and highlights.
If your portrait looks too opaque try decreasing the opacity of your layer until it
looks more natural.
18 Paint the jewellery
Go back to the Acrylic Opaque Detail brush

and sample the monochrome colour of the beads. Now paint over
them. Use a light grey for the highlights on the black beads and a beige-grey
for the shadows on the white beads. Remember where your light source is.
To customise your
brush for the work
you are doing its very
important to adjust the
size of the brush. This
can be accomplished
quite easily using
the left and right
bracket keys on your
keyboard. It is also
essential to play with
and vary the opacity
(or transparency) of a
brush by adjusting it
in the Menu bar. These
are just a couple of
the custom options,
but they are the most
important ones
to remember!
23
24/7/08 14:47:43
Feature
Skin deep
Create more details for a photo realistic effect
Skin
highlights
Be sure the highlights
on the face are in the
correct place or it
can throw the whole
portrait off. Highlights
generally fall on the
bridge and tip of
the nose, the outer
nostrils, the middle of
the bottom lip and top
edge. Also you will find
them on the top of the
forehead, cheekbones
and the chin.
19 Dene the shadow details
Use
the same brush we used for the basic
shadows (Wet Oily brush) and start painting
in denite shadows, such as the eye lid crease,
around the nose, inside corners of the eyes and the
red of the cheeks. Refer to the colours you already
used for the basic shadows, making them darker.
20 Forehead tones
The face is
comprised of three main colour
temperatures, which are yellow on the forehead,
red in the middle (as we have already painted) and
a cooler blue towards the chin. Here we are using
Yellow Ochre to lightly tint the forehead.
22 Contour the lips
By sampling the lip colour and choosing a darker

shade, add more contour to the lips by painting dark shadows into the
corners and easing them towards the centre. The tops of the lips are always
darker than the bottom. (Again, be sure you are on the Mouth layer.)
24 Add freckles
Freckles can be a cute addition to a portrait, and this

is a good way to add them back if they have been painted over. Go
back to the Acrylic category and choose the Opaque Detail brush again. Using
a soft reddish-brown, take your stylus pen or brush and make tiny dots varying
in size across the nose and cheeks. Now lower the opacity of the layer to make
them look more natural.
25 Eye highlights
21 Lower face tones
As weve just
discussed, the face has three colour tones.
The lower area grows cooler, so lets lightly apply
a blue-grey colour using a very low opacity to the
chin area (we dont want her to appear like she has
a 5 oclock shadow!).
23 Lip glow
Now we are changing to the Fairy Dust brush found in

the F-X category of brushes. Use this with a soft pink (almost white)
colour, a small brush tip and a low opacity. Now sprinkle some sparkles onto
the lower lip.
The eyes are lacking

some spark so go to the Photo category
and choose the Dodge brush. Go back and forth
across the iris and the white of the eye until a nice
highlight appears on both eyes. (Double check
that youre on the Eye layer.)
26 Reduce skin opacity
Now select
the Skin layer and decrease the Opacity
by about 79 per cent. This will remove any harsh
brush strokes and will reveal the hat net, which we
can use as a reference to paint back over.
24
24/7/08 14:48:05
Colour value
and tonal
range
27
Drawing details back in Now choose the Impasto Thick Bristle
10 brush and paint over the net on the skin. Do not paint right over
the guidelines as we want this area to serve as the shadow, so stay a bit off
line. Use high opacity paint and a tiny brush tip for this. (We will paint this over
the hair later.)
28 Paint the background
Make one more layer, title it

Background and choose the Acrylic Opaque Detail brush again
at a high opacity. Even though the background is already black, we want to
ensure that there is no peek through from the photo shoot. So paint over
the entire background a dense black, which is a nice accent for this charming,
sophisticated portrait.
Make sure you have a

wide range of colour
values and tonal
ranges. This means
that your portrait will
have very dark to very
light tones, ensuring
that the image has a
convincing form and
contour. If you do not
have a wide range
from dark to light, your
image will look flat.
This is true no matter
what the nationality
and overall skin tone
of your subject is.
Skin tones Follow our skin tips

There is no secret palette for painting every face, but there are some basic rules that apply to every portrait when considering light and shadow, colour tones and range. This is true
of every skin type and we will explore a few of them. There is really so much variation in skin tones it is almost impossible to create a formula as so much depends on light and
shadows, and even the background can influence the tones of the face as we reflect what is in our surroundings. So take any advice here as a general guide, and use your artists
eye to see the colours present in your subject.
ZONES OF COLOUR
These three zones of colour are present
in every face and are as follows: the
forehead to the eyebrows tends to show
a yellowish cast, then from the brows to
the bottom of the nose the face is very
warm with lots of reds, and from the
bottom of the nose to the chin the colour
turns cool towards blues and purples.
This colour range is more pronounced
in males, so ensure this is softer when
painting females. (The neck should be
more neutral.)
CHOOSING COLOURS FOR

AFRICAN SKIN

ASIAN SKIN

INDIAN SKIN
The best way to create a palette for

dark skin is to scan a portrait and create
a palette (you can name and save your
Color Set by using the arrow to the right).
For very dark skin tones we can mix a
Burnt Umber and Burnt Sienna to create
a good mass tone for painting brown
skin. The darker the skin, the more it
will contrast with the highlights. A small
amount of Cerulean blue added to the
highlights will make them convincing.
You can exchange Burnt Sienna in the

previous tone with Yellow Ochre as this
will give you a good mass tone for
many Asian skin tones. And a little
Viridian may be added to the Yellow
Ochre if desired.
Notice how both the African and Asian
esh tones show less differentiation
between the forehead, cheek and jaw
areas that we saw in our lighter skinned
lesson earlier.
For Indian skin tones the colours will be

a similar combination of the palette for
Asian skin tones, but will include many
more concentrated oranges and reds
to the skin. Keep it in mind though that
the ears, cheeks and nose have much
thinner skin and ample blood supply,
which will make these areas seem redder
on everyone. Also remember that the
whites of the eyes are never actually
pure white!
25
24/7/08 14:48:27
Feature
Brush techniques Use a hair brush

The texture and look of the hair is all in the brush that you choose and
the way that you use it. A Wacom tablet is highly recommended, as it
is much more natural to use the stylus pen for the free flowing locks
you will want to create!
Hair raising
Hair plays a big part in creating a successful portrait
in the
hair shadows
29 Block
FOR BABY HAIR AND

FINE HAIR
Hair, like the face, has

shadows and highlights
and we must show this
for the hair to have depth
and movement. First, if you
are happy with your work
so far, atten all the layers
and create a duplicate.
The Acrylic Capture brush
is a great brush for hair so
choose this brush and start
painting in the shadows
under the hat, near the
neck, and any areas where
the light source does not
quite reach.
For ne soft hair, such as

a babys, it is best to use a
very soft brush (like the Soft
Airbrush 20) and allow it
to curve softly as you draw
the lines. This gives the
impression of ne, oaty,
downy hair. Build it up from
dark to light tones at under
20 per cent Opacity.
FOR BEARDS OR VERY

TIGHT CURLS
The best technique for thick
beards and extremely curly
or fuzzy hair is to go to
the Sponge category and
experiment. Here we are
using the Glazing Sponge
60 brush and its quite
effective, as you can see!
You will need to layer over
and over to build up density.
FOR THICK AND

STRAIGHT HAIR
The Acrylic Captured brush
is the best default brush for
thick, straight hair. Lay in the
base colour with a wide tip
and then lower the opacity
as you build up highlights
on top, until you achieve the
best look. (This is the look
we used in this lesson.)
FOR THICK WAVY HAIR

Once again the Acrylic
Captured brush is the best
default brush to use for this
hair texture. You will be
using the same technique
that was used with straight
hair, only you will squiggle
your brush as you stroke
downward. Start with a
straight base and add the
squiggles in the highlights.
30 Hair highlights
All hair has highlights,

no matter how dark! This denes the
hair and creates a nice depth so it doesnt look
like a wig, and shows the light source reecting
and giving a shine to the hair. Lets keep the same
brush, vary the opacity and thickness, and choose
lighter amber and beige colours from the palette.
Brush the hair as you would with a real hair brush.
31 Hair details
Now reduce the brush tip

and add life to the hair by creating smaller
hair strands that are not so tidy and tight to the
head. This gives more movement and life to the
image, and adds interest and visual appeal. Vary
the opacity for this to get the best effect.
32 Eyelashes
Now give your

sophisticated lady some
luscious lashes! We found
that it looks better to
add lashes on the image
rather than on the model,
as it is a much cleaner
look. Here we are using
the Soft Airbrush 20 at a
low opacity. Apply lightly
with a ick of the hand,
in much the same way as
you would make a check
mark. Make sure you dont
overdo it though!
26
24/7/08 14:49:06
Bring the portrait together
Adding
movement to
the hair
Attend to all the small details
33
Eyebrows Now go back to the Acrylic
Capture brush and make the eyebrows

look more natural. Use a low opacity and brush
upwards towards the centre, and then outwards
towards the edge of the face going with the
natural arch of the brow.
34 Finish hat details
Now that you

have the hair completed return to the
Impasto Thick Bristle 10 brush and complete the
netting across the left and right side of the hair.
Use a small brush tip at 77 per cent Opacity and
paint the net by using zig zag strokes that connect
to one another.
35 Wavy hair
If you would like to

experiment and see what your model
would look like with wavy hair it really is quite
simple! First make a new layer so you can delete it if
you dont like the results. Using the Acrylic Capture
brush, follow the same technique you used for
straight hair but this time as you stroke the brush
downward just add a squiggle all over the hair, and
viola! She has wavy hair!
Background colours What works best?
36 Tear ducts
Tear ducts are easily overlooked as they are a tiny pink

tissue in the corner of the eye, near the nose. But if you skip this step
the eye doesnt look right. It is important to note that this area is red, so use the
Acrylic Detail brush and paint in this area on both eyes.
lid
detail
37 Lower
One of the first questions that will come to your mind when painting a
portrait is, What colour should I paint the background? The answer
is usually in the face of the subject. If its a child then the props and
background will be very different than an adults portrait, and a lot of
choosing a great background is just intuition. You have to develop a
good understanding of what colours work well together. For example,
in this image the basic colours of the clothing are black and white so
our first thought was blue as it works well with black and white. But
the best way to find out is to make a new layer and experiment with
different colours. Blue does work quite well, but when we looked
at the black background we decided that it worked best because it
expresses more sophistication.
Look in
the mirror and you will
notice that on the esh of
the lower eyelid, where
the lashes grow from,
you can see an edge of
lighter coloured esh. It is
important to include this
for a more natural eye.
Again, use the Acrylic
Detail brush as we used
above. If you overdo this
and it looks too harsh, go
to Edit>Fade for a more
subtle appearance.
If you want your

portrait to really
come alive you must
remember that the
hair is almost as
important as the
face! If your hair
looks like a helmet or
a wig then it will kill
the whole portrait.
To add a feeling of
freedom and zest,
use a smaller brush
and add tiny strands
of hair that swing out
from the face into the
background. Keep this
technique to a fine
balance as you dont
want bed head you
want a real-life look
and a bit of a breezy
style! Opacity is very
important here be
sure it is very low
and varied.
Balance
highlights
and shadows
You must have a good
idea of your light
source before adding
the highlights to the
hair. Usually the hair is
darker at the top and
around the neck, but
this may change if your
light source changes.
Adding highlights
defines the hair
strands and separates
them, really making
the hair look real and
also adding a shine.
Always start with the
darker colour as a
base and work lighter
towards the surface
of the hair, and even
brighter where the
light is creating a glow.
The highlights should
be the same colour
as the hair base, but
varied in tones. Brown
can have a lot of warm
highlights such as gold,
amber and auburn.
27
24/7/08 14:49:39
Feature
Finishing touches
Details, details! Explore your portrait to see if any are missing
38 Hair body
Add some more body to

the straight hair by going back to the
Acrylic Captured Bristle brush and sampling the
hair for different colours. Now go to the blunt end
of the hair and add some curve to the bottom by
swinging your brush strokes upward.
39 A sparkle in the eye
The eyes are of

the utmost importance to every portrait,
and one of the most engaging details is a bright
spark of light in the eye. Never put it smack in
the middle of the pupil, but to the right or left
depending on the light direction.
40 Surface texture
Go to the top Menu bar, and in the windows

drop-down menu choose the Library palettes and select the Papers.
When you have the Paper dialog box open, choose the Italian Watercolor
paper. Now go to Effects>Surface Control and reduce the amount to only 17
per cent to give your portrait just a touch of texture for more interest. (If the
texture is still too much, go to Edit>Fade to soften it more.)
The last layers Are layers necessary?
41 Lighten the hat details
Go back to
the Impasto Thick Bristle brush, and this
time pick a medium-grey colour. Now go back
over the net that is on the hair to make it stand
out where it is difcult to see. This lifts it over the
colour of the hair.
42 More fur uff!
Now go back to the

F-X brush category and choose the
Hairspray brush. We are going to add a bit more
uff to the fur on the hat. This is a little tricky, but
if you have a stylus pen rotate it so that the spray
goes in the direction you want. This will make the
fur a bit ufer-looking, as you can see! Use a very
light grey (almost white) colour for this.
Keep it simple
Sometimes the best
background prop for
an image is none!
In this image all the
props are literally on
the model. The hat,
gloves and beaded
bracelet add plenty
of interest to the
image. If we added
even more props
to the background
then we would create
a distraction from
this models pretty
face, and have a less
attractive portrait.
Dont be afraid to keep
it simple!
You dont have to

work with a lot of
layers you may find
them unnecessary,
especially if youre
a traditional artist.
However, making a
layer for every element
in your portrait can be
a lifesaver! Layers give
you the ability to make
changes on every part
of your portrait that
you create a layer for.
This means you can
delete, erase, decrease
the opacity, apply a
selective effect and
have complete control
over your portrait
with more ease and
a lot less mess than
traditional art! We tend
to think it is best to
drop them as you work,
as soon as you know
you are happy with
what you have done
so far, and then move
on to the next stage.
Notice that we dropped
all the layers close to
the end, and left one
more layer open for
the final touches to the
hair and detail work.
43 Final highlights
It is always good to take a nal look at your

portrait to determine what else is needed. We think this portrait is in
need of some brightening of the facial highlights. So using the Soft Airbrush
tool at a very low opacity, go back and brighten the light on the tip of the nose,
nostril edge, bottom lip, forehead and chin. Now atten the nal layers.
28
24/7/08 14:50:00
A perfect portrait The elements that add up to the perfect portrait

Lets take a look at some of the elements that are usually
present in a successful portrait, that grab the viewers
attention and beckon them in to look
SUITS YOU
The hat and its
netted veil adds
a lovely feminine
touch. It sort of
tops off the
image and adds
more interest
SET THE MOOD
HAIRSTYLE
The added motion of the hair
that was painted in gives this
portrait a youthful zest and
adds more life to the image
Expression is of great
importance for setting
the mood. Here the
expression matches
the rest of the portrait
as it is inviting, yet has
an air of sophistication
ACCESSORISE
The halter dress, white
gloves and beaded
bracelets work
wonderfully with the
black background,
and they give the
portrait an elegant
and timeless quality
IMPORTANT GESTURES
The gesture of the hand
enhances the mood in the way
the model is poised elegantly
and expressively
29
24/7/08 14:50:30
Tutorial The Sargent brush
30
030-034-OPM_20-Sargent brush.ind30 30
24/7/08 15:05:37
Tutorial
Original photo
The Sargent brush
The Sargent
brush
The talents of John Singer Sargent warranted a

specific brush in Painter. Perfect for those loose,
expressive portraits and landscapes!
Tutorial info
Artist
Tim Shelbourne
Time needed
3 hours
Skill level
Intermediate
merican born painter, John Singer Sargent,

stands cheek-to-jowl with the like of Velasquez,
Gainsborough and Van Dyke when it comes to
complete virtuosity in the use of the humble
paintbrush. Sargents work is unmistakable, marrying
deft, luid strokes of the brush with a level of modelling
that is perfection in paint itself. Its only itting then that
Corel should include a special brush in Painter that is
speciically designed to emulate the brush technique of
the great man himself. However, its all well and good
having the Sargent brush waiting there for you to use, but
exactly how do you use it best? Well, thats what were
going to show you here.
One speciic point about the Sargent brush that is of note
is the fact that it will only work on a layer which already
contains some colour, so its ideal for painting directly into
a start image, even using the Clone Color feature to start
you off on the right track! The Sargent brush is all about
pushing and pulling colour around the canvas, just as
Sargent himself did, and there are some key brush settings
that you need to be aware of as you work. So, with no more
ado, lets dive into the world of Sargent!
31
24/7/08 15:06:04
Get started with Sargent

