Académique Documents
Professionnel Documents
Culture Documents
Create
digital art
today!
Official Magazine
Inspirational walkthroughs
Creative guides to art skills
Tools and options explained
Quick start PDF on the CD
Issue thirteen
Artistic project
Paint like
Klimt
Over
40
Pencil
portraits
pages of
tutorials
Cr ea ti ve
brushes
Discover which brush
options will give you the
perfect painting tool
Prime photos
Edit your images and create the
ultimate base for cloning
ac
nd M
PC a
FREE CD
INSIDE
Realistic water
Brush primer
001_OPM_13 COVER.indd 1
Draw horses
Helpful techniques for drawing
and shading believable horses
ISSUE THIRTEEN
ISSN 1753-3155
6.00
13
771753 315000
www.paintermagazine.com
10/1/08 16:29:53
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Brush Controls:
General
Pg 42
Paint like:
Gustav Klimt
Luxuriate in the golden
glory that is Klimt
Pg 66
Drawing 101:
Horses
The tips and tricks you
need to get perfect
equestrian results
ISSUE THIRTEEN
Pg 56
005_OPM_13_welcome.indd 5
14/1/08 17:22:20
y
t
i
n
u
m
Com
Tutorial xxxx
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
There is a light
Despite its
sophistication, Light
Children is Websters
first graphic novel,
in collaboration with
Horner. A planned
trilogy is expected
to take several years
to create
10
010-011_OPM_13_news.indd 10
14/1/08 11:14:18
ts
info n ews eve n ts res our ces letters web site info n ews eve n
RESOURCES
In short
Website for handmade creations offers opportunity to sell your Painter artwork
f you have ever wanted to sell your
Corel Painter creations without the
fuss of setting up your own online
shop, then Etsy (www.etsy.com)
is for you. Founded in 2005, this online
marketplace for buying and selling all
things handmade is a hive for creative
talent. As well as art, Etsy offers sellers
a place to showcase just about anything
from clothes and accessories, books, toys
and home furnishings. Setting up your
shop is free, although youll need a credit
card for Etsy security reasons and ideally
a PayPal account for receiving customers
payments. Listing an item costs 20 cents
per item and theres a 3.5 per cent sales fee
on any goods sold. For buyers and those
looking for inspiration, Etsy is an Aladdins
cave of wonderful creativity.
LEARNING
Broadcast
your skills
Lulu (www.lulu.com/uk) is a
cost-effective way of professionally
self-publishing your own artwork,
calendars and books. With more than
4,000 new titles added each week, its
also a great marketplace to sell your
work. Lulu prints and dispatches each
item as its ordered, and you collect 80
per cent of the creator revenue.
Grunge is good
Grunge Textures offers users over 600
atmospheric textures for personal and
non-profit projects, free of charge.
High-resolution, well-worn textures
include aircraft aluminium, asphalt,
brick, concrete, graffiti, metal, paper,
cardboard, wood and tombstones.
This is a great site if you want to add
some textures to your creations. Visit
www.grungetextures.com.
FEB
With hundreds
of wonderful
submissions so
far, MAiLmeART
is planning a
major group
exhibition for
early 2008
14 of
OPM on sale!
28 Issue
11
010-011_OPM_13_news.indd 11
14/1/08 11:14:45
s
r
e
t
t
e
L
r
u
o
e
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
Readers tip
Frank Michaels
Audrey Taylor
In the abstract
Sean Church
Featured gallery
Our favourite readers gallery this month
John Boam
www.paintermagazine.co.uk/
user/taz
Our beautiful cover this issue put us in
the mood for some illustration. Johns
gallery helped satisfy that need and
we wanted to showcase the images
with you. As you can see from these
examples, John has a diverse portfolio,
but with a very strong sense of colour.
Even in the more traditional paintings,
he injects strong saturation to catch the
eyes attention. Our favourite image is
Ruby. After a couple of attempts, John
settled on this striking creation (see
right). Visit his gallery today!
Ruby
First flight
John Boam
John Boam
John Boam
12
012-013_OPM_013_letters.indd 12
14/1/08 12:06:47
Shun the shackles of realism and start to explore abstract. Thats exactly what Sean has done
Noel Murphy
Traditional skills
www.paintermagazine.com
bsi te info
we
s
ter
let
ces
our
res
ts
n
eve
s
ew
n
o
inf
te
bsi
we
s
ces letter
Sadie Appleby
ENTER T
WEBSITHE
CHALLE E
NGE
Dont be
shy
welcome everyones
www.pa to enter! Go to
int
co.uk/co ermagazine.
mpetitio
ns
13
012-013_OPM_013_letters.indd 13
14/1/08 12:07:08
WEBSITE
JOB TITLE
CLIENTS
An interview with
Jeremy Sutton
Among the impressive surroundings of Londons Tate Modern, Nick Spence
meets Corel Painter Master and all-round nice guy, Jeremy Sutton
resources, the new DVD-ROM covers reallife case studies from beginning to end,
sharing along the way Suttons worklows,
organisational systems, creative
processes, decision-making strategies,
techniques and tools.
You started working with computers way
back in 1991. How has creating artwork
changed digitally since then?
The digital art tools I started off with back
in 91 were the following: a Macintosh IIfx
with 128MB RAM, 40MHz speed, 160MB
hard drive space, which seemed big at
the time; a variety of painting programs
that included SuperMacs PixelPaint Pro, a
very smooth painting program; ArtMixer,
a French program that did wild and
Peggy Gyulai
Peggy Gyulai
14
014-018_OPM_13_interview.indd 14
14/1/08 12:55:26
A portrait of Picasso
from 1993. Drawing
since a small child,
Sutton had his first
major one-man show
in 1989 at the Gordon
Biersch Restaurant in
Palo Alto, California
15
014-018_OPM_13_interview.indd 15
14/1/08 12:55:44
Flamenco Jam
is a 2007 mixed
media on canvas
creation, inspired by
seeing professional
Flamenco instructor
Virginia Inglesias
perform at the Thirsty
Bear in San Francisco
Antonio Stradivarius is
a 2007 pigment ink and
acrylic on canvas mural. This
striking, large format mural
was custom-designed to
suit the Stradivarius Suite at
Chenery House, residence of
Robert C Pritikin
An early portrait,
Glyn, from 1991. Born
in London in 1961,
Sutton has lived
and worked in San
Francisco for many
years, returning home
regularly to visit
family and friends
16
014-018_OPM_13_interview.indd 16
14/1/08 12:56:05
17
014-018_OPM_13_interview.indd 17
14/1/08 12:56:30
A portrait of Albert
Einstein by Sutton,
who regularly offers
training seminars
in Painter from
beginner to advanced
18
014-018_OPM_13_interview.indd 18
14/1/08 12:56:56
Feature
Prep photos
for pa in tin g
Editing photos before cloning can reap
rewards. David Cole shows you some techniques
20
020-27_OPM13_Photos.indd 20
21
14/1/08 16:38:37
Feature
Getting the
composition right
Often, the problem lies within the framing of
a photograph
This photo of a duck is poorly framed.
The duck is the subject, but it is lost
in the picture and the dark waterfall
overwhelms it. We need to decide on
a better angle of view and the right,
tighter crop. Luckily, the image has
sufficient resolution that we can
choose quite a tight crop if we wish.