Set up and start painting!
Pure colour
from the
brush
At its default settings,
the Sargent brush
picks up a lot of
existing colour from
the canvas. However,
you can paint purely
with the colour you
choose from the Color
palette, picking up
little or no existing
colours. To do this, set
the Grain value to 0
per cent and set the
Strength close to its
maximum value. Using
pure colour is useful
for establishing the
darks in the image,
prior to adding
more liquid midtones
and highlights.
01 Load the Color Set
Start by opening your start image. In the Color

Set palette, click the small right-pointing arrow and choose New
Color Set From Image. Hit the arrow again and choose Sort Order>LHS.
03 Paint into the head
Via Window>
Brush Controls>Show General, set the
Minimum Size to around 70 per cent. Now, using
the brush at around eight pixels, start to use short
dabs over the main features of the face. Make sure
that these strokes roughly follow the contours of
the features and the form of the head.
02 Clone colour
Were going to begin with a little cloning to quickly

establish a painterly feel for the head, so go to File>Clone. Now
choose the Artists category of variants and select the Sargent brush. In the
Colors palette, hit the Clone Color button. Set the Strength to 50 per cent and
the Grain to 20 per cent.
04 Controlled strokes
Its important
to remember here that youre actually
pushing and pulling colour around on the canvas,
so you need to sculpt with the colour as you work
reducing the size of the brush for small areas and
using it more freely at a larger size in broad areas
05 Surface confusion
To drag more
colour with the brush, and make more
denite marks (such as in the hair), increase the
Grain value a little and use energetic strokes. Think
of this stage as confusing the surface of the image
with painterly dabs and strokes.
Surface choices
The surface will
affect your strokes
Obviously, the surface you work
on makes a real difference to
the way the strokes from this
brush appear on the canvas,
especially at high Grain settings.
As a rule, choose quite rough
surfaces from the Paper
selector. You can also choose
a different paper for different
areas of the painting, simply
by selecting another paper to
use. To make the paper texture
even more obvious, go to the
Papers palette and increase the
Contrast value within it.
06 Expressive background strokes
Now to apply some real

colour. Click again on the Clone Color button to deactivate it.
Choose a mid-brown from the Color Set. Increase Strength to around 80
and Grain to 50. Now use the brush at around 20 pixels to paint with bold,
energetic strokes around the head.
32
24/7/08 15:06:21
the brush is very loose and liquid at these

settings, so you need to brush out from existing
strokes rather than brush into them, as shown in
the screenshot. Youll nd that if you start a stroke
from an area of the existing image, the stroke will
begin with the colour beneath the brush.
08
Darks rst Once youve completed
the background, start painting over the

clothing, choosing the colours from the Color
Set, or by sampling them from the image with the
Eyedropper. Use Strength set at around 70 and a
low Grain setting. Now start to establish the dark
areas of the clothing.
09 Mixing on the canvas
Return the
Grain setting to around 70 per cent
and start to add the lighter areas to the clothing,
adjusting the brush size as needed. Youll nd
that you can actually mix colours together on the
surface, by scrubbing with the brush once youve
applied some strokes. Choose your colours from
the Color Set you created.
One of the great

things about the
Sargent brush is that
you can also use it
for blending and
smudging existing
colour on the canvas,
which can help to
soften areas and make
transitions between
tones more gentle.
To use the brush for
blending, use a low
Strength and Grain
setting. With these
settings the brush
acts very much like
the variants within the
Blenders category.
The Sargent brush
07
Brushing colour out The colour on
Tutorial
Pure
blending
strokes
10 Careful
Start to paint over the

hands and the other
areas of the image,
carefully choosing
your colours and
following the contours
with the brush strokes.
For areas of small
detail, reduce the
brush size and use
short dabs, taking
your time to either
sample or choose the
correct colours.
11 Add touches of detail
Now add some

detail strokes. Use the original start image
or the nished painting as a reference for the
details. Set Grain to 30 per cent and the Strength
to 80. Its important that you really zoom in to the
image at this stage, and its useful to have your
painting and the reference image side by side.
Apply fine details

Still retain the expressive feeling
Jitter
12 Add details
Now start to add the ner details with the brush at

a small size. Remember, just as Sargent did, were indicating details
here with spontaneous brush strokes rather than trying to draw them exactly
such as indicating the spectacles as seen in the screenshot. Keep your brush
work nice and loose.
13 Rene with the brush
Add as much or as little detail as you feel

necessary, and make sure that you view your work from a distance
every now and then to judge it as a whole. Refer to the Blending tip above and
use the brush to carefully blend some of the more important areas of the head
a little.
The Jitter settings

within the Properties
bar can be useful
for giving the brush
some real movement,
interest and texture.
Essentially, Jitter
offsets the dabs from
the brush within the
stroke itself, and the
effect increases at
higher Jitter values.
Introducing a little
Jitter can be very
useful and effective
to indicate rough
surfaces within your
painting, but use it
sparingly as too much
can make paintings
look unrealistic.
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24/7/08 15:06:37
Dance to Sargents tune

Small refinements make the difference
the
contours
14 Resolve
Make sure to add some

sharp, bright highlight
strokes here and there.
You can continue to
work up the clothes,
using suitable colours
with strokes that
follow the contours
of the folds and
form. Areas of short,
hatching strokes will
work well here.
15 Lost and found
Its important to leave less important areas of

the image quite loose and expressive, just as Sargent himself did,
concentrating the smaller, more dened brush strokes within the head itself.
Make sure to break up any hard outlines simply by pulling out from them with
short strokes of the brush.
Build a Sargent masterpiece Revel in the expressive style
CLONE IF NEEDED
Working with the Sargent brush is a very pleasurable experience you can mix and merge
colours directly on the canvas as well as build up a thick, buttery effect. Altering the brush size
enables you to merge the expressive strokes with more detailed application
A lot of this image was painted

freehand, but if you prefer to work from
a photo you can use the Clone Color
command. We did this on the face
MIX ON-SCREEN
The ability to merge
colour on the canvas
means you can create
thick and interesting
backgrounds with little
effort. Adjust the brush
size for even more
interesting effects
FREE AND EASY

The best thing about
the Sargent brush,
and Sargents style in
general, is that you
can apply quite loose
strokes and still enjoy
good results. The fabric
here is simple but
very effective
STRONG HIGHLIGHTS
We applied a few very strong
white highlights around the
image to lift areas and balance
the dark. Dont go overboard
with these
OTHER SIZES
It can be tempting to
slather on thick strokes
all of the time, but
merge with smaller
strokes for the detailed
areas. Cross-hatching
is a good technique to
employ, especially for
textured areas or areas
lacking other detail
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24/7/08 15:40:19
Primer Image Hose
SWALLOWS
BRUSH CATEGORY
Image Hose
If you want a quick fix of images or
textures, the Image Hose is ideal. Just sit
back and spray
PRIMER
he Image Hose has more

in common with Painters
FX Brushes than any of the
others in the program. Its
packed with photorealistic shapes, like
leaves, vines and lowers, as well as
more architectural imagery, like Urban
Fixtures. By using the Image Hose, you
can insert one or more of these items
into your painting. Its far more than a
method for cheating your way to an
accurate representation, however,
as layering different pictures and
textures from the Image Hose
can produce some great effects.
Entwine your subjects using
Painters Passionlower Leaves,
Buds and Flowers, ill a sky with
Swallows or create a walled city
with the Stucco, Stone Walls and
Little Houses.
By using varying opacities you
can achieve effects, like long and middle
distances, as well as close-up, intricate
details. It also allows you to create
an effect of dappled sunlight through
leaves in a fraction of the time it would
take you to paint it by hand. You can use
the Image Hose quickly and casually to
create a wonderful nave effect, without
perspective or accurate angles. Or you
can place details precisely and then paint
over them to get more realistic results.
The Image Hose features two kinds of

birds, Swallows and Canadian Geese.
Use the Swallows to add a summery
touch to a painting; keep the Opacity
near 100 per cent and keep changing
the size of the brush to create a ock
GREEN GRASS
BUNCH
Use Green Grass
Bunch at around
50 per cent Opacity
or less over a
gradient or wash
of colour to create
a subtle ground
effect. Scatter Red
Poppies, Ragweed
and Baby Blue
Eyes throughout
it to create the
impression of a
meadow thats full
of owers
CAMELLIAS
When using the leaf and ower variants of the
Image Hose like Passionowers, Camellias and
Bay Leaves, try to avoid going above 80 per cent
Opacity they should look translucent. Use the
Distortion brush on Turbulence or Bulge to give
them some natural movement too
High Pass
Opacity
Transparent trickery with the Image Hose
When youre using the Image
Hose, be aware of the Opacity
youre using at all times. 100 per
cent is too harsh for all but the
most definite shapes, like Urban
Fixtures. Keep plant variations
at 50 per cent or less, to give the
illusion of translucent leaves
and flowers. The same goes for
Paragliders you want their
parachutes to give the impression
of light streaming through them.
Use a High Pass layer to bring out colour

Image Hose variants can appear
flat and lifeless, even when you
vary their opacity and size. For a
quick colour fix without painting
over them, create a new layer,
add some of the Image Hose
art that youre going to use and
go to Effects>Esoterica>High
Pass to bring out the darkest
and brightest tones. This is
particularly useful for shady
areas of your painting.
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Primer
Image Hose brushes

Pick your favourites from these variants
Ragweed
Passionflower Flowers
Red Poppies
Passionflower Buds
Baby Blue Eyes
Passionflower Leaves
Stucco
Urban Fixtures
Palm Trees
Stone Wall
Gardenias
Green Grass Bunch
Swallows
Paragliders
Canadian Geese
Image Hose
Bay Leaves
LITTLE HOUSES
You can create streets and even whole
cities by using the Little Houses brush
variant. It is best to rene and perfect
them afterwards by using the Blunt
Chalk or Sargent brush. Add climbing
vines with Painters Passionower
Leaves, Flowers and Buds
Distortion
Add natural variety to flora and fauna
Once youve added your Image
Hose art you need to add some
variation, particularly to leaves
and flowers. The best tool for
this is the Distortion brush. Set
it to Bulge or Turbulence, zoom
in to the area of your painting
that youre working on and use
it to manipulate petals and
leaves so that they appear to
be natural. You can even make
them look wind-blown!
Little Houses
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Tutorial Add people to your landscapes
Add people to
your landscapes
Enhance the illusion of life in your landscape by adding people
Tutorial info
Artist
Brad Sutton
Time needed
1 hour
Skill level
Intermediate
On the CD
Start landscape
38
038-041-OPM_20 landscape.indd 38
o you have a landscape that you like? One that looks really good, but you
have a niggling feeling that it could be improved somehow? Well, adding
people to your scene can be a nice way to improve it. The viewer can also
relate to the painting more by picturing themselves within the landscape.
Many famous painters have used people in their landscapes throughout time. L.S.
Lowry used a large accumulation of people in his industrial settings and if you look,
the people seem to be alive and moving throughout the scene. Fragonards paintings
are intimate and give the viewer the sense of tranquillity. Bouguereaus paintings of
people in a landscape are life-like. With his Shepherdess, you can feel how hard the
ground is on her bare feet, and theres a sense of weight to her.
Look at art that has both landscape and people; see what choices the artist is
making. Which aspect is more important, the igure or the landscape? Deciding how
much of the landscape you want to show will depend on how big or small your igures
will be. The landscape can also be a character in your painting. It can have its own
narrative characteristics is it a scary forest or a peaceful meadow? The choices
you make will help to determine how you want your people to interact with your
landscape. So take your painting and increase its sense of believability by having the
subjects live in your landscape.
Imagine Publishing Ltd

No unauthorised copying or distribution
24/7/08 15:10:29
Tutorial
Add people to your landscapes
39
24/7/08 15:10:47
Tutorial Add people to your landscapes
Lively additions
Take your landscape to new heights
Mix up the
colours
For an easy way to
figure out the colours
of the trees in the
background, make a
mark in the sky with
the colour of the trees
in the foreground.
Select the colour that
is at the end of that
mark, then Undo the
mark. This is a quick
and easy way to mix
colours. It is also
used with traditional
mediums you mix
a little of the tree
colour with the sky to
make the colour for
background elements.
01
03 Add a layer
Start your painting Start with your
established painting (ours is on the disc).

Try to use the same medium that you used on your
landscape for the people. We used Acrylics for the
landscape and kept it quite painterly. Look at your
painting and start to visualise what might be going
on, and who encompasses this area.
02 Select your drawing tool
Now start
with the Acrylics Dry brush and use a
low opacity (like 25%). Make a couple of marks to
decide what level of opacity works for you. Using a
low opacity will help build up the colour intensity.
You may or may not

like using layers in Painter. If you work
traditionally then thats ne, but wed suggest
adding another layer so you can draw out where
you desire the people to be. And more layers if you
feel safer working that way. Adding a layer can be
found in the Layers box at the bottom, or going to
the Property bar>Layers>New Layer.
Start
sketching
04
out gures
Now
start to sketch out
your gures. This
should be done
on the new layer
that you created
on the last step.
Have fun with this,
keeping everything
loose. Keep in mind
distance, and what
the subjects are doing
in your landscape.
05 Watch size ratio
Watch your size ratio. We like the size of the

person under the tree on the right. But the person in the background
on the left is a giant! Using the tree level is a good way to determine how tall to
make your subjects as they recede into the background. Watch the relation of
the gures and the edge of the canvas.
Use a few
handy tricks
We decided that a
hill would be nice in
the far background
to add more depth,
but we had already
painted the sky and
trees in. Using Digital
Watercolor, paint the
hill in over the trees
and hills, then move
the colour to pure
white and erase the
colour that is over
important elements
that you do not want to
cover. This is a simple
(and useful) trick that
can be implemented
on other aspects of
your paintings.
06
Think about composition Now, take a step back and look at
what youve drawn. Does it ow? Do the gures help move your
eye? Consider these things when drawing. We added the kite to help in the
triangular composition. We also want the landscape to stand out more.
07 Move things
Move things around if you do not like where you

have drawn them. Use your Rectangle selector, outline what you
want moved and then use the Layer Adjuster to move it. We moved the kite
down a little and moved the people under the tree to the other side. On this
side of the tree the people create a better silhouette.
40
24/7/08 15:11:26
Building up the scene
the people are, start to clean up the lines that youve drawn.
We used the Gentle Bleach at 25%. We like the way this eraser works, it
almost has a kneaded eraser feel. Next, drop the sketched layer (Property
bar>Layers>Drop). Or you can go to the Layers window on your screen, click
on the stack of papers, then drop.
09 Start painting
Working on the
Canvas layer, start to paint the gures
in adding more detail to the gures in the
foreground. We used Acrylics Captured Bristle,
Dry brush and Digital Watercolor. With the two
main gures and the kite we used shades of red to
reconrm the triangular composition.
Add people to your landscapes
08
Clean up and drop Now that you are satised with where
Tutorial
Liven things with colour and expression
10 Add shadows and highlights
In
this step youll want to use the Digital
Watercolor New Simple Water. The Digital
Watercolor will help to add dimension and
unify your shadows. Remember to dry Digital
Watercolor. Go back to your acrylics to add
highlights (an opaque medium will be needed).
The best brushes Brushes that will help your painting
DIGITAL WATERCOLOR NEW

SIMPLE WATER
11 Create more details
Add more details to the gures. You will also

want to work back and forth with the gures and the landscape to
make it look natural. We thought the kite was too dark, so we used Airbrush
Fine Tip Soft Air. Select the colour of the sky next to it, or even a shade a little
lighter. Now gently brush over it to make it fall back in space.
ACRYLICS CAPTURED BRISTLE

The acrylic brushes are very useful and add a
nice texture to your painting. The Captured
Bristle is a great brush to use. Used at a low
opacity, the paint is applied and can be built
up in layers.
Possibly the best thing ever invented Digital

Watercolor is a benecial tool for starting a
painting. You can block in the painting and
change elements quickly with this brush. This
brush will help to change moods and tones,
add depth and help to add volume. It works
well with all media.
BLENDERS SMEAR
12
Finish it up In your nal steps add more details that take your fancy,
and start to nalise the piece. We added another gure to the lone
one in the background, to help distinguish between shrubs or rocks. The
gures in the background are left over from step eight (they were a part of
the original sketch, and kept really loose with nothing added to them). It really
enhances the landscape to wonder about what they might be doing.
Blender brushes are good for getting rid of

hard edges. The Smear brush creates a soft,
almost pastel look to the painting. A lot
of the other blenders are great for adding
texture to a piece too. We use this brush for
the sky it helps to create a more realistic,
organic sky instead of the dreaded gradient
which makes things look articial.
ERASERS GENTLE BLEACH

The Gentle Bleach brush is a nice eraser for
allowing the soft touch of a kneaded eraser.
It will allow you to pull the desired amount of
medium off. We usually use this brush when
sketching, as it allows us to erase the exact
amount that we want to erase.
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24/7/08 15:12:18
Feature focus Lighting effects and shading
Lighting effects
and shading
Cheat your way to accurate light and shade
with Painters Apply Lighting tool
FEATURE
FOCUS
n many imaging programs, a lighting effect

is the last thing to be applied to your piece.
Its not so in Painter in fact, leaving your
lighting until last will often unbalance your
image. This is because Painter reproduces the
effect of paint lawlessly, and getting the right
light is often one of the irst things that
paint-and-canvas artists focus on.
There are a huge range of lighting options in
Painter, and used properly theyll enable you to
create a wide variety of lighting effects, from
the dramatic, moody contrast of chiaroscuro to
the subtle diffused light and mellow colours of
Leonardo da Vincis sfumato technique.
The great thing about Painters lighting options
is that youre not stuck with the lighting in a
photograph youve cloned. So, if you took a great
shot of a landscape one morning but would
prefer to paint it as an evening scene, its
possible to apply this light effect over
a clone, or even a basic sketch. Using
white light or pale golden tones, you
can re-create diurnal lighting perfectly.
But thats not all the ability to use any
colour for your lighting means that you
can create artiicial light effects with ease.
Painter offers many different kinds of
light, from the diagonal and gradual effects
to tracked lighting and colour combinations,
which you can use to represent artiicial light or
evoke the mood of an image. We experimented
with creating underwater light for our main
image here, using two types of lighting in different
colours. Then we used paint to accentuate the
light and shadows that this created.
Red light
YELLOW LIGHT
The Splashy Colors lighting effect was
used to achieve the undersea lighting
in this image. Here, yellow light
and ambient white light are angled
upwards so that the surface of the
water is the brightest part of it
BEAMS OF LIGHT
Sun and moonbeams are among the
toughest things you can try to paint.
A quick x is to use one or more light
sources and line them up to create the
effect of a beam of light, then paint over
it in a low Opacity. We used Blunt Chalk
and the Leaky Pen to create the effect of
bubbly underwater light
Blue light
Scary shadows and spooky effects

Heres our main image lit with red light. Red is the
darkest pure shade of light visible to the human
eye, and because of this well often subconsciously
register images lit solely with red as eerie or
even macabre. This effect has made a subject we
generally think of as harmless and cute look more
like a darker denizen of the deeps; our seahorse is
semi-transparent and bloody, vaguely scary rather
than friendly. Red light is fantastic for producing
effects like this if you go in for painting horror or
darker fantasy subjects, red lighting can add that
extra scary edge to your artwork.
Deep shadows and faded highlights

This time our main image is lit solely with blue light. This
has produced an interesting effect in our painting: the
interplay of light and shadows is effectively reversed.
Highlights fade into the background whilst dark tones
stand out. Pure white is almost invisible under blue
light, especially when blended with other pale tones.
Youll need to consider this carefully when using blue
lighting in your artwork, but mastering it means that
you can add a dreamy, other worldly effect to your
paintings. Try roughly sketching out your colour scheme,
lighting it, then sampling the changed colours in the
Mixer palette, and repaint them a shade or two darker.
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The light fantastic

To give the impression of dappled sunlight
picking out details through the water,
highlights on the seahorse were painted
on their own layer using a combination of
Oily Colored Pencil and the Sargent brush,
brought out with a Highpass, then dropped
and blended with the rest of the painting
Feature focus
CHIAROSCURO
Learn how light can affect the colours in an image

Lets do a little experiment with colour and light. Quick Clone or sketch a
landscape in Painter all you need is some basic line art on the Canvas
layer. Create a new layer and sketch in three or four main colours roughly
(youll delete this layer later so accuracy isnt an issue). Now lets see how
many colours this becomes when simple natural lighting is applied
Lighting effects and shading
SFUMATO
Literally meaning smoke,
Leonardo da Vincis
technique of blurring areas
of an image into light or
shade adds believability
and visual accuracy to your
lighting effects, whereas
hard painted shadows can
often look too false to the
human eye
BLUE LIGHT
To reproduce the effect of light
dimming through deeper water, we
used the two-tone Splashy Colors
effect, with blue light angled towards
the bottom of the image so that our
beam of light gradually fades into a
deeper, colder colour
01 Apply lighting
Sketch out your image as outlined above.

On the coloured layer, go to Effects>Surface Control>Apply
Lighting. Choose Gradual Warm Light, select a pale creamy yellow tone
for the Light Color and white for the Ambient Light Color. Place the
Lighting Mover low on the horizon, and angle it diagonally to mimic the
effect of the afternoon sun. Apply the lighting.
your
colours
02 Pick
Look
at the tonal difference in
your image. Select the
Color Picker and sample
each colour and shade into
the Mixer palette. Youll
end up with a lot more
than you had originally
our rough sketch used
just four colours, but weve
sampled 13 different
colours and tones from the
sketch with the lighting
applied to it.
Yellow light
Warm, natural and evocative
Now our main image is lit with yellow light. Yellow is the
colour of sunlight, although we generally only perceive
this when the sun is rising or setting. For this reason, using
yellow light evokes a warm, dimly lit setting. It brings out
both dark and light tones, although it subdues and subtly
changes their shades. Yellow light has the most noticeable
effect on the other primary colours: blues will develop a
distinct sea-green cast, while reds will become deep, fiery
shades of orange. Its also great for portrait painters, adding
a lovely sunlit glow to skin, hair and eyes. Stick to very pale
yellow light for the best results though dark yellow is too
dull and affects other colours too much.
03 Paint in the new colours
Create another new layer and

close the one with your coloured, lightened sketch on (dont
delete it yet, you may need it for reference). Now paint over your line
art, accurately placing the tones from the Mixer palette. The differences
between the original version of your sketch and the tones created using
the Lighting tool will become even more apparent.
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Feature focus Lighting effects and shading
FEATURE
FOCUS
Painting with light

How to build up lighting effects for maximum impact
In Painter the
best way to get
accurate light is to
mix lighting effects
with painted light
and shadows. Youll
need to build up the
shadows irst, then
start to concentrate
on the highlights.
01
Create the image Create the basic,
coloured image of your painting. Keep

light and shade completely neutral at this point;
concentrate on the colours of your subject and
the background. Now go to Effects>Surface
Control>Apply Lighting to start adding light to
your artwork.
02 Choose your lighting
Choose your
preferred lighting type from the menu
(weve chosen Splashy Colors in blue and yellow).
Click the large dot on the light source to move it
around. Click and drag the smaller dot to change
the angle of the light and double-click it to add
another light source. Place the light sources where
you want (light radiates towards the larger dot).
The colours in
your image will change once the initial
lighting has been applied. Open the Mixer and
use the Color Picker to sample each of the altered
tones into it. Keep them separate you want
examples of each shade and tone, not mixes.
05 New layers
06 Highpass the layer
03 Sample shades
shadows
04 Paint
Using the darkest

tone from your image,
paint in the strongest
shadows and dene
the darker outlines
of your subject using
the same brushes that
you created the image
with. Weve used blue
light, which means that
many outlines have
become faded and
need redening. Set
the Jitter on your brush
to around 0.88 so lines
arent too precise.
Create a new layer and

use it to paint all of the highlights in your
image. Use all of the highlight shades you sampled,
working from dark to light. Set the Jitter on your
brush back to 0.00, and the Opacity to at least
50 per cent so that your paint is semi-translucent,
rather than fully opaque or transparent.
Now go to
Esoterica>Highpass, and Highpass the
highlights layer. Its really important that the only
part of your painting which you apply a Highpass
to is this layer; dont drop your layers or apply this
effect to the Canvas, otherwise youll unbalance
your shadow tones.
Full face lighting
Lighting from below
Balanced features with little shade
Dark and mysterious
Lighting is one of the quickest tools you can use to

dramatically change the mood of a portrait. Here
the subject is lit from the front using a white light
source with plenty of ambient light. There are
very few shadows, and the main facial features
are balanced and evenly lit. If youre going to get
someone to sit for a photograph before painting
their portrait from it, this is probably the best
kind of light to use it evens out skin tone and
doesnt create too many shadows or highlights,
making it easy to change the lighting for
something more dramatic using Painter.
Lighting a face from below brings out the strong facial

features the nose and forehead, and the tops of the
cheekbones and orbital bones. This creates a strong,
defined profile while the rest of the face fades into
shadow. The eyes pick up a certain amount of light
and become the main focal feature. Lighting from
below adds mystery and spookiness to a face look
at how kids will tell ghost stories with a torch under
their chin! It can change the look of your subject quite
dramatically: their nose and forehead appear larger
and bones are more defined. Pale or brightly coloured
eyes will stand out from the shadows, too.
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Choose the
Circular Aperture from the Highpass
dialog box it brings out a wider variety of shades
under Painters lighting than Gaussian. Grab and
drag in the Preview window until you can get a
good look at your highlighted areas, and use the
slider to choose how dark or bright you want your
highlight tones to be.
08
More light On the same layer,
apply another light source to give the

highlights even more brightness. We wanted our
highlights to look like sunlit water, so we chose
the Warm Illumination light in a soft cream colour,
with white ambient light. This blended with our
blue highlights to create clear shades of sea green.
09 More highlights
You can skip

this step if your light source is a fairly
nebulous one, but for more precise lighting, such
as torches, candles or our watery sunbeams, youll
want to add some highlights and denition to the
source of the light itself. Weve used the Leaky
Pen in Pure White set to 15 per cent Opacity to
highlight a sunbeam angling through the sea.
Light doesnt
necessarily work in
exactly the same way
as colour. For a start,
you can make primary
colours using light
red and green lights
shining over each other
will produce yellow
light, for example. You
need to be aware of
this when choosing
the colour of your light
sources. Remember,
the more colours you
mix, the brighter your
light will become, until
its pure white (which is
made of all the colours
in the spectrum).
Lighting effects and shading
07 Circular aperture
Feature focus
Mixing light
colours
Bring out light with sunbeams

A great lighting trick: add sunbeams to your painting!
10 Paint sunbeams
This is a great trick

for bringing out beams of light. Select
Chalk>Blunt Chalk, choose the brightest colour
from your image and set the Opacity to around
25 per cent. Resize the brush so that its the same
size as your beam of light, and stroke it down the
length of the beam once, easing off the pressure
as you get towards the end.
11 Drop and blend
Drop the highlights layer into the Canvas and get

blending! Concentrate on blending the dark outlines of your image,
but make sure there are no hard lines on your highlights too. We used the Just
Add Water blender. This technique is called sfumato, and was developed by
Leonardo da Vinci after he noticed that viewers can be put off by hard lines in
a painting.
12 The original lighting
Optionally,
you can reapply the original lighting that
you used to really bring out its effect on your
painting. Here, weve used Splashy Colors again to
make the sunbeam stand out as one of the most
important parts of our painting.
Lighting from above
Lighting from the side
A softer, sensuous look
Experiment with coloured lights
Lighting a face from above brings out highlights in

the hair, adds depth to the eye sockets and brings
the subjects mouth into focus. Eye colour becomes
more muted, lips look fuller and glossier and the
bottom lip will pick up highlights, while the upper
lip becomes darker and more defined. The nose
remains a focal point, but you should watch out
for areas of shade underneath both the nose and
chin, and correct them if necessary. This is a softer
look, and works well with pastels and oils to create
a subtly diffused effect. Brush strokes will be more
visible, so it needs a delicate touch.
Side lighting is the most difficult angle to master,

but get it right and you can achieve an effect thats
soft, but still adds an element of drama to your
portrait. For best results line the light source up
with your subjects eyes as this will illuminate the
planes of the face fairly evenly. The eyes will stand
out the most, along with the bridge of the nose.
The hair will become shadowy. Weve used white
light, but using a golden yellow can reproduce
the effect of candlelight or firelight, and fantasy
artists can experiment with blue-toned side
lighting to add some magic to a painting.
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Tutorial Paint like Art Nouveau
Paint like: Art Nouveau
With curved lines and floral patterns we invite you into the world of Art Nouveau
to create an autumnal piece of art
Tutorial info
Artist
Joanna Michalak
Time needed
5 hours
Skill level
Intermediate
On the CD
Source files
rt Nouveau, also known as

Jugendstil, is an international
movement and style of art,
architecture and applied art
especially the decorative arts that
peaked in popularity at the turn of
the 20th century (18901905). It was
a reaction to academic art of the 19th
century, and is characterised by organic,
especially loral and other plant-inspired
motifs, as well as highly stylised, lowing
curvilinear forms. The origins of Art
Nouveau are found in the resistance
of William Morris, to the cluttered
compositions and the revival tendencies
of the Victorian era, and his theoretical
approaches helped to initiate the Arts
and Crafts movement. Around the same
time the lat perspective and strong
colours of Japanese woodcuts, especially

those of Katsushika Hokusai, had a strong
effect on the formulation of Art Nouveaus
formal language. The wave of Japonisme
that swept through Europe in the 1880s
and 1890s was particularly inluential
on many artists with its organic forms,
references to the natural world and clear
designs that contrasted strongly with the
reigning taste. In painting and graphic
design, two-dimensional Art Nouveau
pieces were painted, drawn and printed
in popular forms, such as advertisements,
posters, labels and magazines.
Japanese woodblock prints, with

their curved lines, patterned surfaces,
contrasting voids and latness of visual
plane, also inspired Art Nouveau. Some
line and curve patterns became graphic
clichs that were later found in works of
artists from all parts of the world. Leading
practitioners included Alphonse Mucha,
Aubrey Beardsley, Gustav Klimt and the
American glassmaker, Louis Comfort
Tiffany. Art Nouveau remained popular
until around the time of World War I, but
was ultimately replaced by the modernist
Art Deco style.
Art Nouveau pieces were painted, drawn and

printed in popular forms, such as advertisements
Stylisation
Pattern
Flatness
Art Nouveau artists gave up the realistic approach and

used stylisation instead, especially when it came to hair. It
becomes another ornament thats unrealistic, curvy, and
marked with a bold outline. But its not only hair flowers,
plants, branches are used as a part of stylisation, as well as
long, flowing fabrics.
Floral elements dominate the pattern designs too.