Original Photo
01
Reducing the
brightness This
doesnt require a
vast reduction in
brightness, enough
to make the lighter
tones more distinct.
We dont want to
lose shadow detail.
02 Adding contrast
Contrast
can add sparkle and punch to an
image by making darks darker and lights
lighter. Ideally, strong contrast should be
concentrated in the centre of the image
but we will add some contrast all over and
if necessary, remove it selectively later.
Cropped Photo
In this instance, we are going to crop the photograph just enough to
make it clear that the duck is the subject, and to get it to fall on a third
node (regarding the rule of thirds). To achieve this, we used the Crop tool
from the Tools palette.
Basic editing
22
020-27_OPM13_Photos.indd 22
too dark, to the point where they are losing detail? Or are they
not dark enough? Is the overall arrangement of light and dark
pleasing? Once you have made your assessment of which changes
are needed, or if you just want to experiment, you can change
darks and lights and the relationship between them in a number
of ways.
The easiest way is to change the values is with the Brightness/
Contrast function at Effects>Tonal Control>Brightness/Contrast.
Brightness determines how bright an image is and Contrast
adjusts the difference between light and dark values. We
can adjust these parameters to taste and try out a number of
different values. A rough rule of thumb is that we want to avoid
wherever possible blown-out highlights very light areas
that are so bright, no detail remains in them, and also shadow
areas that are so dark there is no detail in them. Broadly, blown
highlights and solid black shadows that are like this in the
original image cannot be salvaged, and we want to avoid blowing
highlights and losing shadow detail when we adjust Brightness
and Contrast.
Changing the brightness and contrast will, of course, affect
your colours. But we may also want to add colour intensity to the
image to make it come alive this is adding colour saturation. Or
Changing
a specied
02
colour
We want to
desaturate the sky
reections in the water a
little. Select the water so
only it is affected. Move
the cursor over the second
tool down on the left
in the Tools palette and
select the right-hand tool
that looks like a key ring.
Make a selection with this.
Now we go
to Adjust Selected Colors at Effects>Tonal Control>Adjust
Selected Colors. Move the cursor in the main picture on some skys
blueish water reection. The cursor becomes a dropper. Now click in
the reection area. In the Adjust Selected Colors box, change the value
of S Extents to 139 per cent and lower the bottom Saturation control to
-125 per cent. Thats it. Deselect the area and were ready to paint.
23
14/1/08 16:39:57
Feature
Super softening
We used the Super Softener
tool to throw the azaleas into
relief. We used two versions of
the photo to paint the (slightly
sharpened) original and the
super-softened one (setting: 50).
With both versions open and
the original version active, we
brushed with the Straight Cloner,
then used the softened version
as the clone source for the
background around the flowers.
Keep the
flowers in focus
01 Poppies
We duplicated
our photo layer, set a Gel
composite mode with a value of
52 per cent. Drop the layer and
select Adjust Colors. Set Hue Shift
to 0 per cent, Saturation to 11 per
cent and Value to seven per cent.
Original photo
Put the two together for a stronger
impact for your painting
Changing focus
In photography, particularly in portraiture and
sports, selective focus is used to isolate a subject
and draw attention to it. Adjustments in depth of
ield can blur areas, such as the foreground and the
background, of a photograph that the photographer feels are
distracting viewers from the main subject. By keeping only the
subject in focus sometimes just the eyes in a portrait and in full
detail, the photographer ensures that the viewer is not distracted
by what is happening beyond the subject. This selectivity operates
in the same way in painting, except that painters can choose either
to create the look of a blur, for example, with a large brush or a
palette knife, or actually simplify the detail in an area but keep the
boundaries and colours in that area distinct.
Real in-camera simpliication maintaining outlines but
simplifying colours and contours is impossible to achieve, but
we can get a good distance towards it in photo-retouching using
digital tools. Throughout its advancements, Corel Painter has
recognised that this is an important feature, the process enhanced
by its Selection tools and Blur effects. Simpliication of this sort
is rather different to the effect of blurring. Painters may use it
because they actually prefer to see their image broken up into a
24
020-27_OPM13_Photos.indd 24
pattern of shapes with just a few points of detail and one focus
of attention. There is just something satisfying to the eye about
reduced detail.
Simpliication can also help to create the illusion of distance. So,
crudely, things that are closer to us are more distinct in that they
have sharper outlines. Therefore objects that are miles away in the
distance are softer.
Blur can also be used to give the impression of speed in action
photos, with motor racing for example. This can be achieved in oils
with just a swipe of a palette knife and by photographers by handtracking a moving object. It is also straightforward to achieve
this with digital tools like Painter where the single movement of a
palette knife can be easily simulated.
In Painter, the Focus tools are found at Effects>Focus. There are
a range of blurring and sharpening tools. The purpose of Camera
Motion Blur and Depth of Field are self-evident; Motion Blur
simulates camera shake moving your hand while taking a photo
and Depth of Field creates a blur similar to the distance from the
plane of camera focus in photography. Sharpening Focus heightens
contrast by intensifying highlights and shadows. This creates the
illusion of greater sharpness. Softening Focus blurs the transition
04 More colour
02 Changing the paper texture
We
want a paper to interact with Glass
Distortion for a heavily textured treatment. Open
the Papers palette in the Tools palette and choose
Hot Press (this is a smooth paper for watercolour
but it will not look like this at all in our treatment).
We want this
to have intense colours
so we need to add a little
more colour saturation.
Go to Effects>Tonal
Control>Adjust Colors and
increase Saturation to 11
per cent.
ready
05 Nearly
Apply
Glass Distortion again
to Poppies B . Use the
same settings as before,
except change the
Amount to 1.22. This
will remove some of the
waviness of the previous
treatment and you are
now ready to paint.
We use sharpening subtly all the time to make an image more distinct. Here we use the
Sharpening tool flat out to create an interesting variation of the contrast effect. The effect makes
an image suitable for use as a clone source for a pen-drawing simulation. The settings in the
Effects>Focus>Sharpen box are Gaussian, maximum for Amount, Highlight and Shadow, and Red,
Green and Blue all checked. Load our start photo from the disc to try.
25
14/1/08 16:41:15
Feature
Original photo
01
We
need to intensify and slightly darken
the overall image, so we now need to set the
composite method to Gel . This is rather like the
Multiply blending mode in Photoshop. However,
the resulting image is too dark and we should
reduce the Opacity of the layer down to 25 per
cent, or thereabouts.
Create a mood
020-27_OPM13_Photos.indd 26
this
picture
04 Save
To
reduce the two layers
to one, use the Drop All
Layers command from
Layers. Save this as a TIFF
and call it Tim1. Close
the le and reopen it
the image now has
only one layer.
07 Reduce brightness
We just need
to reduce the brightness of the picture
a little this will give it a bit more atmosphere.
First reduce the image to a single layer with the
Drop All command. Then save it as a TIFF calling
it Tim2. Close the le and reopen it. Reduce the
brightness by a smidgen.