They are used as backgrounds, sometimes as part of
clothing and jewellery, but mostly as sophisticated
or simple borders. They can be replaced with parts
of Byzantine mosaics, or complicated and dense
curvy lines.
Art Nouveau served a decorative and practical purpose; it

had to be eye-catching because it was used in advertising.
The artists replaced loose brush strokes with flat colours to
complement the clean, strong lines of the drawing. While the
drawing itself becomes more complicated, the colouring has to
be simplified.
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Tutorial
Paint like Art Nouveau
47
24/7/08 15:13:32
Creating the figure

We show you how to stylise a figure with Art Nouveau features
01 Sketching the pose
If you have
problems thinking of a pose, use a photo.
We start with a loose sketch in blue. Choosing a
different colour for the sketch will help you draw
the actual line art later. You can modify the hair
and add some stylised attributes.
02 Background motif
Using motifs
from nature is typical in this style of art.
Flowers, branches and all kinds of plants can be
drawn realistically or turned into graphic forms.
Here weve chosen a tree with some leaves to
illustrate the autumnal mood.
03 Sketching the border
Stylised borders are one of the most

signicant parts of Art Nouveau. We chose a rather closed, simple,
arc-based border. At the moment you dont have to worry about details they
will be more important later (when you work on the actual line art).
Creating a border with shape tools

If you have problems drawing straight and clean lines, shape tools can be helpful
RECTANGULAR SHAPES
OVAL SHAPES
EDITING THE SHAPES
COLOUR FILL
If you want to create border columns

choose Rectangular Shape from the side
menu, then mark Stroke. Now you can
decide the size and shape of the object
you want to draw by stretching it (hold
the left mouse button or the button in
your tablet pen).
Now you can create a pattern inside

your column by adding a few oval
shapes from the same menu. Every
shape will be automatically created as a
new layer, so you will be able to move
them around later and construct your
pattern more precisely.
In order to remove parts of the shapes

that you dont want, simply choose
Commit from the Layer menu (right-click
on the shape layer). Now you can
just erase those parts of the shapes
that are unnecessary for your pattern
or incorrect.
If you want to make the pattern more

varied and complicated you can also add
shapes that are lled with colour. Choose
the shape you want from the side menu
and mark Fill this time instead of Stroke.
Now pick the colour you want to ll your
shape with.
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24/7/08 15:13:54
When you are happy with your concept

sketch you can start with the line art. Add a new layer above the
sketch and start to draw following the lines. Were using Pens>Fine Point at
100% Opacity and size 4 in Black here.
05 Stylised hair
Another very important feature of Art Nouveau is

the highly stylised hair. You dont need to draw every single strand
of hair, just use a few curved lines to mark its ow. At this point we dont draw
the jewellery, leaving the ner details for later.
When you want to

use Art Nouveau
stylisation it doesnt
mean that you have
to limit yourself only
to pretty women and
floral ornaments. The
Art Nouveau stylisation
can be used in any kind
of work you wish from
a portrait to a comic
book. All you need
is to try to turn the
reality around you into
a stylised decoration.
Experiment with
modern objects and
try to incorporate Art
Nouveau elements into
your own style!
04 Start with the line art
Tutorial
Art Nouveau
in modern
form
fabrics
06 Flowing
The
dresses in Art Nouveau
images are mostly just
loosely owing fabrics.
Similar to the hair, the
lines are minimal and
curved. To keep the
balance we add a pattern
on the shoulder strap.
You can look at Muchas
paintings or William
Morris fabrics for
inspiration, or create your
own pattern instead. Just
use your imagination!
07 Skin
Whether you choose to paint a

fully shaded body or keep your colouring
at, the only thing your line art needs is the
outlines of the body. You have to mark the bodys
curvature on the skin, and you can additionally
draw few delicate lines in places like shoulder
blades and shoulders.
Draw the outlines

Strong lines are a characteristic feature
Stock photos
08 Strong outlines
One of the most characteristic features of Art

Nouveau is its strong outlines. We draw them around our gure,
but we thicken only the external lines they will make the remaining lines
appear ner and thinner. You dont have to worry about keeping the bold lines
the same size as making the thickness variable will make it look more natural.
09 The tree
We apply exactly the same rules while drawing the line

art for our background tree, but instead of thickening the external
lines, we keep them rather thin and delicate. It is also better to draw this on a
separate layer, because we will need to change its opacity later on.
If you dont have a

model to draw from
live or an idea for a
pose, stock photos
might be a big help
for you. Some stock
artists will provide
you with great and
very inspirational
photo sessions, with
great poses and
even equipment and
fabulous clothing.
Examples of great
and useful galleries
are www.lockstock.
deviantart.com
and www.faestock.
deviantart.com.
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24/7/08 15:14:29
Jewel colours and rich patterns

We show you how to mix a Color palette for an autumnal Art Nouveau image
Smooth
line art
Did you ever wonder
how the Art Nouveau
artist created their
smooth and clean
lines? When you look
at the reproductions
in art books they seem
perfect. But in fact they
are far from that if
you could take a look
at the original Mucha
posters you would see
many irregularities. So
dont worry if your line
art doesnt look very
smooth when you
resize your picture, it
will look perfect.
10 More hair
Now that weve drawn the tree were going to change

the composition a bit, and balance the right side with a few strands
of long hair. Again, we draw curved lines, which cross each other at the ends.
We round the endings and remove the crossing lines to get the characteristic
Mucha style of hair.
11 Border pattern
We now ll the upper part of the border with a

oral pattern (on a separate layer). We chose to draw leaves and little
round fruits as these will correspond best with our subject. We will only one
side (left or right) of the border with the chosen pattern.
border
13 Symmetrical
12 Repeating the pattern
You dont need to reproduce the

pattern by hand to ll the centre part of the border. Just copy a part
of the previously drawn leaves and paste it into the centre part. Remove the
redundant areas. Group the pattern layer with the border layer and collapse
them. Now its time to take care of the other side.
Its hard to draw a

symmetrical border, but
thanks to the copy and
paste option you dont
need to worry about it.
Select the border and
choose Edit>Copy, then
Edit>Paste. Select the
new layer again and pick
Effects>Orientation>
Flip Horizontal. Put the
two halves precisely
together and drop the
two layers. Your perfectly
symmetrical border is
now completed.
14 Choosing colours
We want to create
an autumnal mood, so we choose warm
colours based on yellows, reds and oranges. Add
two new layers underneath the line art (keep the
gure, border and tree on separate layers in case
you would like to change anything later). With
such precise colouring its better to have different
layers for the gure and the background.
16 Colouring the tree

15 Blending colours
We hide the layer with the foreground for a

better overview, and blend the sky colours. We use Blenders> Grainy
Water at 80 per cent Grain and 29 per cent Opacity here to get the irregular
gradient effect.
The tree shouldnt

draw too much attention and stand out,
so we choose light olive greens for the colouring.
You can also add more texture with lighting and
shading here. At the end of the whole colouring
process we will set the Opacity of the tree line art
to 60 per cent.
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We pick a light tone for the skin and colour it in a at

tone. Later we use a slightly darker tone and Airbrushes>Fine Detail
Air on a low opacity to add some delicate shading on her cheek bones, throat,
ngers, back and elbow. You can also blend it with Grainy Water or Soft
Blender Stump.
18 Painting the face
Now we need a new layer above our line art to

paint the lips, nose and eyes. Even if the rest of the colouring remains
at, those elements can be modelled more realistically, yet still quite simply.
Our main goal is to make them look softer. We use the Fine Point Pen on a
lower opacity and a lot of different blenders.
17 Skin shading
Tutorial
Textures
Applying a texture
to your drawing or
painting can take it to a
new level. You can add
an antique feel to the
picture, create a new
mood or turn a simple
drawing or sketch
into old-looking sepia
artwork. Some sites
where you can find
many great textures
to experiment with
are www.cgtextures.
com, www.resurgere.
deviantart.com and
www.sanami276.
deviantart.com.
Sprinkle with Nouveau dust

Adding iconic flavouring
19 Hair colours
We use a
greenish brown for the
hair that complements
the rest of our Color
palette. We use at
colouring for the hair;
just add a darker or
lighter tone to some
strands to create some
eye-pleasing diversity.
You can use any brush
you like here, just
remember that hard
edged brushes are more
precise and better for
colouring within lines.
20 Colouring the border
We ll the gaps between the leaves

with the darker of the tones used for the hair. The leaves are red to
complement the dress, with dark shading along the inner lines (you can blend
it a bit with Blenders>Grainy Water). The fruits are yellow to make them stand
out and add a bit of variety to the other colours that are dark and similar.
22 Texture
21 Changing line art colour
Our line art is black and stands out a bit

compared to the warm palette of the picture. We can change it using
the Effects>Tonal Control>Match Palette option. The easiest way is to create a
new le and ll the canvas with the desired colour (we used dark brown), and
then match the line art colour with the other les colour.
If you
want an extra
touch-up for your newly
created Art Nouveau
piece to give it an antique
look and increase the
atness, use a texture
(we used a Fine Paper
texture here). After you
have saved your le with
all layers, drop them
and add the texture on
the top. Now just play
around with the layer
settings and opacity until
you get the texture result
you desire.
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Art study How to paint reflections
How to
pa in t reflection s
This time around, our Art
Study takes a reflective
look at the mirrored images
in our paintings
Still reflection s
Here we have a puddle
reecting some overhanging
leaves. Its subtle, but is a
good method of creating abstract
atmosphere. See how we went about
creating it below
01 Concentrate on the main image
We
wanted to paint leaves oating in a puddle as
the main image, and have the reection of overhead
branches as a secondary image. There are a lot of ways to
do this, but we decided to paint the images separately.
02 Rene the main image
The nished piece will

be somewhat abstracted, but we wanted these
leaves to be the focal point, so we gave them some veining
detail and luscious colours. We did all the painting here using
Acrylic Captured Bristle, Just Add Water and Soft Airbrush 20.
03 Painting the overlay
We did a quick
spattering of motley coloured leaves on some
branches, then layered this painting over the rst one
and erased at a low opacity where we wanted our main
image to show through. Then we brightened the colours.
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Art study
Horizontal reflections
IMPORTANT DETAIL
Since a lot of digital art uses photos as
clone sources or inspirations, we need to
think about how to envision a scene as
a painting. Lets take a look at this quick
watercolour for some ideas.
How to paint reflections
The reection of trees in a lake will

often appear just as detailed as the
trees themselves, so well use our
artistic license to indicate that its a
reection by painting them as softer
and smoother.
INSPIRATION
SELECT YOUR BRUSHES
Use lots of the watercolour brushes

for this, including Fine Camel,
Diffuse Grainy Camel, Bleach
Splatter, Pure Water, and Runny
Wash Camel. In traditional painting
the Camel brushes have always
been one of our favourites.
BRUSH STROKES
Concentrate on keeping your

strokes transparent, wispy and
watery with that fringed edge
that says watercolour.
Glass reflections
A WEALTH OF POSSIBILITIES
Glass reections offer us even more creative

possibilities, whether theyre on a department store
window, a bedroom mirror, sunny glints in a glass of
lemonade, or a landscape in a pair of sunglasses.
CHOOSE YOUR REFLECTION
This image of sunglasses resting

on the ground offers innite
possibilities; they could be resting
on green grass with a nished
landscape behind them or left as this
one is, with all the focus on the lens.
Just for fun
CLEVER COLOUR
Using the Acrylics Captured Bristle brush

set to full Opacity, with Color and Depth
chosen, rough in the shapes using
vibrant colour, along with mousy greys
and browns to balance them out.
COMPLETE YOUR SKETCH
The landscape within one lens is

abstractly recognisable. Depending
on the angle of the second lens, you
can either paint a continuation of
the landscape there or leave it messy
with interesting brush strokes.
Just for fun, try using the

human eye itself as a canvas
for the reflections. We found it
quick and easy as we sketched
an eye using the Oil brushes,
and placed a hand of cards over
the pupil. What other objects
can you think of to reflect
within someones eye?
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Art study How to paint reflections
Broken reflection
Instead of plumping for an obvious reection, why not experiment with

something a bit more interresting, such as this broken mirror?
Reflection s tha t ripple
Water reections dont always stay still. Sometimes theyre rippled

or even choppy because of a breeze or wind. In this segment we will
look at some ways of making reections behave, even when the wind
doesnt. This technique works for just about any brush medium.
01 In the beginning
01 Background colour
The
rose amid shattered mirror
images is an interesting one to do. Use the
Thick Wet Oils 30 brush, set to default,
which includes Depth and Color. Choose
Direction in the Color Expressions tab to
paint a new canvas using apricots, blues
and greys for a background.
02 Sketch your image
Now
choose the Oily Colored Pencil 3,
still using default settings and white in the
Color palette. Sketch a rose and random
mirror shards onto the background, saving
incrementally along the way. Dont worry
about depth because that will come with
the paint shades later.
We
began painting this one
as we would any waterscape, with
a at blue expanse to indicate the
area for the water. Well consider
elements like focal point and colour
details later. We decide to paint
some windmills along the edge and
go from there.
02 No need to repaint
We could begin to repaint

the windmills in the water area, but
instead well select them with the
Lasso, copy, paste, and then ip
and transform the image of sky and
windmills to t next to the grassy
bank. Wasnt that easy?
03 Making ripples
03 Experiment
Paint between
the lines using Acrylics Captured
Bristle with Impasto Color and Depth.
This is such a lovely brush. Notice that
as you continue to stroke over the same
area youre building realistic bristle depth.
Experiment with multiple shades of each
of the colours in your palette.
04 Shadows and highlights
Start creating highlights using

the FX Glow brush and shadows with
the Photo Burn brush. Add more blues
using the Soft Airbrush 20, starting with
2-3% Opacity. Mentally spread the rose
outwards to work out where to place the
reections in the shattered glass.
Now
for the ripples. This takes
some patience as all our brushes
are set to a low opacity to create
a silken, shimmery effect as we
paint with light. After dragging the
Thin Distorto brush lightly through
the images, we begin to paint
meandering shapes, alternating
between FX Glow and Photo Burn.
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24/7/08 15:20:53
Peering at images through textured glass reveals some wonderfully

reective qualities. For this illustration we took a photo of dishes in a
kitchen cabinet and applied the Corel Painter Glass Distortion plug-in.
Art study
lass distortion
01 Finding what works
How to paint reflections
We cropped
the photo to the desired size and
resolution (300dpi). Photos of objects work
better than people or animals for this technique
because in general we dont like images of
distorted living beings, and our minds can ll in
the blanks where objects are concerned.
02 Dene the images
Clone the
photo so that youre working on a
copy, then go to Effects>Tonal Control, choose
Brightness>Contrast and move the sliders
equally about two-thirds of the way. The
distortion makes it necessary that the objects
be somewhat clearly dened.
03 This is where the fun starts
Choose the Glass Distortion Dynamic

plug-in at the bottom of the Layers palette. In
the screen that presents itself, use Paper as the
source and play with various paper textures in
the Papers palette. Now click Apply. Stroke the
Distortion Pinch brush randomly through the
image and copy the layer, setting it to Overlay
mode for more sparkle.
Crea te a mirrored reflection
While were on the topic of painting mirrored and reected objects, it occurs to
us that there is yet another way of mirroring, and it can produce some fascinating
composites and very cool discoveries.
01 Choose an image
We cropped this tulip

from one of our photos. For this
painting we needed one strong
image with good contrast,
and we liked the colours. The
resulting painting would make
an interesting wall hanging or a
greeting card.
02
Ready to paint To
paint the tulip, use the

Thick Acrylic Bristle 10, using a
large brush size, 100% Opacity,
Boost (under the General tab)
set at 100%, and Depth (under
the Impasto tab) set at 3%.
03 Put it all together
Now create a new

canvas, and copy and paste
the tulip onto it four times. Use
Orientation (under Effects) and
the Layer Adjuster tool to resize,
rotate and place the selection.
Position so all four images
create a whole.
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Tutorial Create movement
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Tutorial
Create movement
Paint movement
Capture movement with different brushes using loose strokes to express emotion and
energy, for a lively and expressive way of painting
Tutorial info
Artist
Zhu Hai Bo
Time needed
2 hours
Skill level
Intermediate
On the CD
Starter sketch
ow do you express the dynamic feeling of painting?