08 Sharpening
27
14/1/08 16:42:56
Primer Crayons
ERASERS
BRUSH CATEGORY
Crayons
PRIMER
SOFT TONES
Unlike the boxed version, these crayons
are able to give you sweeping vistas
of colour in just a few strokes. A large
Waxy Crayon at a low opacity can create
beautiful, soft tones
FINE OUTLINES
Use the Pointed Crayon to create
sharp, uid lines. This variant can
add nice accents to any image
as a strong outline or the tiniest
of details
Lightly does it
Mixing colours
Choose and use them wisely
28
028-29_OPM_13_brushes.indd 28
14/1/08 13:55:20
Primer
Crayons
Understand the different variants
BOLD SHAPES
The Basic Crayons work nicely for
all-round drawing. Let this be your
steadfast companion in drawing fat,
bold strokes. Adjusting the Grain will
give you more textural variety in the
edge of the stroke
No white crayons?
Basic Crayons
Dull Crayon
Pointed Crayon
Waxy Crayons
Crayons
Sketching
29
028-29_OPM_13_brushes.indd 29
14/1/08 13:57:56
30
030-036_OPM_13.indd 30
14/1/08 12:44:33
Tutorial
Pencil portraits
Pencil portraits
In this tutorial, we will show you how to create a pencil drawing in Painter X that merges
traditional techniques with digital tools
Tutorial info
Artist
Wen-Xi Chen
Time needed
Intermediate
On the CD
There are also others out there who smudge their lines to
achieve smooth tonal shading, using tissue paper, blending
stumps or cotton swabs.
There isnt a right or wrong way to create a pencil
drawing, especially in an environment as versatile as in
Painter. Blender tools are analogous to traditional blending
tools, specially the Soft Blender Stump. The problem with
this tool is that it causes loss of tonal values and loses pencil
grain, thus making the area look lat and too digital. There
are, however, some good effective alternatives.
This tutorial will lead you through all the things you need
to do to create realistic pencil drawings, including building
up tone through cross-hatching, smooth shading, creating
highlights using the Eraser and a useful little short cut for
those of you with perhaps not so much time on your hands.
Choose
your
03
texture
01 Sketch
02 Details
Once you are happy with the rough sketch, start to draw in
some more details; in the case of this portrait, the facial features. We
did this part on a new layer so we could erase any reference lines on the layer
below once we were happy with the placement of the features. Only a simple
outline will sufce at this stage of the drawing, as tonal detailing will come at
a later stage.
Clicking on
the Paper Selector
icon brings up a
drop-down box full
of paper textures.
These textures show
up when you start
to draw and give
the picture a really
authentic feel. In
Painter, brushes that
react with paper
texture have a grainy
method. We used a
basic paper texture.
31
030-036_OPM_13.indd 31
14/1/08 12:44:56
A shady character
Use cross-hatching and smooth shading to get the right tonal values
05 New layer
04 Drop layer
08 Eyes
07 Basic cross-hatching
Eyes are
the windows to
the soul, and a favourite of
many pencil-portrait artists
to draw. For the eyes, we
started cross-hatching
using a small 2B Pencil.
It is important to get the
shape of the eyeball and
surrounding muscle and
skin correct in order to
retain realism.
highlights
09 Eyes
10 Smooth blending
32
030-036_OPM_13.indd 32
14/1/08 12:45:35
Since skin
is such a big part of drawing portraits and
pencils are such small tools, it may be tempting
for some to just leave it blank. To help get the
subtleties of skin, we desaturated our reference
photo and turned down the brightness of it so the
tonal values showed up clearly.
We used a
combination of smooth shading and
cross-hatching to achieve the tonal values on the
face. Smooth shading can be used as a base upon
which cross-hatching can then be used to dene
more detail.
Basic shading
techniques in use
today are linearhatching, crosshatching, scumbling
and soft shading.
Scumbling involves
the build-up of tonal
value using small
scribbles. This method
tends to give a
different texture to
an image than the
more conventional
drawing techniques.
Pencil portraits
11
Tutorial
Shading
techniques
Hair we go again
Let your wrist flow with the brushstrokes
14 Hair basics
Normally in
traditional pencil art,
unless youre a whizz with
an eraser, you wouldnt
draw hair in layers from
dark to light as you might
in paint. We used the Dull
Conte at 50px to mark
out the vague shape
of the hair, and then at
11px to mark out more
detailed sections.
Backgrounds
Long hair is
subject to
15
gravity
As is short
hair sometimes. In
this case, the ow of
your strokes should
follow the ow of the
hair. Start from the
root to the tip and let
your wrist movement
guide you.
When drawing
portraits in pencils
(traditionally or
digitally), it is a good
idea to keep the
background simple; a
complex background
is a big investment
of time and weve
lost track of all the
drawings we have
lying around with halffinished backgrounds.
It can also make the
picture look cluttered,
as it draws attention
away from the main
subject. Leaving the
background white, or
with a faint wash of
shading, is often much
more effective and
focuses the attention
of the viewer.
Contourhatching
16 Hair highlights
Contour-hatching is
similar to linearhatching but the lines
follow the contour
of the object you are
depicting rather than
being straight. It is
sometimes easier to
show a 3D structure
using contour
shading than with
the other techniques.
33
030-036_OPM_13.indd 33
14/1/08 12:45:57
19 Flyaway hair
18
Detail We then used the Dull Conte (although many tools are
appropriate for this part) at a much smaller size of two pixels and did
the same as in the previous step.
Get your
reference
just right
If you are taking
your own reference
photo to draw a
pencil portrait from,
look for interesting
lighting such as from
the sides or top and
bottom. A straight
frontal light can seem
like a quick and easy
option, but more tonal
values, shadows and
highlights should be
achieved from the
start, often making it
more fun to draw.
21 Clothing
22 Skin textures
Desaturate
the reference
photograph
Creating a greyscale
pencil drawing from
a full technicolour
reference photo can
be daunting and
difficult. One easy
way around this is
to simply turn your
photo into greyscale
as well! Simply go
to Effects>Tonal
Control>Adjust
Colors and move the
Saturation slider all
the way to the left.
last
of all
24 And
23 Paper texture
34
030-036_OPM_13.indd 34
14/1/08 12:46:23
2B pen cil
Con te
Pencil portraits
Tutorial
Basic
Paper
,
Artists
Rough Paper
Cha rcoal
Paper
CROSS-HATCHING
Cross-hatching is the fail-safe mark within markmaking it covers all evils, flaws and errors. You can
count on it when you arent quite sure what mark to
use. It can be very effective for furry or fluffy objects.
TONAL RENDERING
Tonal rendering is the epic means of creating subtle
tones and shadows on flat or smooth surfaces. Use
the pencil as above, but apply pressure for added
depth and take the pressure off to lighten it. Always
shade at the same speed.
DIRECTIONAL MARKS
Directional shading is a very expressive type of markmaking, a representation of the way and length you
feel the mark should be made. It is great for fur and
vegetation, such as grassy tufts and tussocks.
35
030-036_OPM_13.indd 35
14/1/08 18:38:38
Cloning method
Painters Charcoal tools create a great alternative image
Although a lot of what has come so far is
to do with making marks and shading,
you might feel as though it is above your
sketching abilities. In which case, bring on
the cloners!
In this small walkthrough here, we show
how the pencil and charcoal cloners can
achieve a decent pencil effect, only you are
free from the burden of having to be able
to draw. Desaturate your photo and then
build up the detail bit-by-bit. The biggest
trap you can fall into is trying to get all the
detail in the irst sweep of the brush. Keep
your movements light and dont be afraid
of having areas of white. Keep toggling
with the Tracing Paper to see how its
coming along if the photo is always
visible, your marks will look weaker than
they are.