How can you make your painting effects more lively
and expressive? Its all about movement. Movement
is not simply applying a Motion Blur ilter, movement
is a feeling that expresses basic things about the object. Great
movement expression can tell a great story; in just a few
strokes it can explain everything. Perhaps people like inished
works rather than sketchy ones, but what do inished and
uninished mean? Painting is not just about showing off your
techniques, its about telling a story. If a few words can tell it all,
why make a long speech?
The biggest difference between paintings and photographs
is that painting can be more subjective. Full details and
exquisitely realistic paintings may amaze you, but sometimes
too perfect means boring as theres no space for imagination.
For expressing movement, you need to capture the essence

of rhythm irst. We call it gesture, especially when drawing
people. Take a look at some great works, such as those by
Anders Zorn, Nicolai Fechin and Joaquin Sorolla. See how
these painters used loose and fresh brush strokes to express
movement. But painting movement doesnt mean being loose
and rough it means being bold, being simple and being direct.
By painting your full feelings about the object, you can lose
some likeness and details. It doesnt really matter, just make
sure you dont lose the feelings! You can also exaggerate them,
letting expression and gesture shine out strongly and more
visibly in your image.
For this tutorial, all brushes are Painters default brushes.
The plain sketch image ile of this tutorial is included on the
CD for you to refer to.
Drawing movement
Are you ready to rock with the brushes? Okay, here we go
02
01 Choose a sketching brush
This tutorial about movement starts

with how to make a concept sketch in Painter X, although you can
start with the sketch on the disc. We drew a scene of a couple dancing. Create
a new le and prepare a plain sketch to get some idea of the composition rst.
Choose Tinting>Basic Round brush.
Get the idea Choose black in the
Colors palette. The default Opacity

setting of Basic Round is 13 per cent, a little bit
light. We want a more heavy effect, so set the
Opacity to 30 per cent. Facing a blank canvas may
feel confusing, so draw something on it. The rst
step is to catch the idea from random lines to nd
the right pose for the couple dancing.
03 Rough sketch
Heres an example of
a plain sketch just for catching ideas.
Dont worry about details. Lets get to the action
of the gures gestures rst. If Basic Rounds
brush strokes cant give you exactly the right
shapes, switch to white and use white strokes to
edit the shapes of the lines. Depending on your
background colour and layers, you can also use the
Eraser for this.
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24/7/08 19:04:15
Laying down the basis

Let the movement emerge
Start with
shapes
Usually, most
people like to start a
drawing with lines.
Its a common habit
in traditional media
to start with pencil
or charcoal to
draw the line work,
then colouring and
detailing. It offers
full control. But were
working with digital
media, which is
more convenient and
flexible. Its easy to
cover and over-paint
every stroke, so why
not start with shapes
using a bigger brush?
Maybe it sounds
dangerous to lose
control, but the soul
of a painting isnt
accuracy, its
the relativism.
04 Create a custom brush palette
Painter has many beautiful

brushes, and a custom palette is a convenient way to choose
the ones you want. You need four brush variants for the main sketch:
Chalks>Square Chalk, Palette Knives>Smeary Palette Knife 30, Felt Pens>Felt
Marker and Blenders>Grainy Water. On the Brush Selector bar, choose the
brush you need, then drag the icon into the Painter interface.
05 Brush settings
Lets do some custom brush setting for better

results. Choose Felt Pens>Felt Marker then tap Cmd/Ctrl+B to open
the Brush Creator window. On the General window, go to Method and
change Buildup to Cover, and the Subcategory to Soft Cover. Now set Opacity
to 30 per cent. You will get a nice cover effect and a smoother marker pen.
Choose
paper
07
colour
06 Blender settings
Choose
Blenders>Grainy Water and set the
Opacity to 20 per cent. The default Opacity
setting is 80 per cent, far too much for the effect
were creating. The Grainy Water brush is good for
colour mixing, but we need a very soft blending
effect, so 20 per cent Opacity is perfect.
08 Gesture drawing
Now its time

to begin the main
image itself. Choose
Cmd/Ctrl+N to create
a new le. In the new
window, choose a
middle-grey colour as
the Paper Color. Plain
backgrounds work
best as they dont lead
the eye away from the
essential action.
Using the plain sketch as a reference, choose

Square Chalk from your Custom palette. Select black from the
Colors palette. Even in your main sketch you should still be bold; draw
something rst rather than face a blank canvas. This step is all about capturing
the gures gestures. Dont worry about accurate anatomy, as your goal here
is to create body language.
09 Rough shapes
Every complicated object can be simplied as

basic shapes. The Square Chalk brush can create some rough and
thick brush strokes, with which its easy to draw some quick, big shapes. After
creating the basic gure shapes, choose a light grey colour for the faces and
the background.
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Refine the shapes
More shapes have come out, and now the basic

colour values should be clear. The levels of black and white are the
most important thing. For example, the hair, black shirt and leather pants are
the darkest parts, the strokes on the background are almost white and bring
out the gures, and you can see where the varied grey tones now need to be
levelled out.
11 Block in shapes
Keep blocking in shapes using a big brush size.

Dont be afraid that you will mess up the sketch its only a rough
under-painting here. Exaggerate the shapes design, be bold and feel free.
And dont forget to save your work! We saved as a PSD le here because
no unique Painter brushes were used, and it can also be opened in Adobe
Photoshop or other software that has PSD le support.
The Palette Knife

brush can make some
beautiful and varied
strokes. Its great for
expressing movement,
but its also hard to
control. How can you
use those square
strokes to paint the
human figure? The
key is knowing that
every stroke is a
shape. If one square
stroke cant draw the
shape you want then
edit the shape with
new strokes using the
background colour.
Rotating the canvas
can also help you get
more control over the
Palette Knife brush.
Create movement
10 Basic values
Tutorial
Rock the
Palette Knife
brush!
Let texture and form come through
and
backward
12 Forward
Its challenging to draw
leather textures, and
you should be aware
that youre not only
drawing leather pants,
youre drawing the legs
that ll them. There
are two legs, one in
the foreground, the
other further back.
How do you express
this 3D space? Let the
back leg fade into the
background, using
simple and very light
brush strokes.
13 Draw miniskirt and legs
For the
female dancer, its the same thing. When
you draw her legs, dont forget the relationship of
forward and backward. And for the miniskirt part
of the image, remember that its not only a at
shape, its a form that has depth.
shapes
15 Building
14 Work with the Palette Knife
Choose Smeary Palette Knife 30 from

your Custom palette. Many people avoid using
this square brush for human gures, but the
Palette Knife brush can create some beautiful
shapes. The Smeary Palette Knife 30 brush can
also mix colours. Depending on which direction
you use the brush strokes, its a little bit hard to
control but work with it more and youll love it!
Lets go
to the part of the picture
with the leather pants.
Keep using the Smeary
Palette Knife 30 brush,
but reduce the brush size
a bit. Repaint the shape
of the leather pants to
get some sharp edges.
For the highlights, make
some clean and lively
brush strokes that will
express the feeling of the
leather texture.
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Detailing
Lets get groovy!
Build the
attitude
How do you make your
figure drawing more
attractive? Certainly, it
needs some knowledge
of human anatomy
and details added,
but this isnt enough.
You should put more
information into
your figure drawings
so that people can
feel the actions and
attitudes in your
image. Always ask
yourself, What are my
subjects doing? Never
forget the actions and
attitudes of the figures
we need expressive
movements detailed,
not just realism.
16 Check out your main shapes
Zoom to t, so you can see your

whole image. Check out the main shapes. Its not yet detailing time;
like building a house, you should put in some good groundwork rst. Dont
try to add more shapes in this step watch and compare, point at the main
shapes, edit them if necessary, but keep them simplied.
17 Add line work
Create a new layer, double-click the layer thumbnail

and rename it. Choose Felt Marker brush from your Custom palette.
Draw some lively and loose lines around the main shapes; make them look
richer and more expressive. Dont just trace the edges of the shapes because it
will look boring.
work for
energy
19 Line
Lines can also express the

energy of the gures. For
example, draw the lines
for the female dancers
leg. Based on the main
shapes, you need to try
to express the energy
of her legs. Its alive and
fresh, not just a boring
anatomy lesson! Use the
lines. Feel the energy,
imagine you are her, and
youre posing like her.
Let your lines follow your
feelings and walk around
on the canvas.
18 Line work for movement
Lines can let us feel direction and rhythm.

In this step, the goal of line work isnt just to dene
or edit shapes, its for expressing movement. Let
the lines follow the gures gestures, make them
jump and dance, adding to the intimacy and
intensity of the image.
Picking brushes The right tools are important

To really give the feeling of movement and energy, it helps to stick with light and fluid brushes.
Anything too think will literally weigh the image down. Here are the ones we used in the tutorial.
SQUARE CHALK
We used this one to make
our initial sketch. It is good for
mixing light and dark areas
This one is great for laying

down lots of loose and
expressive marks, especially
when it comes to adding lots
of information quickly.
FELT PENS
SMEARY PALETTE KNIFE
Used to apply thinner areas of

detail, and also more random
wiggly lines to help the whole
movement feel
Although it can be tricky to

control sometimes, for quick
and simple shapes the Palette
Knife is excellent
TINTING: BASIC ROUND
20 Check your lines
Check the whole image and see how

the lines work. Because the lines are on a separate
layer, you can edit them without messing up the
basic shapes. Dont draw lines with the same level
or same intensity, make them varied.
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Tread between detail and gesture
Rene and focus
Create a new layer for detailing. Double-click the layer thumbnail and
rename it. Choose Felt Marker brush for rening and focusing details. Adding
a new layer doesnt mean adding a lot of details; the goal of details is bring the
focus out and give your painting some highlights. You need to choose which
details are the most useful for your goal, then add them to the right place.
22
Add facial details
Start adding details to the faces of the

two dancers. Focus on the face of the female
dancer by using the Felt Marker brush to draw the
shapes of her eyes, nose, and lips. Then go to the
male dancers face and use Palette Knife 30 to add
some basic shaping strokes on it.
Create movement
21
Tutorial
Work out the best combination
23 Shirt and hand
In this painting the shirt is not the

main focus, so stick to big and loose strokes,
even abstract ones. The hand of the male
dancer needs more work, even for a loose
shape painting. You dont need to draw each
ngers details, just try to express the gestures
of them. A little bit of line work will help.
Working with movement Shimmy additions to the artwork

For this tutorial, we have shown how your brush strokes can give a
feeling of movement and excitement to static 2D pieces. We have turned
our attention away from heavy detail but their charm comes from the
dynamic feel they exert. Even though they are in a static stance, the outer
brush strokes makes the eye move about, as do the strokes used to make
up the actual figures.
EXTEND YOUR REACH

Think about making marks outside
of your main focal point. A few
squiggles here and there will excite
the viewers eye and make them
dance around your image
LIGHT AND DARK
24
Blending
Time to polish those pants! Choose

Grainy Water brush from your Custom palette.
Blend and mix colours to get softer and more
smooth-looking textures, especially for the
highlights of the pants. But dont blend the edge
of every shape as it will blur the entire painting.
One good way of giving

your image a real sense
of energy is by choosing
extreme contrasts in
colour. Here we have
used dark blacks and
pure white, giving
instant pop to the scene
STANCE IS IMPORTANT
RIGHT AMOUNT
OF DETAIL
25 The nal image
Look at your painting and ask yourself

some questions. Does the body language come
across clearly? Does the movement of the gures
strike the eyes? Can you feel the action of the
gures gestures? If the answer is yes, then back
away from your screen! The image is nished, so
dont keep tweaking it.
Weve kept this image

purposely simple so you can
see how easy it is to add
movement. However, even in
simple drawings you need to
emphasise certain areas. Here
we have spent some time on
drawing the fabric creases.
By showing that the fabric is
creased, you are telling the
brain that it is moving.
The most obvious way

to show movement is by
the stance you give your
subjects. Here the female is
leaning backwards, either at
the end of a dance or maybe
shes just getting ready to
take off again. Either way,
her pose suggests energy.
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Primer Brush Controls: Random
BRUSH CONTROLS
Random
Ever wished for an on-the-fly way to add
more pizzazz to brushes? Well youve got it
inside this Brush Controls tab!
Access Clone
Location and
Expression
As you may have
noticed by now,
when you choose
a variant from the
brush libraries, the
Clone Location sliders
may be greyed out
unless you first choose
Clone Color in the
Colors palette. But
Jitter and Expression
are available for
most operations and
methods, and with
most of the brushes.
Weve covered the
Expression menu in a
number of other Brush
Controls tabs, but its
always worth your
while to do further
exploration within
each individual tab.
ere sure that youve been faced

with the somewhat daunting
task of trying to explain
what you do to people who
arent very computer savvy, and who cannot
conceive how you paint by using a computer.
And even when some of them grasp the
concept a bit, theyre still tethered to their own
visions of point and click software. But dont
let it worry you simply tell them they will
have to experience Corel Painter themselves in
order to know the creativity that lies within!
We hope youve been enjoying this series as
we continue to open and explore each of the
tabs in the Brush Controls palette, and that
you are making discoveries of your own along
the way. In this segment we ind ourselves
at the Random tab. We might also call it the
Serendipity tab, because here Corel Painter
brilliantly employs effects of randomness in
order to create unexpected or even accidental
qualities in both colour and stroke. This
randomness adds immensely to the painterly,
unique look of our digital artwork setting it
even further apart from mass produced art.
Consisting of only four sliders (Jitter,
Direction (which remains greyed out most of
time) Variability and How Often), a
drop-down menu and three check boxes
(including Random Brush Stroke Grain and
Random Clone Source), these controls pack
an amazing amount of punch for those of us
who love the aspect of painting, over which we
dont actually have complete control.
PAINTERLY CLONING
For this example we Quick
Cloned a photo and began with
the Impressionist Cloner for the
background, with the Brush set to
around 60 and Opacity at 100 per
cent. We also played around with
the Jitter slider. Expression was
set to Random, and the Random
Clone Source box was checked
SPLATTERY FUN
The Splattery Clone Spray is a
fun cloner, and we got a little
carried away! We set our brush
to size 60, then revved up all
the sliders and chose Direction
in the Expression menu. A little
goes a long way though, and
later we softened some of the
splatters with Just Add Water
Create beautiful jittery strokes
Randomise the Clone Location
Get a rich, textural quality in your strokes
Play around with the Clone Location sliders
The Jitter slider introduces a randomised fluctuation to

the brush stroke, placing dabs off-side of their normal
placement by random amounts in order to achieve a
more natural, painterly effect. Moving the slider to
the left decreases deviation from the stroke path, and
pushing it to the right increases the deviation. In this
example we used the Variable Oil Pastel 10 brush, first
set to a large brush size and then to the default size. In
both cases we made the first stroke with Jitter set at
0, and then at 4. Adding Jitter to this brush results in
a rich, textural quality in a stroke that otherwise is as
smooth as a drawing pen.
Both Clone Location sliders work with the brushes of the

cloning method. The Variability control lets us randomly
offset the location where the Clone brush samples the
source. With the Variability set at zero, the pixels of the
source and destination images correspond precisely, while
introducing a degree of randomness disturbs the pixel-topixel correspondence. For this example we drew a flower
using the Waxy Crayon, then Quick Cloned it and chose the
Soft Cloner. We set the Expression to Random and checked
the Expression box before playing with the Clone Location
sliders for our image on the left. The right-hand image was
done with the same brush, set at default.
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SPLASHY COLOURS
PRIMER
Random observations
Primer
We went to the Camel Oil Cloner set to

size 29, with Opacity at 72 per cent, Jitter
at 2.30, Expression set to None, Variability
at 49, and How Often set to 15. We love
the way this allowed the brush to nd
colours in various areas of the photo
and splash them around throughout the
painting. Very satisfying!
Test out the controls with a selection of brushes
Wet Acrylic 20
Tapered Artist Chalk 20
Coarse Spray Airbrush
Soft Vine Charcoal 30
Artists Sargent brush
Driving Rain Cloner
Smear Blender
Image Hose
Calligraphy Dry Ink
Impasto Gloopy
Digital Watercolor
Spatter Water
Smart Stroke Gouache

Thick Flat
Brush Controls: Random
Just for fun we chose a dozen brushes randomly to use with the controls
weve been discussing. We hope youll grab the same brushes and try
them out for yourself. Learning is never wasted, and at some future date
youll be looking for a certain effect and playing with Brush Controls,
when Random will pop into your mind with the perfect variant!
BRING IN SOME DETAIL

The Soft Cloner is excellent
for discovering detail without
making it too photographic for
a painting. We went to an even
larger brush (over 100), but
left everything else at Default
settings. You will notice that
most of the Random controls
are available for this brush,
so there are plenty of options
for customisation
IS IT FINISHED?
Wanting the splashy, but not quite nished look found
mostly in watercolours, we stopped here with our little
example. However, by using only the brushes described
above and tweaking them even further with the Random
Brush Controls, we could take it to many more levels
Go against the grain
Where clones become random
Vary textures with the Brush Stroke Grain option
Create random patterns from your original source
Usually when we make a brush stroke the paper grain

is fixed, and strokes repeated over an area bring out
the same grain faithfully and intact. But the Random
Brush Stroke Grain option randomly moves the paper
grain for each dab of a stroke. This creates some cool
possibilities for the use of paper textures. Here the
option was disabled on the left (where you see the
texture coming through undisturbed), and enabled
for the right side where the pattern now becomes
obliterated. This could work equally as well with a
sheet of typed words, handwriting, leaf rubbings or any
number of patterns.
When checked, the Random Clone Source unpredictably

samples the source document and places strokes on the clone
destination. There wont be any correspondence between the
samples taken from the source and where they are placed on
the cloned canvas. The result is a wonderfully random pattern
of the predominant colours and edges of the original source.
The brush and stroke determine the nature of the pattern.
How much more fun can cloning be? We might use Random
Clone Source with a faint Stipple brush to add some noise to a
painted image, or create an entirely abstract arrangement of
the whole piece. For the left side of the example, this option
was disabled, and it was enabled for the right side.
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Drawing 101 The simple guide to coloured pencils
The simple guide to
coloured pencils
Revisit and revitalise the rainbow spectrum of a childhood friend
hen we are small our artistic

armoury is too; we are
given packs of pencils with a
modest range of colours, but
our limitless and adventurous imagination
allows us to unleash them with the aesthetic
brilliance of the great modern masters of the
last century, propounding the often heard art
gallery exclamation, My ive year old could do
that. This expressive freedom is manipulated
throughout our childhood towards greater
technical control, and it is with our trusty
armoury we learn, explore, experiment and
grow to love our pack of pencils unconditionally.