Outline the
main features of the photo. This gives the
nal picture a more authentic pencil-drawn look,
as well as giving the image denition early on.
01 Desaturate photo
02 Quick Clone
04 Charcoal
05 Hair
Whatever
tool you use on the
hair, do it in large
chunks as to not give
the game away! We
used the Charcoal
cloner again. This
eliminates the ne
detail contained in the
original photo and
is extremely quick.
Follow the natural
ow of hair or else the
picture just doesnt
look convincing.
36
030-036_OPM_13.indd 36
14/1/08 12:49:35
Brush Creator
If youve been shying away from this
powerful Corel Painter tool, get ready for
some creative fun!
FEATURE
FOCUS
SWEEPING STOKES
A mixture of the Sargent brush and F-X
Hairspray gave us the ideal shape for these bold
and sweeping elements. The Hairspray variant
is a good one to use when you want something
that is softer at the edges.
Lets transpose
To transpose can mean to change to the opposite position, but it also means to change
into a different form or state. The Transposer does just that by taking two of your
brush variants and combining them to create a new variant consisting of both their
characteristics. We explore the Randomizer on
these pages, but your results will be less random
if you use the Transposer, and the more you use
it, the better you will become at choosing variants
to blend into new ones. Go to Window>Show
Brush Creator or choose Ctrl/Cmd+B to open the
Brush Creator and select the middle tab. You may
choose variants that are closely related or vastly
different as you begin exploring the possibilities.
So weve chosen a couple of brushes that we want to experiment with by combining their
properties. For this one, were using two similar brushes, an Acrylic brush and a Gouache brush.
Click on Transpose Current Selection (the gear icon) and select from the list of variants displayed
between those two brushes and begin to make
strokes in the preview window. With the most
promising brush from those selected, continue
to click on the gear icon and new lists will
appear, and so the process goes as you hone in
on the characteristics you want in this variant.
If you would like to back up to a previous variant
then its no problem, you can find it in your
Brush Tracker.
38
038-41_OPM_13_featurefocus.indd 38
14/1/08 11:02:56
BACKGROUND BRUSH
painting
01 Magnolia
Brush Creator
For our
rst variant, we began with an
unlikely choice, the Leaky Pen
brush. Even if you use it a lot,
you may have never thought
of using it as a background
brush. In Randomizer, we
chose a variant we liked, then
moved to Stroke Designer and
added greater opacity and
some depth.
strokes
02 Sweeping
MAGNOLIA PETALS
The Sumi-e category has lots to offer
oral painters and in this case we took
the Thick Blossom variant as our starting
point. A blast in the Randomizer and Stroke
Designer created petal perfection.
For this
one, we began in Randomizer
with the Artists>Sargent
Brush and randomised until
it morphed into something
less graphic and lent itself to
sweeping strokes. We then
took it into the Transposer
and added F-X>Hair Spray to
soften the edges, then added
depth in the Stroke Designer.
03 Magnolia petals
To create a petal
brush variant, we began with
the Thick Blossom Sumi-e
brush in Randomizer and took
our best mutation to Stroke
Designer and added depth,
reducing the Plow to about
half and increasing Smoothing
to 25 per cent. The new brush
variants worked well to paint
these abstract magnolias.
Narrowing it down
A star is born!
39
038-41_OPM_13_featurefocus.indd 39
14/1/08 11:03:35
FEATURE
FOCUS
Get in the
habit of
naming
Weve said it here a
couple of times, but
it can never be said
too much. Whenever
you save your newlycreated brush, always
give it a recognisable
and descriptive name.
We find it best to
pick something that
explains the qualities
of the brush, such
as soft oils, watery
pastels anything that
will jog your memory
as to what the brush
looks like when you
stumble upon them
months after youve
created them!
04 Fine-tuning
Stroke Designer
40
038-41_OPM_13_featurefocus.indd 40
14/1/08 11:04:18
06 A backup plan
Brush Creator
05 Taking control
Feature focus
Brush
Creator
in greater
detail
Short cuts
08 Restoring default
Greater versatility
Time to save
Now that our variant is refined just the way we want it,
all thats left is either to save the enhanced version as a
new variant or decide to overwrite and declare this as
the default variant by going to Set Default Variant. In
doing so, you will lose its earlier variant that you saved.
When you close the Brush Creator, all your workspace
palettes will go back into their assigned places. Now
youre familiar with the awesome controls in Painters
Brush Creator, personalise your brushes for your own
use and even share them with your Painter friends; the
more you use it, the more proficient youll become at
creating brush variants. Go create something amazing!
41
038-41_OPM_13_featurefocus.indd 41
14/1/08 11:04:45
In this tutorial we will show you how to create a portrait in Klimts style, with the most
characteristic features that are associated with his paintings
Tutorial info
Artist
Joanna Michalak
Time needed
Four hours
Skill level
Intermediate
On the CD
Final image
42
042-048_OPM_13_Klimt.indd 42
14/1/08 10:58:03
Tutorial
Paint like Klimt
43
042-048_OPM_13_Klimt.indd 43
14/1/08 10:58:34
01 Sketch
This
is our sketch
based on the portrait.
You can trace over the
nal image le on the
disc or trace over a photo
of a loved-one. We
worked to dimensions
of 30cm high by 24cm
wide. At this point, its
irrelevant what brush
you use. However, we
knew we wanted darker
outlines so we have used
dark brown you can
blend it easily with other
colours of the picture.
Next
you need to choose the colours and
tones for your painting. We prefer to do it at the
beginning, because often the colours are blended
with the background. For this one, we chose a
darker yellow since we know the nal painting will
include lots of gold. We started our colouring on a
separate layer, with the line art underneath.
03 Making changes
As you see, we
allowed ourselves to make a few changes
to Adeles face as we didnt want it to be an exact
copy of the portrait. Using your imagination and
making your own choices is ne. It can make your
work more fun and you can learn from the great
masters and create something with your personal
touch at the same time.
05 Skin shading
04 Choosing colours
Next we added
a few brighter tones of
yellow and blue to the
skin. We chose the Fine
Point Pen brush as our
tool (Opacity set to 27
per cent). Even if its a
Pen tool, you can imitate
many different mediums
when you use it either
with different opacities,
or else together with
the Blenders.
Shading skin
The bodies Klimt
painted are ethereal
and seem to be very
soft and delicate, yet
very sensual at the
same time. We tried
to re-create this feel
by delicately crossscratching with the
Fine Point Pen, while
blending different
skin tones that we
chose. Then we
softened the strokes
a little bit with the
Soft Blender Stump.
Its not exactly Klimts
technique, but the
effect is similar.
07 Rough strokes
44
042-048_OPM_13_Klimt.indd 44
14/1/08 10:59:09
09
10 Geometrical patterns
08 Hair
Tutorial
Banish the
blank canvas
Absolutely abstract
All hands to the dress
the
patterns
11 Shading
Even
if the colouring of the
patterns is rather at
and not realistic (like the
whole idea of her dress
and the background),
they still have got a
painterly feel to them.
We wanted to keep it,
adding a bit of shading of
brighter tones than the
base colour (we reduced
the opacity of our brush
and softened the strokes
with Grainy Water).
12 Hands
14 The dress
13 Shading hands
The neckline
has been done before,
so we started working
on the middle part of the
abstract clothing. First
we painted something
like a background,
using darker and more
greenish tone of yellow.