While researching this particular tutorial,
a brief trawl on the internet has revealed a
passionate and inspiring underworld of
grown-up pencil crayon lovers.
The art teacher prejudice towards the crayon
has been totally swept aside by incredible
images of technical expertise, featuring
botanical illustration, expressive imaginative
images and superb drawings with a soft and
hyper-real inish! There are competitions to be
entered, societies to be joined and new materials
to be discovered.
In this tutorial we are going to look at some of

the tricks of the trade and establish some simple
steps to producing your own coloured pencil
image. Its wise to experiment with the mark
making potential of pencils, looking at cross
hatching, directional marks, smooth, circular,
evenly pressured shading and dotted marks in
order to prevent yourself falling back into the
habit of stripey shading. The biggest revelation
we had through our research is the blending
achievable with solvents like ZestIt! Good luck in
reinventing your approach and attitude towards
what is a sophisticated and grown-up material.
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Drawing 101
Get started with coloured pencils

Choose a simple image to begin with. This one has flat tones
a.
proportions and
colour
01 Analysing
Draw the proportions and

outline of the design with an H pencil as
accurately as possible. You may become brave
enough not to need a pencil for guidance in
the future, or choose to use erasable coloured
pencils. Delicately rub away the excess so you
retain the lightest possible image. Now lightly
colour this in with a smooth, circular motion.
02 Analysing the form and shape
Now that you have the colour very

subtly in the right place you can reconrm
the sharp lines of the design. This needs to be
done over the top of the H pencil lines that
you have almost erased. Graphite needs to be
erased otherwise it will corrupt your coloured
pencil work, and it will smudge especially well
into the lighter colours.
e.
g.
The simple guide to coloured pencils
c.
b.
d.
f.
h.
Blending
There are many ways to blend, so experiment!
There are many ways to achieve a satisfactory blending of
pencil colours. The top two images (a and b) show watercolour
pencil and how it looks when water is applied. We then placed
overlays of different coloured watercolour pencil strokes
together to make a blend (c) before using water to blend them
together even more (d). Solvent blenders are an excellent way of
merging colours, whether you use a chemical one or an organic
alternative. You can get a wash effect with these (e). If you apply
a lot of pressure to the pencil you can merge colours (f) or use
a special tool. We created the bottom left-hand image (g) and
then blended it with a Tortillion (Stump) blender that looks like a
pencil. It merges softly but lifts some colour (h).
03 Build up the contrast
The
next thing to do is to encourage the
coloured pencils to relinquish their vibrancy by
exerting little pressure. Use the side of the lead
and colour in these areas with a rm hand
and a circular motion (this will prevent the
stripey effect that commonly typies coloured
pencil artwork).
04 Rene the nal touches
Sit
back and review your work. Some
areas may need renement or added tone,
shadow or highlight. Remember to work with
the highlights and shadows in mind you can
add colour or tone far more easily than you can
take it away. We used a solvent to merge the
nal dark shadows as smoothly as possible.
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Drawing 101 The simple guide to coloured pencils
SKETCHY OBSERVATIONS
Over previous issues, we have spent a good deal of time looking at using pencils in a very controlled
and realistic way now its time to explore the potential of the pencil point. This rock pool is a great
example of how adaptable and transportable pencils can be. They are the ideal material to take on
holiday or to a museum to capture first hand the shape, colour and tone of what you see. These can
then be used at home to inspire artwork of all shapes and sizes.
TEXTURAL COLOUR
The coloured pencil lends itself to reproducing textures. This is especially

useful for soft, flowing textures like fabrics, fur and hair. The pressure,
direction and layers of different colour should all be applied with thought to
convey the shape, weight and texture. We chose this rainbow coloured dye job
to emphasise the importance of following the direction of the hair as it falls.
Press firmly to intensify the tone and colour as necessary.
Paper
options
Carefully decide
which paper to use
The choice of paper
is as important to the
quality of inish as the
choice of pencil crayon,
and we found that in
this case you get what
you pay for. There are
a lot of different types
of paper on the market,
so experiment to ind
out what is going to
give you the effect you
truly desire. We chose a
few different types, but
for ordinary jobs, good
quality white cartridge
paper cannot be beaten.
BLACK CARTRIDGE PAPER
The tone and texture of this paper lends

itself to images that are full of reflections
of highlights. It accentuates the grain of
the wood on this sculpture, and the white
crayon subtly renders the highlights. Use
the white crayon to sketch in the initial
drawing, though, so you can see it!
SMOOTH WHITE PAPER OR

BRISTOL BOARD
This is an excellent vehicle to help your crayons

produce a smooth finish. Experiment with waxier
pencils to achieve more intensity of colour. Some
crayons find it hard to get a purchase, and slip and
slide their way over the even surface, leading to
delicate quality that can appear wishy-washy.
WATERCOLOUR PAPER
Use this heavily textured absorbent paper

with watercolour pencils. This method also
produces a very delicate effect and low level
of colour intensity. Outline your image and
scribble firmly over the bumpy surface, then
use a wet brush to busily merge and disperse
the colour.
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Drawing 101
This classic still-life features objects of different textures and tones. The near absence of
colour creates a cool, even cold atmosphere, which is heightened by the use of black paper.
The highlights are muted, and the grainy texture of the paper adds to the energy of the
execution. The only change in principal is that you will need to do your outline sketch in white
coloured pencil rather than ordinary pencil.
The simple guide to coloured pencils
MOODY ATMOSPHERE
DRAMATIC SKYSCAPES
Now you can really go to town with colour and slightly more expressive marks. This sunset
is very useful because of the silhouetted trees at the base. This allows you to structure your
composition and focus completely on the incredible colours in the sky. Try to get a feeling
for the movement of the colours and how they merge together, and freely express this with
directional, swift, sweeping pencil marks.
BRILLIANT COLOUR
This colourful collection of jewels

lends itself to an illustrative
approach, or realistic graphic
approach. We used watercolour
pencils, and created several layers
to build up this speedy expressive
image. Ensuring each one had dried
properly, we then used normal
pencil crayons to create a dramatic
contrast and reflect the sharp, shiny
nature of the jewels.
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Your
questions answered
Beside the seaside
On this issues panel
I am fairly new to Painter and use it to paint

from photographs that I have taken. I enjoy
taking short weekend breaks, particularly
to seaside towns. What would make good subjects
for me to photograph, with a view to painting, as a
reminder of my trips?
J P
Jill Garl
Jill returns to the Art

Class this issue to pass
on some tips about
using texture and also
emulating a watercolour
effect using Painters
blending brushes
Jim Scullion
Jim comes back to the

Art Class to share some
quality techniques,
such as capturing
seaside memories and
introducing sunlight to
your images
What youll find in this section

Software Dont get bogged
down in a Corel Painter black hole
write to us and well help you
work harmoniously
Fine art
When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out
This is probably a much bigger question than you

realise. Every artist at some point in their life seeks
out inspiration for their next work of art. What
makes a good subject for painting? Every painting starts
within the artists eye. The artist develops almost a sixth
sense of seeing artistic subject matter in a whole manner of
situations, and this is something that most artists develop
over time. Look at other artists work for inspiration.
On the internet there are literally millions of paintings
and drawings on show to help your creative juices flow,
including over 10,000 paintings in the gallery section of our
website alone!
When on your breaks visit local galleries and shops to
see what has inspired local artists about their town. When
travelling, there are obvious painting subjects, including
famous landmarks or familiar buildings. But you should
seek out things that are more personal to you, that you will
enjoy painting and will help evoke memories.
Here are a few examples of paintings created in Painter
using sketches and photographs taken on a recent
weekend trip to Blackpool. Notice that the tower does not
appear in any of the paintings. Hopefully they will help you
fire up your imagination for your next trip.
The hut
This is one of the most ornate ice-cream huts that weve ever
seen! There are several of these on the pier and we decided to
paint one without the distraction of gures. We used Oil Brush
variants, and brush textures were added on completion.
Illustration Make sure

your illustrations are in top form
by following our advice
Send in your queries to
Official Painter Magazine Q&A, Imagine
Publishing Ltd, Richmond House, 33 Richmond
Hill, Bournemouth, Dorset, BH2 6EZ.
Alternatively you can email us at
[email protected]
SHARE
YOUR
PROBLEMS!
Send in your questions

for our experts to answer
at [email protected]
The beach
This is a painting of the North Pier. It was created using Oil Brush
variants and little attention is paid to detail. When painting the
sand it is important to vary the tones to give an illusion of depth
and distance. The impression of gures also adds to this illusion.
Horses
At the end of the pier is a colourful carousel. Here are a couple

of the horses reproduced using Digital Watercolor brushes, on
a textured background. This gives the impression of a detailed
painting which is actually quite freely and loosely executed.
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Q&A
Get the look
S H
Adding a watercolour feel to your
paintings can be done in many
different ways. You may want to try
out the Watercolor brushes, or experiment
with other brushes that you find fun to work
with. We found that some of the blenders,
along with some changes in the settings,
work wonderfully for creating a watercolour

feel. Some of the blenders allow you to add
saturation and some dont. You will know
which blender brushes allow this if the
Saturation field shows up when you open the
brush. If you do not see the Saturation option,
then these are blenders that will not paint
with colour. The brushes that will allow you to
add saturation are the ones that you can paint
colour with, as well as blend with. Go through
your blenders to see what effects you can
come up with using different increments of
saturation along with the blending effect.
Art class
I want a watercolour look in my

portraits and paintings, but how
do I achieve this?
01 Blender brush
Choose a blender brush that will allow

you to add saturation. Some good blenders to use for this
are Grainy Water, Just Add Water or Soft Blender Stump.
02 Change settings
In the Property bar, add a percentage

to the Resat or Saturation. In this example we used 67 per
cent. Also, to get this watercolour effect, you must change the Jitter
setting to around 3.51.
03 Build up colour
Start to paint using different colours

and shades. Sample colour from your image using the
Eyedropper, and use these colours throughout your painting for a
unied look. Vary your brush size while you build up colour to create
an interesting watercolour effect.
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Q&A Art class
Unique images
I use Painter to draw and paint animals,
and have had a degree of success
working mainly from photographs in
wildlife books and magazines. Can you advise
on how to progress to completing something
that is wholly my own work, rather than
copying someone elses photos?
J S
First it is important to recognise that
what you have been doing to date is very
valuable. Sketching and painting from any
source is useful practice, and helps us to develop
our artistic skills. Wildlife can be an exciting subject
to capture, but unfortunately many animals can be
difficult to access for sketching purposes. Wildlife
books and magazines that you are currently using are
a rich source of visual material, which unfortunately
is all copyrighted. Consider using television nature
programmes and DVDs to practice your sketching.
These can be slowed down and even paused to allow
you more time to capture your image. A trip to the
zoo with a sketch pad and digital camera can also
be a great way of getting fairly close to the animals
you wish to sketch. Many zoos now have handling
sessions where visitors are allowed to hold and touch
some of the animals. A trip to the zoo gives you a
better understanding of the colours and textures,
which are not always represented well on television
or in a book.
In our example we worked on a sketch of a
tiger made at the Natural History Museum. Most
museums welcome artists to sketch their collections,
and some will even find a seat for you. In this instance
we were able to sit about a foot or so from the tiger
and make a fairly detailed sketch of the head.
02 Adding detail
Artists Oil brushes are used to add texture to the face, and
the Oils Fine Camel brush is used to add some detail. Fine streaks are added
following the contours of the face, to give the impression of fur. The tigers expression is
more important in this painting than exact detail.
01 Starting out
In
Painter we opened
a new le and created a dark
reddish-brown background.
Using a variety of Artists Oil
brushes we sketched in the main
contours of the tigers head using
our rough sketch as a reference.
The dark background helps to
determine appropriate tones.
03 Background
The background is created by using Look and Gradient

selectors. We used Furry Trees, Jungle Neon, Little Branches, Passionower
Leaves and Buds, and the Tree Trunk variants from the Look selector, combined with
Jungle Leaf Greens, Jungle Neon and Leaf Veination from the Gradient selector.
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25/7/08 13:26:47
Interesting people?
That depends very much on your

reason for painting the scene. If you
wish to portray the still-life aspect
of the interior, the inclusion of figures could
detract from your original intention. People in
paintings can become the main focal point and
totally dominate your subject. If you wish to
portray an interior in such a way as to suggest
that its inhabited, then consider other ways of
conveying a presence rather than including the
figure. This could be a smouldering cigarette in
Art class
J B
an ashtray, a half finished glass of wine, a fire

burning in the fireplace, etc.
If you wish to add figures to your painting
ensure that you paint the figures in the same
way as you created the rest of the scene. If
the room is loosely painted then the figures
should also be loosely painted. There is often
a temptation to paint people in more detail,
which will lead to disharmony in the painting.
In our example we have painted the interior
of a museum. Initially the idea was to portray
the interior without figures, however, the
inclusion of the two figures has given the
painting a whole new dimension, which we
preferred. One of the figures now dominates
the scene and has become the main focus of
our painting.
Q&A
When painting the interiors of

buildings, rooms and halls, should
people be included to make the
painting more interesting?
01 Photographic reference
This is the rst of two photographs

used as a reference for our nished painting. It shows one of the
exhibition halls in the Kelvingrove Museum. The hall is lled with amazing
artefacts and exhibits, and leads into a maze of corridors and balconies. The
hall has a glass roof and is ooded with natural light.
02
Photographic
reference (2)
This photograph
shows the gallery from
outside and is framed
by the arched entrance.
Initially it was thought
that this framing would
enhance the painting
by leading the viewer
into the hall. The
gures in both photos
are pictured leaving the
scene, therefore they
are not suitable for
our painting.
03 Sketch
A
detailed
sketch was created to
help determine the
tonal values of the
subject. Two gures
were added at this
point. The one on
the left is leading the
viewer into the scene,
while the other walks
towards the viewer. In
the nal painting you
can see that the latter
gure becomes the
focus of the painting.
This is emphasised in
the colours used to
portray her.
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25/7/08 13:28:20
Q&A Art class
01 Choose paper texture
In your toolbox, click on the arrow next

to the paper textures to see a yout of all the paper textures available.
Choose a texture that you would like to use in your painting. We used the
Artists Canvas for this example.
02 Paint and reveal texture
Use a brush that will enhance the

paper texture. We used the Conte brush here. Use a colour that is
in your painting for the background colour and texture, and paint it in around
your subject (or wherever you would like to see texture). You can also add
texture anywhere by using 0 per cent Saturation.
Textured backgrounds
I have taken some photos of my nieces and nephews and would really like to
paint them as gifts for their parents. I really like the way some backgrounds
have a textured feel to them how can I achieve this in my paintings?
D R
Adding texture to the background or other areas in your painting can create interest and
depth. One way this can be done is to use paper textures. By combining paper textures
with certain brushes, you will be able to achieve many different looks. This texture may
be throughout the entire painting or isolated just on the background for an interesting
change. You can paint on your texture at any time during your painting process. Take some time
to experiment with how some of your favourite brushes react to different paper textures. This is a
great way to come up with a combination that you may want to try on your next painting.
03 Soft Clone back areas
Make sure you clone your painting rst,

then paint the texture on the clone. This way you will be able to Soft
Clone back any areas you do not want the texture in. You may also vary your
opacity using the Soft Cloner to show only a slight amount of texture.
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25/7/08 13:20:12
Q&A
Art class
Let the sun shine

My paintings of people seem lat
and dull. How can I inject a sunny
day into my paintings?
A B
Paintings are made up of colours.