We did it on a separate
layer under our sketch.
When we were fond
of the colour, we could
draw the yellow, grey
and brown patterns over
the line art again.
45
042-048_OPM_13_Klimt.indd 45
14/1/08 10:59:43
details
16 Adding
15 More patterns
Here
we added the details to
the patterns, but still tried
to keep them as irregular
and rough as possible.
You dont have to be very
precise while painting
such objects, especially
when you like to use
a big canvas for your
paintings. Otherwise,
they would get lost after
resizing the picture.
18 The sleeves
Photo Blur
Photo Blur is mostly
used by artists who
are into photorealism,
but you can use it if
you want to make
something look very
soft without blending
it or changing its
shape. Hair is a good
example of something
it works well on. For
our final image, we
have used a little bit
of Photo Blur on the
edges of the womans
hair and for single
hairs as well.
golden
elements
20 The
19 Working on details
Next we could
add the details. All the time we tried to
mix various shades of yellow, grey, brown and a
bit of olive green in order to create an interesting
diversity. The colouring of Klimts patterns might
look at compared to the realistic painting style,
but the colours certainly arent.
46
042-048_OPM_13_Klimt.indd 46
14/1/08 11:00:10
22
23 More swirls
21
Tutorial
The Sponge
Sponge
24 Using
Its
a perfect tool when you
want to create a lot of
undened splatters. We
painted the left border
side of the picture brown
and then added many
yellow Sponge strokes.
Youll nd that this is one
of the easiest parts to do.
27 Jewellery
The nal
addition was the
jewellery. The bracelets
were created the same
way as the dress. We
painted her necklace
with the Fine Tip Pen,
mostly by adding more
and more short strokes
of grey, very bright blue
and a bit of the skin
tones. As a nal touch,
you can also add a
texture that will give it
the look of a real canvas.
47
042-048_OPM_13_Klimt.indd 47
14/1/08 11:00:41
Learn how to
embellish printouts
One of the most distinctive features,
almost a trademark, of Klimts art are
the golden elements. The value and use
of gold was heavily inluential within
Byzantine imagery, which inspired him
and was prominently featured in his
paintings during his Golden Phase. Using
the digital mediums, we are admittedly
able to create an optical illusion of gold
and silver, but its still not perfect. Still, we
can improve our picture with traditional
techniques and let the golden Adele
really shine.
Klimt used gold and silver leaf for the
decorative elements in his paintings, but
we chose an easier way to add a bit of
shine to our picture gold paint. You can
also use a pen, however, the paints layers
resemble the leaf better.
Finishing an image in this way is a
really fun project. Invest in some ine art
paper for your inkjet printer and then you
can experiment. The trick is to not go too
overboard. In our example here,
we have picked out small sections of
image to cover. This picks up the light
and produces different shimmer
depending on where the viewer
happens to be standing.
01 Making a print
We printed the
nished picture on white
watercolour paper with
an ordinary inkjet printer.
When the ink dried up, we
could start painting. We
used Maimeri Polycolor
acrylic paint (rich gold), but
you can use any that you
ne. Go for a lighter gold
if possible and acrylic does
work best.
48
042-048_OPM_13_Klimt.indd 48
14/1/08 11:01:12
showcase
CHRISTOPHER W PRICE
TITLE
WEBSITE
JOB TITLE
Shadow
www.studiochris.us
Digital artist
050_OPM_13.indd 50
14/1/08 17:31:33
pa in t s till wa ter
How to
Introducing water into your landscape paintings will add life and sparkle to the final
image. Heres a roundup of the best techniques for painting calm water, ensuring
tranquil results every time
Successful
REFLECT ON THIS
CAREFUL BLEND
Unsuccessful
ADD PRESENCE
And how to describe the
waters edges? Shadows were
applied to anchor objects to
the piece.
COLOUR CONTROL
52
052-55_OPM_13_water.indd 52
14/1/08 10:50:46
CURRENT AFFAIRS
Art study
Reections
MIRROR SHIMMER
REFLECTION SELECTIONS
Your reections neednt be scientically
veriable. Were more concerned with
composition, so if your cloud needs to be
larger to balance out a space, then make
it larger. Not sure those trees would cast a
reection? Its your painting. You decide.
Step-by-step
Create realistic
reflections by
selecting areas of
your photograph
and applying
them to the
water, so that
you get a true
mirror image
that you can then
paint and distort
as much or as
little as you want
01
02
03
Reecting on puddles
Puddles are great for a suggestion of water but
mean you havent got to paint great expanses.
The priciples are the same as any water take
colours from the sky and keep things soft. Use
shadows at the edge to give a sense of weight.
The puddles in the rst image have formed in
asphalt tire ruts and form the basis of an abstract
image. We can see the sky reected in the puddle
closest to us, but the ones nearer the sun reect
only light.
The leaves lying in the water and the ones
reected from overhead make a beautiful mosaic
in the third puddle.
53
052-55_OPM_13_water.indd 53
14/1/08 10:51:45
Painting ripples
01
The Airbrushes set to less than 50 per cent Opacity are a great way
to begin painting water ripples, glazing layers as you go in sweeping
horizontal strokes. Brushstrokes and textures can be added later.
Using medium value hues, begin describing watery ripples, keeping
them smooth; think of painting satin as you go.
02
03
For this, take a rock painting and then use transparent layers and the
Gel composite method to introduce the water feel. In these examples,
the water looks slightly green and grows more opaque where the water
is deeper (you might choose blue or yellow ochre).
01
02
54
052-55_OPM_13_water.indd 54
14/1/08 10:52:49
Lets see what happens when water takes on vibrant colours not generally
associated with water. We decided to paint a sunset reference photo with
even more vivid colours. However realistic or abstract we go, the images in
a sunset more or less become symbols, because of extreme lights and darks.
Where water
meets the shore
Art study
Step-by-step
01 Abstract art
02 Fence
The fence
adds interest, so
we kept it in our painting.
Because the suns rays are
so concentrated, the fence
becomes little more than
a silhouette, so we dont
even have to worry about
describing depth in the
boards. We began painting
in the rectangle that will
be the suns rays across the
water, starting with palest
yellow near the horizon
and going darker near the
lower edge of the painting.
We began with
an abstract of random
brushstrokes, using
various brushes from
Acrylic Captured Bristle
to Watercolor Wet Wash,
preparing for the sun and
its rays on the water. Take
your time; even if you later
paint most of it away, it
remains the most painterly
part. While were laying
colours in the appropriate
areas, we dont want them
completely segregated.
03 Sparkle
04 Final details
We liked the
sparkle of the Fairy Dust so
much that we added light touches of it
to the sun, the fence and the horizon.
This is where we decided to say our
painting was nished, but you could take
it further and bring in more touches of
realism if you like. The vibrant colours
work well with either style because
theyre not really exaggerated.
55
052-55_OPM_13_water.indd 55
14/1/08 10:53:41
BRUSH CONTROLS
LINE AIRBRUSH
General
PRIMER
56
056-057_OPM_13_brushes.indd 56
14/1/08 12:21:02
STATIC BRISTLE
General options
Primer
01
02
03
05
06
ERASER HIGHLIGHTS
The Eraser Dab Type with the Opacity set to six per cent
or lower resulted in a useful variant for creating highlights
throughout the painting. A handy rule of thumb is that when
you think the painting is nished, go back and nd areas that
need more shadow or light
08
09
11
04
07
10
12
PALETTE KNIFE
Weve got lots of Palette Knives, but the
challenge here is to create everything
we need from one native variant, and
the Palette Knife Dab Type option works
beautifully with this one. If youve never
painted with a traditional-media palette
knife, thats a painting style all on its own
03: Method
07: Expression
08: Direction
09: Grain
04: Subcategory
10: Expression
05: Source
06: Opacity
11: Direction
12: Boost
57
056-057_OPM_13_brushes.indd 57
14/1/08 12:26:18
Create
your first
caricature
Discover how you can adapt
Corel Painters tools to the task of
creating a simple, yet traditionalstyle caricature
Tutorial info
Artist
Steven Samuel
Time needed
30 minutes
Skill level
Beginner
On the CD
Original photo
58
058-061_OPM_13-caricature.indd 58
14/1/08 11:57:48
Tutorial
focus
05 Circular
04 Tidy as you go
You
have different types
of focus to choose
from. For this task,
select Circular and then
adjust the Amount to
around 82 per cent. Set
Highlight and Shadow
to 100 per cent and then
click OK.
Getting the
best from
Image Warp
06 Easy shading
07 Apply Posterize
59
058-061_OPM_13-caricature.indd 59
14/1/08 11:58:10
Starting to clone
Go from photo to fully fledged caricature
time
09 Clone
08 The results
We
cant leave the image
as it is, so lets apply
some paint. Start off by
going to File>Clone. If
you have room to place
the image to be cloned
next to the source
image, then do so.
11 Clone variant
Pop up to the
Cloners variants menu
and then pick the Bristle
Brush Cloner. Set Size
to 48.2, Opacity to 21
per cent, Resat to 48 per
cent, Bleed to 26 per
cent and Feature to 3.4.
Posterize
effect
The Effects menu is
a useful place to visit
before you start to
clone a photo. The
choices here allow
you to tweak images
and make creating
a cloned piece of
artwork much easier.
The trick is to stop
looking at the image
as a photo. When we
posterised the photo
in this tutorial, it
looked terrible, but
once cloned it gave
a great base for an
artistic finish.
12 Start to clone
Begin by loosely
brushing in the hair. Because you have the
clone le next to the document you are cloning
from, you can easily see the area the Cloner is
picking up. The low opacity setting allows you to
apply a good base.
13 More dened
Here,
we have covered the entire image using
the Bristle Brush Cloner. You can see that it is still
quite faint, but we will sort that in a minute. The
key is to cover all the area and provide a base for
the next application.
60
058-061_OPM_13-caricature.indd 60
14/1/08 11:58:54
16 Dene areas
15
Tutorial
FOREHEAD
Our model has quite
a large forehead
and this can be
accentuated for the
good of the caricature!
We used Image Warp
to extend it upwards
EYES
The model has nice big eyes, which
weve emphasised. We could have
made the actual eyes a lot larger (think
of the cat in Shrek) but decided to stick
with altering the eyebrows. By doing
this, we have given the nal image a lot
of character
CHEEKS
We havent done much to the actual
cheeks, but have brought the area
above the cheeks in a bit, which has
given more attention to the area
LIPS
The mouth is one of the rst
things to be accentuated in
a caricature, and we used
the Image Warp to drag
the bottom lip down and
therefore make it bigger
NECK
CHIN
To go with the large lips, we also dragged the chin down.
Traditional caricatures tend to look a little pinched, meaning the
forehead and chin need to be enlarged in order to make the eyes
and lips look compressed
61
058-061_OPM_13-caricature.indd 61
14/1/08 18:36:56
Storyboard
competition
results
The results are in! Issue sixs storyboard competition is
now at an end, the results have been judged and we have
a presentation of the winners here
Graham Purvis
Script used:
Lounge Singers, Kid
Prize won:
3RD
PLACE
Ian McCaughrean
Script used:
The trail of Five-Ton Mary
Prize won:
Limited edition Corel Painter X paint can
Graham Thomas, the man responsible for the scripts supplied for the
competition, looked at this storyboard and was blown away by how it
illustrated exactly what was in his mind. The characters Ian created
brought the script to life, and he managed to tread the ne line between
fantastical without entering into ludicrous.
As a storyboard, the judges felt as though this one gave an instant
avour for the mood and style of the lm. It dictates the colours, scale,
type of characters and pace, which culminates in a useful product to take
along to pitches. From an artistic point of view, the characters are sublime
and the muted tones used to paint them work really well.
62
062-065_OPM_13_storyboard.indd 62
14/1/08 14:48:05
Competition
2ND
PLACE
062-065_OPM_13_storyboard.indd 63
14/1/08 14:48:46
Prize won:
Wacom Cintiq 21UX
Although it has become a competition
standard to say how hard it was to decide
upon a winner, in our case it really was.
Each entry brought something valuable
to the table but Leightons storyboard
combined them with the most aplomb.
Art-wise, its clearly successful. The
storyboard is just beautiful to look at,
and we liked all the little details such
as the stylised arrows and elements
coming out of the frame. In terms of
what a storyboard is supposed to do, it
was equally as successful. A director or
camera operator can clearly see how
to position shots and move around the
action. It clearly shows the pace of the
story in addition to setting the mood of
the scenario.
So a massive congratulations to
Leighton. He is rightly crowned winner
and we hope you enjoy your Cintiq!
Prize
Wacom
Cintiq
21UX
64
062-065_OPM_13_storyboard.indd 64
14/1/08 14:50:14
Competition
Corel storyboard competition results
1st
place
Wins Wacom
Cintiq 21UX!
65
062-065_OPM_13_storyboard.indd 65
14/1/08 14:52:40
How to
draw horses
Kick-start your unbridled passion with this tutorial designed to give your
drawing skills a little extra horsepower
here is a mysterious magnetism
surrounding these equestrian
mammals even without any
form of external encouragement,
many people are completely enchanted by
them. So why is it that horses evoke such
passion?
There is something wonderful
about their faces: the liquid eye with
the amazing rectangular pupils and
supermodel eyelashes (with sickeningly
perfect applications of eyeliner); the
loppy, hairy, wobbliness of the bottom
SKETCH
REFINEMENT
POLISH
66
066-070_OPM_13_drawing.indd 66
14/1/08 10:42:34
Drawing 101
SKETCH
To begin, draw a
square. Divide this
horizontally with a
line that slants up to
the horses bottom. A
triangle, representing
the neck, cuts off at
the head and joins
the top half of your
square. The legs
follow the two vertical
lines that drop from
the top. Block in the
curvaceous body
parts, checking the
proportions and
relationships carefully
as you go.
REFINEMENT
Now double-check and confirm the correct outlines and shapes with a
confident line. Trouble spots will be different for everyone. Take great care
with the ins and outs of the foot and fetlock, and the positions of the ears, eyes
and nostrils. Once these are in place, the rest of the image is a lot easier to
make convincing.
POLISH
Tone, shadows, shading and the direction of your marks rely on close
observation is that shadow really that shape, or is the hair flowing in that
direction for quick marks or the other for slow? Which curvy mark should you
use to create the muscles or the pot belly? Bear all these in mind.