How we use those colours help us
to convey a portrayal of a threedimensional object on a two-dimensional
surface. In order to succeed in this task we
must visualise the tonal value of our subject.
Tonal value is the shapes of light and dark
within the subject. By placing the light and
dark values in the correct places the painting
will take shape and dimension.
In order to understand this better, imagine
drawing a black cat in Painter on a white
background. The cat is very prominent in
the painting. If you gradually darken the
background the cat becomes less prominent.
When the background is completely black
the cat, although still there, cannot be seen.
The reason for this is that both the cat and the
background have the same tonal value.
Appropriate tonal value can add depth,
atmosphere, mood and lighting to a painting.
Prior to painting a subject it is valuable to make
small tonal sketches and detailed drawings to
help visualise the tonal range in your subject.
A detailed drawing gives you the opportunity
to explore lighting, shading and composition.
In our example we will use a detailed drawing
within Painter to help in this process.
01
Tonal sketch A very detailed sketch is created
to establish the tonal value of the subject. The man

in the centre is the main focus, but he is part of the group
in the painting. The sketch lines on the clothing follow the
direction of the light source which, in this case, is the sun.
02 Adding colour
Here we have added a new

layer above the sketch and start to add colour
to the painting with the Artist Pastel brush. Note that the
Transparency of the top layer has been set at 69 per cent to
allow the sketch below to be seen. The colour is added in
various shades to add contour and depth.
03 Colour completed
The colour is completed

and the painting could be saved in its present
form. However, we chose to return the layer Transparency
to 100 per cent, eradicating the drawing beneath. After
attening the layers a paper texture is added to create the
nal image, which gives the impression of a sunny day.
79
25/7/08 13:21:07
Reviews Ricoh GX200
Ricoh GX200
350 | DSLR quality in a compact body
mage quality is probably the most important
aspect for the majority of photographers,
hence the popularity of digital SLRs which
provide an enormous amount of control over
the camera and its settings. However, it is not
always that practical to carry such cumbersome
items around and a compact alternative is
required, but without sacriicing the quality.
The Ricoh GX200 is the latest addition to the
high-end compact market featuring a super wideangle high performance 24-72mm zoom range,
making it excellent for landscape shots, with a
maximum f2.5 (wide) f4.4 (telephoto) lens and
a 1/1.7-inch, 12 -megapixel CCD sensor, with
mechanical sensor based image stabilisation.
There is also a plethora of additional add-ons
and accessories available, including a unique
tilting electronic viewinder that attaches to
the hot shoe, a hood and adaptor kit (HA-2) and
control for the Aperture settings. The control

for the Shutter setting is situated just to the left
of the thumb grip. This is slightly different as
once depressed it provides access to the white
balance and ISO settings, Auto Exposure and
Auto Focusing settings, as well as image quality
which includes three RAW modes. This upgrade
on its RAW shooting abilities has deinitely
improved on the GX100, as the RAW processing
speed has gone from ive seconds per image to
ive RAW images per second. A vast improvement.
Another useful feature on the camera are the
two function buttons (Fn1 and Fn2) that can
be customised to provide access to any of the
cameras features that you prefer. Fn1 is situated
next to the D-pad, but Fn2 is strangely situated on
the top of the camera, next to the lash button. The
mode wheel, which has extremely irm click stops,
provides access to the essential PASM modes, as
The Ricoh GX200 is the latest addition to the high-end compact

market featuring a super wide-angle high performance zoom range
LCD screen
A large wide-viewing
angle 2.7-inch 460,000
dots HVGA LCD and an
electronic level function
for horizontal and vertical
shooting, help to take
impressive images
a self retracting lens cap (LW-1). An additional

conversion lens (DW-6) can achieve 19mm
ultra wide-angle for sharpness and intensity of
wide-angle photography. Furthermore, a 135mm
focal length is covered at the telephoto end with
the telephoto lens (TC-1) attached. All these
accessories are quite expensive though, and can
amount to the price of a substantial DSLR kit.
Build quality is extremely good, solid and well
thought out. It feels extremely comfortable in
the hand thanks to the well-placed thumb grip,
and the protruding rubberised grip on the front
of the camera that also houses the scroll wheel
The Aperture and

Shutter controls
The Aperture settings are controlled
via a scroll wheel on the front of the
camera, whereas the shutter speeds
are altered by using the Adjust lever
button on the back
well as three personally customisable settings:

My1, My2 and My3. The 3x optical zoom (12x
digital) is adjusted by the rubber rocker switch to
the right of the thumb-grip. All of the buttons and
controls are ergonomically well placed, making it
comfortable to shoot with and possible to shoot
with one hand.
The vivid high-resolution 2.7-inch 460,000
dots HVGA LCD display is also extremely good,
providing a viewing angle of 160 degrees, both
horizontally and vertically. This provides a true
representation of photos taken and adjusts
accordingly when ine-tuning the Aperture and
Viewfinder/LCD
switch button
LCD viewfinder
The removable tilting LCD
viewfinder is an extra addition to
the camera which provides 100%
field of view, and can help shoot at
various angles
Mode dial
The mode dial performs well and
enables you to switch between the
usual PASM modes, as well as three
customisable My Settings modes
Shutter adjustment lever

and features access
Mode dial
Zoom rocker
switch
Playback
button
D-pad
Second
customisable
function button
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LCD
Web
ISO sensitivity
350 2.7-inches
www.ricoh.co.uk A, 64-1600
Phone:
camera specs
Ricoh GX200
Price
Exposure modes
0208 261 4031 A, P, M, eight Scene

Megapixels (effective) modes
12.4 Metering options
Max resolution A, CW, MS, S
4,000 x 3,000 Flash modes
Sensor information A, RE, Fon, Foff, SS
1/1.7-inch primary- Connectivity
colour CCD USB, AV
Lens data
Weight
f5.1-15.3 (24-72mm) 208g

Zoom
Dimensions (mm)
3x opt, 4x dig 111.6 x 58 x 25

Focus/macro
Batteries
Normal: 30cm-inf Lithium-ion

Macro: 1cm-inf Storage
Shutter speed SD, SDHC, 54MB
180-1/2,000 sec internal memory
Build quality
The GX200 is extremely well built and very comfortable to use, with all
the essential buttons within reach of your thumb and forefinger
Menu system
The menu system is extremely simple and provides a set for
shooting and setup, which is scrollable using the D-pad controls.
There is also an Adjust button to access common features, as well
as two customisable Function buttons
What we like
Extremely
comfortable and very
easy to use
24mm wide-angle lens
Quick RAW processing
This is a great
compact with full
manual control
that is perfect
for landscape
photography.
Definitely a
camera to
recommended
Zoom lens
A super wide-angle high performance 24-72 mm (f2.5f4.4) zoom
lens, with superb optical performance, compares favourably to SLR
interchangeable lenses
Function buttons
The two Fn (function) buttons are fully customisable to provide
quick shortcuts to your preferred feature set, such as ISO settings
or white balance
Overall
score
What we dont like
we say
is well balanced and there is a great amount

of detail across the range. There were some
aberrations in high contrast scenes, but generally
these tended to go unnoticed. The anti-shake
feature also helps to take good shots in very
low-light conditions, or using at the telephoto
end of the zoom range, and the Macro mode is
extremely impressive enabling you to take
photos as close as 1cm.
Overall, we were extremely impressed with
the Ricoh GX200. It is a joy to use and feels
extremely comfortable in the hand. Images are
generally of a high standard, only suffering when
using high ISO settings. The only drawback
with it though is the price. At 350 for the basic
camera, and 399 for the viewinder kit, it is
extremely expensive. When you add in the
unique lens cap, hood and adaptor, and various
lenses, you are looking at well over 700!
Features
verdict
Shutter settings which makes it extremely easy

to take great shots.
The GX200 features a number of auto
compensation features, such as aperture
auto shift (to secure appropriate exposure
automatically), an automatic brightness level
compensation function (good for high contrast
scenes), and a distortion compensation function,
supporting full use of wide-angle lenses.
Image quality is extremely impressive
from the GX200, although noise does start to
materialise and affect shots at ISO 400 and
above, with ISO 1600 pretty much unusable. This
is mainly due to its 12-megapixel sensor which,
frankly, is not advisable on a camera of this size;
the small pixels will obviously produce more
noise despite the processing engine. Having said
that, at low ISO levels, and especially in good
light, colour is represented very well, exposure
Theres noise at ISO

400 and above
The expensive price
Some accessories
should be included
9.0
Ease of use
9.0
Quality of results
9.0
Value for money
7.0
9.0
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Reviews HANNspree Verona
175 | This widescreen 22 monitor provides a large, elegantly

framed canvas for digital artists
or a lower-priced manufacturer,
the quality of HANNspree screens
is always impressive, rivalling and
sometimes exceeding the display
quality of more well-known brands. This 22
Verona monitor is no exception, with its clear
TFT display boasting up to 16.2 million colours.
Named after the setting of Romeo And Juliet,
it has also spawned one of the most loridly
worded press releases ever. But we wont hold
that against it.
HANNspree does a nice line in modiied
monitors, with gimmicks such as footballshaped screens. But HANNspree has eschewed
the gimmicks for the Verona, concentrating
instead on creating a subtle, understated
look. Encased in simple black plastic (called
mirror-inished piano black), which is neither
too glossy nor too matte, it looks elegant. But
more importantly, it wont detract or distract
you from whats on the screen. The stand is
a simple black disc, which offers you viewing
angles of 160-170 degrees. For digital artists
this is a real beneit. If you dont use a Wacom
tablet with a built-in display, you can angle
the considerably-cheaper Verona like an easel.
Its anti-glare coating meanwhile is another

major boon. Digital artists often have to choose
between either using bright, accurate white
light or being able to actually see their screen.
With the Verona, you have your cake and eat it.
At 22 in size, this monitor can dwarf some
TVs and older, smaller screens look shrunken
and wizened against it. During the testing it
towered over our regular monitors and loomed
over our desk, but this wasnt unpleasant.
Thanks to its minimalist design, the sheer size
of the Verona doesnt make it look ostentatious
(although a screen on this scale does deinitely
say graphics professional). And using it with
Corel Painter is fantastic. Put your images
into 300ppi format or above to marvel at the
zooming power you can achieve, and wonder
at the glowing colours you can create when
mixing your palette.
Youll need to invest in some screen wipes
though. Its size and glossy inish means that
the Verona attracts and clings on to dust. At a
reasonable price, a large size and good quality,
along with the widescreen capabilities and HDreadiness, the Verona is useful for a variety of
uses and applications in addition to digital art.
specs
HANNspree Verona
HANNspree Verona
Company
Operating systems
HANNspree Windows Vista, Windows

Price XP, Mac OS X
175 (Also functions as a TV or
Website with a games console)
www.global. Minimum requirements
hannspree.net VGA connection
HDMI connection
The HANNspree Verona
boasts a HDMI connection
for HD-readiness as a TV or
for playing console games
Viewing angles
Viewing angles of 160170 mean that digital
artists can angle their
screen for the best view
Glossy finish
we say
Minimal design
With a mirror-finished
black shell and black
buttons, its a masterpiece
of minimalist design
What we like
22 screen
Widescreen
capabilities
HD-readiness
Built-in speakers
Built-in speakers make
this monitor a great sound
and vision solution when
upgrading your computer
What we dont like

Sound quality
from speakers
Heavy weight
Attracts dust
Thin casing
Adjustable screen
Base
verdict
Colourful image
This is a high
quality screen
at a fraction of
the price of a
bigger brand. A
great investment
which will
reward you for
years to come
Overall
score
Features
8.5
Ease of use
9.5
Quality of results
10.0
Value for money
9.5
9.5
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dont suffer from over-complication, and

his love for his subject is infectious. British
and Australian viewers, in fact, may be put
in mind of a certain all-singing, all dancing,
all-painting TV presenter. (Can you guess who
it is yet?) This, combined with the short and
snappy tutorials, makes this Painter X Essential
Training disc more fun to watch than many
other video tutorials.
There is an absolute goldmine of information
and resources on this disc, too. Each little
tutorial is accompanied by exhaustive
resources, some as PDFs that you can keep
as notes or reading material, and some as
Painter iles that you can experiment with and
learn from. Many tutorials walk you through
working with a particular technique, whether
thats mark-making, working with layers or
customising brushes, and for each of these
you can open one of John Derrys scribbly,
lively little paintings and work along with the
tutorial. Its like having a friendly art teacher
in a box! One thing we dont like, however, is
the constant pushing of Cintiqs Wacom tablets.
Not everyone can afford one, and contrary to
popular myth, theyre not quite as essential as
Mr Derry makes them out to be.
Derry is a knowledgable
chap; one of the original
programmers on the
first iteration of Painter
Painter X Essential Training

Company
Website
Lynda www.lynda.com
Price
Minimum requirements
$100 USD 24-bit video support,

Operating systems QuickTime 7 or
Windows XP, higher, 1024 x 768
Windows Vista, screen resolution,
Mac OS-X DVD drive
Expert advice
Easy navigation
John Derry is an expert artist

and was one of the original
programmers of Painter
Tutorials are arranged in

logical, progressive chapters
that you can bookmark easily
Practical exercises
Working along
Practical exercises in
mark-making ensure you get the
most from Painters brushes
What we like
Work along with tutorials using

John Derrys cheerful, sketchy
little paintings
What we dont like
Easy to use
Friendly, approachable
and fun
Excellent resources on
the disc
Regularly oversells
Wacom tablets
Exercises will seem
over-simplified to
some users
This disc is a
great resource
for absolute
beginners, but a
little too simple
for intermediate/
advanced users
Features
9.5
Ease of use
we say
tarting out with Painter is a daunting

experience. Layers, brushes, palettes
all of these can be nerve-wracking
for the beginner. Theres so much to
learn, and no discernable way of making sense
of it all. Luckily for beginners, expert John
Derry is on hand to help. This video training
DVD comprises a total of six and a half hours
of Painter tutorials, logically and thoughtfully
arranged so that beginners can progress
through them. Six and a half hours sounds
like a lot, but in fact this disc is broken down
into easily digested bite-size tutorials, which
seldom last longer than ten minutes. The ability
to bookmark your place means that you can
use this disc as often or as little as you like,
snatching the odd few minutes here to learn
about colour mixing or applying effects, or
spending several hours learning about layers,
palettes, and above all, brushes. Or, to quote Mr
Derry himself, Expressive brushes!
John Derry is a knowledgeable, affable chap;
one of the original programmers on the irst
iteration of Painter and an expert artist to boot.
His seemingly endless, cheery monologues
on Painter are charmingly unscripted,
enthusiastic and easy to follow they certainly
verdict
$100 USD | John Derry explores the world of Painter X
specs
Painter X Essential Training
10.0
Quality of results
8.0
Value for money
7.0
Overall
score
8.5
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Reviews Books
Drawing And Painting The Undead

14.99 | Not for bedtime reading
Welcome to the catacombs

This book draws on a wide range of world myths,
contemporary horror and fantasy stereotypes for its
catalogue of horrors
or our American readers,

Halloween is approaching fast
and what better way to scare
your local trick-or-treaters than
a slew of spooky artwork? In this book,
author Keith Thompson goes in-depth
on the undead, showcasing a range
of dark fantasy and horror subjects,
complete with guides to re-creating
them or painting your own versions. For
concept artists working on storyboards
for movies and videogames this book
is an absolute essential you can be
guaranteed that sooner or later youll be
tasked with creating a zombie, demon or
ghost. But despite its specialist subject
matter, this book is full of handy hints for
a wide range of artists.
Kicking off with an introduction
to horror and dark fantasy subject
matter, the Inspiration section of the
book provides a wealth of interesting
information. Imagery from games, movies
and mythology is something that wed
expect in a book that deals with art of
this genre, but the recommendation that
budding horror artists look at Victorian
medical illustrations surprised us
although when we consider it, many of the
masters of horror special effects, such as
Tom Savini, started their careers as war
photographers documenting atrocious
injuries. It sounds gruesome, but studying
this kind of gore is a really important tip
that can add to the realism and therefore
the scariness of your subjects.
Elsewhere, this book delves into the

art of creating atmosphere, tension and
implying storylines in your work. Even
if youre not drawn to painting horrorbased subject matter, theres still a wealth
of information here while in-depth
discussions of anatomy, poses, body
types and scale are invaluable to artists
of all genres.
For newcomers to this kind of art, as
well as more established practitioners,
the subjects illustrated in this book
are its biggest draw. Its not simply
ghosts, ghouls and zombies, instead
Keith Thompson draws on a wealth of
world myths as well as contemporary
stereotypes. So, in addition to the
zombies, liches and vampires youd
expect, there are less well-known
subjects, such as the Japanese Yokai (a
mythological creature best described
as the evil spirit of a discarded object).
Whether you mix aspects of these lesserknown creatures into your own work, or
reproduce them faithfully, learning about
them provides great groundwork for
conceptualising your own scary monsters.
Palettes and paradigms

The undead creatures in these
tutorials are divided into sections:
ghosts, mutants, monsters and
zombies (each with unique colour
schemes and anatomies)
Spooky symbolism
The iconography of evil, undead
and ghostly subjects is important,
and annotated images pull out the
kind of signs and signifiers your
paintings should refer to
Author
Keith Thompson
Price
14.99
Publisher
David & Charles

ISBN
978-0-7153-2845-3
Atmospherics
Creating the right atmosphere is
vital when painting dark fantasy and
horror subjects. Lighting, contrast
and colour balance are all discussed
in depth
Mythical monsters
Each creature covered in the book is
presented in an in-depth guide with
sketches and finished artwork, plus
a list of references from elsewhere
in the book
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The Complete Book Of Celtic Designs

9.99 | Perfect patterns made effortlessly easy
Authors
Judy Balchin and

Jenny Rolfe
Price
9.99
Publisher
Search Press
ISBN
978-1-84448-299-3
or fantasy artists, Celtic patterns

can form a kind of semiotic
shorthand, which instantly
evokes the atmosphere, storyline
and even the civilisation behind your
artwork. Whether your painting is meant
to be historically accurate or its set in a
fantasy world, using Celtic patterns in
it will provide your viewer with some
instantly recognisable iconography.
Theyll be aware that your painting is set
in a medieval-era, western European type
of world where the warriors are mighty,
princesses are beautiful and magic
permeates everyday life.
The trouble is, Celtic patterns are
called knotwork for a reason. Even
the simplest of them are complicated,
while the complex zoomorphic patterns
featuring animals and birds are iendishly
dificult to produce. Youll need an eye for
symmetry and some serious geometry
skills to draw them by hand. Or you
can cheat and scan one of the 300-plus
patterns in this source book instead!
Crafters corner
If you print your digital
art, or are considering
using the technique found
in this issues Output
tutorial, you can create
fantastic craftwork with
these patterns
Get knotted
You can scan and adapt these traditional Celtic patterns in
your own paintings, using them as clothing patterns or for
borders and frames
Complex designs
The most complex Celtic designs are classified
as zoomorphic (they turn into animals), or
anthropomorphic (they turn into human figures)
The Watercolour Flower Artists Bible

12.99 | Not as specific as it sounds
Authors
Claire Waite Brown/

Hazel Harrison
Price
12.99
Publisher
Search Press
ISBN
978-1-84448-328-0
o you dont think youre a lower

painter? If youve ever painted
a landscape then you are even
if it was of a car park and some
scruffy-looking dandelions. The same
can be said for still-life, fantasy, history
and even portrait painters. Flowers are
ubiquitous in the history of art, and one of
the best medias to use for painting them
is watercolour. This little spiral-bound
hardback contains almost everything
you need to paint lowers and foliage
this way. Theres watercolour-speciic
information on materials and techniques,
discussions of both optical and physical
colour mixing, and even some basic
colour theory. Beware though it doesnt
go much further than Delacroixs theory
of complementary colours, and its brief
overview of tertiary colour leaves a lot
to be desired. However, the exhaustive
visual guide to common garden blooms,
categorised by colour, is an invaluable
resource and more than makes up for
other omissions.
Watercolourspecific
techniques
Many of the techniques
in this book are specific
to physical watercolour
techniques, but you
can use some of these
principles in Painter
Tutorials
Each of the garden flowers featured in this book has its
own little tutorial which teaches you the best ways to
represent its colour, shape and petal structure
Quick reference
This invaluable quick reference guide presents you with all
the flowers in the book in handy thumbnail-sized guides
to colour and shape
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Output Golden Digital Grounds
Digital Grounds are painted onto almost any flat

surface that will go through an inkjet printer
Print surfaces
Experiment with print
surfaces, whether its fabric,
paper, metal or plastic
Digital genius
Its easy to apply the
ground to your surface
simply paint on!
Golden Digital Grounds

Print your art onto a wide variety of surfaces with Goldens products
Tutorial info
Artist
Anne CarterHargrove
Time needed
12 hours to dry,
minutes to print
Skill level
Beginner
hese are exciting times to be a

digital artist, especially when
it comes to the output of our
art. Until recently most digital
artists have had to work within the
conines of printing on to standard
pre-coated substrates mostly
inkjet canvas and paper. Attempts to
print on other surfaces were usually
disappointing, resulting in blurry images.
But those days are gone! In this tutorial
well walk you through the use of a new
product produced by Golden Paints
(www.goldenpaints.com) called Digital
Grounds. Digital Grounds are painted
onto almost any lat surface that will go
through an inkjet printer, and control how
the ink sits on the surface of the substrate

improving the colour density and
preventing running or smearing.
So instead of being limited to
pre-coated papers, digital artists can
now experiment with a wide range of
substrates. Everything from Japanese
rice paper to fabric, wallpaper, leather, or
even unsealed wood veneer can become a
substrate for your digital art.
Goldens Digital Grounds come in three
versions. Digital Ground White (matte)
is an opaque ground that you can use
on almost any porous material. It dries
quickly, so its the simplest one to try irst.
Since its opaque, its only used on the part
of the surface covered by your print.
Digital Ground Clear (gloss) is a clear

ground with a glossy sheen for use on
most porous materials, which allows
the underlying surface to show through.
Although the clear gloss makes the print
dry slower, porous materials will usually
go through your inkjet printer without
any problems.
If youre really adventurous and want
to try printing on non-porous materials,
like acetate, Mylar or foil, youll need to
use the Digital Grounds for Non-Porous
Surfaces. In this case youll need to modify
your printer a bit (see the side bar).
So lets get started with these new
products by printing an image from artist
Hilarie McNeil-Smith.
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24/7/08 15:55:37
Use Digital Grounds to print onto satin

You can use the porous substrate of your choice for this process
Complement
your
paintings
Once you get the
hang of using Digital
Grounds, try using
different types of
substrates to enhance
different painting
styles; think of a shiny
abstract on glitter
paper, a rustic scene
on thin leather, or a
wedding portrait on
satin fabric. Choosing
an appropriate
printing surface can
add a whole new
dimension to your art!
01 Prepare the substrate
If youre printing on a material that will

buckle when wet, tape it to a sturdy surface while youre applying
the grounds. Then, using a foam brush, apply two even coats of Digital
Ground Clear in opposite directions, allowing each coat to dry thoroughly.
Apply the grounds rather quickly so the product has time to level you can
coat the whole surface, or just the part the print will cover.
02 Let it dry
Once your surface can be handled without dripping,

hang it by one corner for 12 hours. If needed, press it at overnight
under a weight before printing. If your substrate is delicate or irregular, secure
it to a carrier after its dry to help it pass safely through the printer (a plain
piece of paper and some painters tape will do the job).
Pizza wheels
theyre not
what you
think
03 Get ready to print
Youll need to use a printer that has a

straight through paper path, rather than one shaped like a U
most inkjet photo printers should do ne. If youre using a thicker material,
check your printers manual for the size of the clearance space on the print
heads to avoid a jam. Its a good idea to experiment rst by seeing if a scrap
piece of the material will run through the printer.
04 Send it through
Select the paper size in your printer based on

the size of your carrier sheet. Try to match the substrate you are
using to something similar in the paper selections provided for instance,
printing on canvas is similar to matte photo paper. Use your printers Best
Photo or equivalent setting to get the sharpest print with the most detail.
Now press Print and watch your art emerge!
Pizza wheels are the

ejection rollers in your
printer that contact
the prints surface.
If youre going to
print on non-porous
materials, like foil or
plastic, you may need
to remove the pizza
wheels in the middle
of the printer so your
print doesnt smear
or have roller tracks.
Check your printer
manual or the internet
for instructions, but
be aware that this
may invalidate your
printer warranty. If
youre not up to this,
choose from the array
of porous printing
surfaces that dry
more quickly, and use
the Matte or Gloss
Digital Grounds.
89
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Readers gallery issue twenty
Gallery
Painter fan Judy Misquitta is largely self-taught, proving that

formal training isnt necessarily a requirement for creating
beautiful art. She describes her vibrant, colourful pieces as
an explosion in a paint factory!
udy Misquitta was irst introduced

to Corel Painter in 1997, back when
it was called Fractal Design Painter
and published by MetaCreations.
She had just got her irst PC and was
experimenting with digital art. But it was
Corel Painter 8 which really got her hooked
though, thanks to her love of photography.
Like most novices, I used the Clone tool a
lot back then, and I loved how it could
turn my photos into beautiful works of
art, she explains.
like to think Im more conident with my

choice of subjects. Im pretty fearless with
my Wacom stylus, Im more at ease with
it than I was with a real brush! For a long
time I worked with the mouse and was
used to it, but honestly nothing beats the
combination of a Wacom tablet and stylus
with Corel Painter!
Painter is unique in its ability to mirror the look and feel

of traditional art, taking realism to a whole new level
How would you describe your style?
Im a colour addict for sure, and most of
my art is the in your face kind: exciting,
vivid, gaudy even! I like to create happy
images with splashy and brilliant colours,
created by loose and bold brush strokes
that are clearly visible on the canvas.
Before I turned to digital, I dabbled in real
watercolours and oil paintings, though
Ive had no art training except for what I
did in school. Nothing works like Painter!
Its fascinating, with its ability to simulate
traditional media and ine art tools, while
retaining its digital versatility and ease.
How has your work and your technique
progressed over the years?
The pressure sensitive graphic tablet and
stylus is such a blessing; it has transformed
the computer into a wonderful art tool. Id
What are your favourite tools and

techniques to use?
In Painter, I think the Brush Creator
has got to be the greatest for producing
custom brushes. I also love creating my
own custom patterns, especially with
the Kaleidoscope plug-in. My all-time
favourite tool, though, is the Artists
Oil brush. I often have fun converting
brushes into blenders simply by setting the
Resaturation to 0.
Which other software packages do you
use? How do they compare to Painter?
I also like to use Adobe Photoshop CS2
sometimes. It is a perfect complement to
my Painter 9.5. But Corel Painter is unique
in its ability to mirror the look and feel of
traditional art, taking realism to a whole
new level.
01
Title: Bless The Child

Strong colours and sketchy lines. I had a
lot of fun with the Splatter brush here!
What is the best piece of advice you could

give a fellow Painter enthusiast?
Practice! Put your heart and your soul into
your work. Learn everything you need
to know about the software and paint
what you love best. Above all, be fearless;
experiment and take advantage of the
myriad gifts Painter offers.
Share your art with

other readers
These pages of the
magazine are given over
to you, as a place for you
to share your creations
with readers all around
the world and also to
publicise your gallery
on our website. If
you have a gallery
that youre proud
of, send an email
to [email protected]
publishing.co.uk.
92
092-095_OPM_20_gallery.indd 92
24/7/08 17:56:02
02
Title: Leopard
Leroy Neiman has been a long-standing
inspiration to me. This piece was mostly done
using airbrushes.
03
Title: Kenya Girl

I tried to make this look like a real oil
painting. It was done using Artists Oil
brushes and my own custom brushes.
04
Title: Blue
This painting was inspired by Matisse. I used
custom patterns and lls.
93
24/7/08 17:56:38
Readers gallery issue twenty
05
Title: Girls From India

Typical village girls, simple and charming. I enjoyed
painting this with Artists Oils.
06
Title: Rose
The process here was the same as one of my other images
the painting is created on a blank layer over the original
image, with the Pick Up Underlying Color checkbox ticked.
94
24/7/08 17:57:11
07
Title: Ray Charles

Ive attempted to capture the spirit of
Charles great personality. I used the
colour palette intuitively.
95
24/7/08 17:57:30
Creative challenge
issue twenty
Crea tive Challenge

We unveil the winner to challenge number nine!
hallenge number nine is a distant
memory now, but we still need to crown
a winner! And for this challenge, Agnes
Granouillac snatched the title. We were
really impressed with how she transformed
the butterly photo into a deceptively simple
Original images
How to
enter the
challenge
illustration, thanks to the Bucket Fill tool. So

congratulations Alice!
But much judos has to be given to Michael
Coynes entry. The texture and general paint
effects he used are excellent the more you look
at it, the more shapes and extras you see. The
standard overall was fabulous, and the different

styles a real inspiration. The more traditional
efforts, such as Anita Stanhopes or Ron Peases,
sit very well with the expressive attempts from
Anna Juchnowicz, Jean Grubaugh and Caryl
Ritter. We cant wait to see your entry!
Agnes Granouillac
WINNER!
Michael Coyne
Ron Pease
Visit www.
paintermagazine.
co.uk/competitions.php,
download the images and
send us an email. You can
also download the images
from the CD and email
your entries to opm@
imagine-publishing.co.uk.
If they are over 2MB, you
can send them on a CD to:
Website Challenge,
Ofcial Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond Hill,
Bournemouth, Dorset
BH2 6EZ, UK
We cant return any CDs.
Remember! You can email your entries to [email protected]
96
096-097_OPM_20 challenge entries96 96
25/7/08 10:52:53
Jean Grubaugh
Anna Juchnowicz
Caryl Ritter
Anita Stanhope
Enter challenge 10!

Exercise your creative brain
with our regular challenge
If youve been inspired by the
entries you see here, why not go
ahead and enter the challenge
yourself! Its open to anyone,
regardless of skill or experience,
so theres no excuse not to get
involved. Youll ind the images for
the latest challenge on our website
(www.paintermagazine.com)
or on this issues disc. Simply pick
one, or a few, that you like and have
some fun creating your entry!
WIN!
A YEARS
SUBSCRIPTION
TO TH
E OFFICIAL
COREL PAINTER
MAGAZINE
97
096-097_OPM_20 challenge entries97 97
25/7/08 10:53:50
Pa ge 74
Pa ge 30
Pa ge 20
Pa ge 52
Official Magazine
100_OPM_20-back cover.indd 1
23/7/08 12:42:09

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Ofcial Corel Painter TM Magazine

Video tutorials on the disc

Master the art of portraits

Use Painters lighting

Create the cover

Get to grips with

Visit us online www.paintermagazine.com

VIDEO TUTORIALS | STOCK PHOTOS | TUTORIAL FILES

Explore the world of

This issues Art Study teaches

This is oficially my irst

Visit our website!

April Madden, Technical Editor

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

Submissions are invited from

stablished in 1993, the US

at top-level domain, www.moca.virtual.

youll need to ship your work ready to hang

Down in the dumps?

Creative happenings from

Amuse yourself artistically with Dumpr.net

Art Now: The Way In

Dumpr.net is full of fun

The iconic video tutorial series

e know many of you like to

This free exhibition at Tate Britain,

Take advantage of Spyders latest

Whether you view him as a vandal or

Make sure you get your hands on the

n ts res our ces

Painter and Photoshop

I am an avid reader of the Oficial Corel

or a spot on your website that helps in

Hi John, we come across a lot of people who

in Photoshop, save a PSD file and then import

I have created a few Custom brush

A lot of artists will merge

You should be able to find your custom brush

Our favourite readers gallery this month

If you cant get hold of our bookazine then try our

variant within one of these categories, but I

According to the Help files weve come across

that you do want to keep!). But its not the

Wheres the bookazine?

Im a big fan of the magazine, but some of

Sadly for you Tamsin, our bookazine is a

Come and join our

Interview Marc Scheff

For the last year, illustrator and conceptual artist Marc

Q. As a digital illustrator, what attracted

Q. Do you use Corel Painter when you

All original artwork by Marc Scheff

ith a background studying

I found Painter to be much closer to the

Remember, by Marc Scheff.

Interview Marc Scheff

Mixing patterns and

International internet guru, Danah Boyd,

with natural media, and yet it looks like a

Alight, for Boomtown,