066-070_OPM_13_drawing.indd 67
14/1/08 10:44:42
Different poses
To begin with, we are going to look at three different poses
(we found two on www.morgueile.com, a website which
is full of wonderful and weird free photographs to use as
secondary source material). If you are lucky enough to have
access to real horses, study them from life to practise your
observational skills. However, these poses give you a chance
to ine-tune your drawing ideas and skills. Find an image that
really appeals to you and enjoy tweaking it until it works.
SHADOW PLAY
Shadows are really important
for suggesting the bend of
the legs
GESTURE MUSCLE
Although covered by the
mane, make lines to indicate
neck muscles
PERSPECTIVE
Dont assume
how the legs will
look take note
of the back legs
and their size
LYING DOWN
This is a challenging pose because of a slightly raised perspective. This means you must focus
on the shapes, curves, tones and spaces between that make up the horse, distorting its normal
proportions. At first sight, the head looks vastly oversized and the neck bulges awkwardly as
it bends. Try to ignore the whole image; work on detail and this should prevent you making
assumptions about proportions that may compromise the accuracy of your drawing. As with the
first pose, begin by sketching out form and blocking out the shapes before refining your drawing
with texture and tone.
GALLOPING ALONG
Describe movement by leaving
white areas, with less shading
than more stationary body parts
GRAZING
Analyse the relationships between the legs, for instance, the hocks are
slightly higher than the knees. Look at the curves of the body, muscles
and joints. Start your drawing by blocking out the form with very simple
shapes. Tweak them for accuracy and gradually add details like the mane,
tail, fine bone structure and muscles. Polish with carefully graduated
tones, using your pencil to work up texture with appropriate marks. We
used an H pencil; cross-hatching in the direction of the form.
CANTERING
This pose is flowing, active and fun to draw with its flying mane and tail and you can clearly see the
horses anatomy. The higher the angle of the legs, the faster the pace is another tip to add to your
repertoire. One thing to remember is that this is the sort of pose favoured by artists to promote the
rider or the horse to give a sense of power, grace or strength and movement, so decide whether to
include the rider or not! Once again, briefly describe the shapes of the horse in sketchy blocks and
lines, and refine with textural marks and tonal variation.
68
066-070_OPM_13_drawing.indd 68
14/1/08 10:46:06
Drawing 101
Now have a
go yourself!
01
SKETCH
02
HORSE
PHOTOS
ON THE
DISC!
03
ANALYSE DEPTHS
REFINED OUTLINE
69
066-070_OPM_13_drawing.indd 69
14/1/08 10:47:12
04
05
ANALYSE MID-TONES
DESCRIBE DEPTHS
Now you need to select the colours you are going to use.
We have used black and grey for the majority, and then
two others very delicately to give it a little extra life.
This step deals with describing the depth of shadow
you have analysed in step three. Use pressure to
intensify the shading and a variety of marks to suggest
three dimensions.
06
07
DESCRIBE MID-TONES
Now for the fun bit! Use the grey pencil to describe the
subtle shadows and dappling on the fur. The mane flies up
and the power in the hind legs is accentuated with faded and
dynamic greys.
SOURCE
FILES
ON THE
CD!
70
066-070_OPM_13_drawing.indd 70
14/1/08 10:48:38
showcase
072-73_OPM_13-artspread.indd 10
14/1/08 17:20:25
072-73_OPM_13-artspread.indd 11
14/1/08 18:45:03
TITLE
WEBSITE
JOB TITLE
CLIENTS
Pepper Smile
http://artgerm.deviantart.com and www.imaginaryfs.com
Professional artist
DC Comics, Electronic Arts and MTV
STANLEY LAU
Your
questions answered
Faery folk
I want to be able to paint a faery
character without going down the
usual cutesy route. Have you got
any advice for me?
R B
Charlene Chua
An accomplished
illustrator, Charlene took
care of some interesting
questions, including how
to draw glass, work with
gradients and produce
shiny metal.
When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out
SHARE
YOUR
PROBLEMS!
Above
Fairies dont have to be
demure, cute or childlike.
You can draw fairies
that dont look cute by
avoiding features such
as rounded faces, large
baby-like eyes and soft
pastel colours
Left
For an outline silhouette,
start with a dark
background and softly
brush in the outline
on a layer above the
background. Paint some of
the dark background back
into the light to blend the
edges. Add some colour
and shape to the interior
to add some interest
74
074-079_OPM_13_artclass.indd 74
14/1/08 11:46:28
Q&A
Art class
Descending darkness
Im trying to capture the feeling of dusk
but am having trouble choosing the
correct colours. Can you advise me how
to achieve the right swatches?
M P
01 Experiment
02 Atmosphere
03 Blue dusk
75
074-079_OPM_13_artclass.indd 75
14/1/08 11:47:10
Photo opportunity
in
01 Roughing
Set a
background for your
image and start by
roughing in basic colours
for your painting. In this
case, the general outline
for the helmet is loosely
dened by some grey
brushstrokes. The glass
inherits the colour of
the background and of
the face.
in
colour
02 Filling
03 Rene
When the
general painting is
complete, use small
brushes to apply small,
sharp highlights to
suggest the reective
nature of the glass.
Deepen the shadows
where the glass meets
the helmet. Dot some
off-white highlights
around to suggest the
extra shine of the glass.
76
074-079_OPM_13_artclass.indd 76
14/1/08 11:48:01
01 Foundation
02 Movement
Art class
C C
Painting a woodland scene can be
particularly challenging because its usually
a very busy place. There are lots of leaves
Q&A
03 Details
Pastel problems
I have a good friend who is a
traditional-media artist who uses
real pastels, and he has lots of
pads of different coloured paper. Ive tried
different coloured backgrounds in Painter
but cant seem to get any good colours. Can
you give me some colour values that will
work well?
K P
Youll find that some of the best
background colours for pastel
paintings are neutrals. If you happen
to be using a photo reference, think about
selecting a tone from the photograph to use
as a background colour. Doing it this way will
support and complement the image as you
select the rest of your colours from the same
image. Use a colour that is mid-range so that
it can be used to complement both lighter
and darker paint. This way, it also becomes an
integral part of the painting and there is no
need whatsoever to completely fill in the
whole canvas.
A dark paper is good for night scenes an indigo or a black works well. Tans and greys from warm to cool are the best selections for just about any
pastel paintings
77
074-079_OPM_13_artclass.indd 77
14/1/08 11:48:36
Graphical gradients
01 Colour scheme
Choosing a colour
scheme is a good place to start. City
scenes and night scenes are generally cool. With
the addition of warm-coloured lights, a nice
contrast can develop in a painting.
02 Basic shapes
Which direction do
the lights go? Are they bright or dim,
warm or cool? Start by suggesting the shapes
and placement of the lights theres no need for
much detail, just block them in.
03 Sparks of interest
78
074-079_OPM_13_artclass.indd 78
14/1/08 11:49:27
B H
S O
a weave
01 Applying
Glazed over
Art class
Time warp
Q&A
Heavy metal
Warp
02 Quick
Use Effects>Surface
Control>Quick Warp.
Hit Sphere and adjust
the settings to t. Draw
a circle, copy and paste
the pattern onto a new
layer, then discard the
original layer. Rightclick the circle layer,
choose Select Layer
Transparency and
create a new layer.
twinkle
03 Twinkle
79
074-079_OPM_13_artclass.indd 79
14/1/08 11:50:04
ExpressKeys
Touch Strip
Resolution
1,280 x 800
Impasto
Pen
Wacoms technology allows for
tools to be used across different
tablets. Each is automatically
recognised as the tool touches
the screen
Certain features
benefit from being
able to draw on the
screen even more so
in Painter. Simulation
of a real-life
process is perfectly
demonstrated with
the Impasto brush
82
082-083_OPM_13_Wacom12WX.indd 82
14/1/08 14:22:33
Specifications
The Eraser
can be used by
flipping the pen
829
Website
www.wacom.com
Operating systems
PC and Mac
Resolution
PC requirements
Incline 0 degrees, 25
80 degrees
Mac requirements
405mm x 270mm
x 17mm
Windows 2000, XP
or Vista
Super-light pen,
cordless and
battery-free
Display area
261mm x 163mm
OS X 10.3.9 or higher,
CD-ROM drive,
powered USB port
Overall dimensions
Pen pressure
1,024 levels
Screen size
Erase
The Eraser is an essential part of the Wacom stylus. Artists should
view it as an additional creative tool, not as a remover of badly
applied strokes
What we like
Another winner
to embrace
and add to
the already
superlative
range of
Wacom tablets
we say
Stroke
The wide drawing area and the ability to draw on screen
come together to create a more lifelike experience. The
draw-on-screen effect in particular sharpens the senses
and enables greater overall sensitivity. This is evident
throughout, but even more so with fast drawing
Features
verdict
Calibration could be
better; occasional
difficulty reaching
Mac control strip
LED lights top-left
of tablet are too
bright and could
cause a distraction
Needs a simple
keyboard to
make this a more
independent,
sketchbook-like unit
9.0
Ease of use
8.5
Quality of results
10
9.0
Overall
score
9.0
83
082-083_OPM_13_Wacom12WX.indd 83
14/1/08 14:23:30
specs
Operating Systems
Price
Minimum requirements
Ballistic Publishing
$65
PC and Mac
Internet connection
Website
www.
ballisticpublishing.
com
Categories
Browse through the photos
using the special interface.
Simply click on the category
you want from the top
Practise textures
verdict
we say
What we like
Modelling
Reference category
These images are great for
unusual compositions
Consideration has
It is just the one
gone into this with the model, so bear that
digital artist in mind
in mind
Extensive galleries
Easy to browse
This is a vital
resource for any
digital artist
keen to improve
their skills
Features
9.0
Ease of use
10
Quality of results
10
9.0
Overall
score
9.5
84
084_OPM_13_ cd.indd 84
14/1/08 18:46:46
Reviews Books
Where to begin
We liked the way the book dealt
with what to do when you are
thinking about starting a painting.
Its good to get some advice on how
to see in abstract
Author
Claire Harrigan
Price
18.99
Publisher
Batsford
ISBN
978-0-7134-9055-8
Real-life examples
There are some beautiful paintings
used throughout the book, which
help you instantly see how a
colour theory can be applied to the
painting itself
Building it up
There arent any real walkthroughs
in the book, but we did like the
couple of examples that illustrated
how the artist built up a picture
when working outside
86
086-087_OPM_13_books.indd 86
14/1/08 11:28:17
Martin McKenna
Price
17.95
Publisher
Ilex
ISBN
978-1-904705-37-6
t is incredibly easy to go
horrendously wrong with fantasy
art, and instead of producing an
exciting glimpse of a new world that
previously only existed in your mind, you
can end up committing artistic clichs.
But this book makes sure you stay on the
right path and also beneit from useful
advice from some of the biggest names in
fantasy art.
A quick lick through the pages will
reveal a breathtaking array of different
styles and disciplines. Its basically
a collection of case studies of how a
particular artist created an image, giving
a brief walkthrough from the start to
inish. All sorts of programs and styles
are represented, including the stunning
Corel Painter works of Todd Lockwood
and Ryan Church. But whatever the
program being used and whatever your
favourite style, the amount of tips and
expert advice makes this title pretty
much essential for any fantasy fan.
All styles
Its nearly impossible to get bored in the book, as each
page brings a different style of painting. This in itself is
very inspiring and provides plenty of ideas
Where to start?
One part of the book we particularly enjoyed was the
pages about how artists begin a painting and where they
get inspiration from
Chris Weston
Price
14.95
Publisher
AVA Publishing
ISBN
978-2-88479-101-4
Clear images
and illustrations
The example photos
are perfect for getting
a grip on a subject, and
often feature the same
image taken in different
light situations
87
086-087_OPM_13_books.indd 87
14/1/08 11:28:44
ISSUE 5
ISSUE 6
Interview
Bruce Dorn
Interview
Daniel Conway
Interview
Robert Chang
Feature
Use photos to create art
Discover how professional
artists use photos in their
artwork
Primers
Brush category: Art Pens
Effects menu: Esoteric
Feature
Making Painters identity
John Derry reveals how he
created some of Painters best
marketing campaigns
ISSUE 2
ISSUE 3
ISSUE 4
Interview
Heather Michelle Bjoershol
Interview
Philip Straub
Interview
Chet Phillips
Feature
Get to Know Corel Painter X
Learn about the new features
in this version
Feature
Get started with Corel
Painter brushes
Learn the best variant for
certain effects
Primers
Brush category: Artists
Effects menu: Surface Control
ISSUE 1
Primers
Brush category: Acrylics
Effects menu: Orientation
Feature focus
Layers
Tutorials:
Learn how to Quick Clone
Just started using Painter? See
how easy it is to create art with
this command
Chiaroscuro charcoal
portrait
Create dramatic charcoal
images with this tutorial
Paint like: Vincent Van Gogh
Re-create the iconic
Sunowers painting
Paint glowing skin
Discover the secrets to
capturing smooth skin
Drawing 101
Perspective
Understand the basic rules of
perspective
Q&A
Primers
Brush category: Airbrush
Effects menu: Tonal Control
Feature focus
Selecting colour
Tutorials:
Clone and glaze
Apply glaze effects to a cloned
photo
Using the RealBristle
brushes
See how this new feature in
Corel Painter X works
Create your own gallery
Join up on the magazine
website
Paint like: Edward Hopper
Re-create the Nighthawks
Drawing 101
Composition
Make sure your paintings are
always well-composed
Q&A
Reviews
Fujilm FinePix F31fd
HP Photosmart Pro B9180
Reviews
Olympus SP-510UZ
Intuos3 A6 Wide
Painter X
Books
Books
Output
Mount images to MDF
Output
Printing images to canvas
Readers Gallery
Jennifer Miller shares her work
Feature focus
Paper textures
Tutorials
Perfect portrait
underpainting
Use the traditional verdaccio
painting technique
Paint in low light
Create a stunning dusk scene
Paint like: Monet
Re-create The Water-Lily Pond
Colored Pencil still-life
Use the Colored Pencils for this
great scene
Create natural history art
Learn how Karen Carr creates
grand-scale projects
Drawing 101
Understand light and shade
Get to grips with this
fundamental skill
Q&A
Reviews
Samsung GX-10
Epson Perfection V350 Photo
Books
Output
Print to canvas
Readers Gallery
Rommel Bundalian shares
his work
Inde x
Inde x
Inde x
Inde x
Inde x Inde x
Primers
Brush category: Artists Oils
Effects menu: Focus
Feature focus
Selection tools
Tutorials
Paint a Victorian portrait
Discover how Daniel Cox
created his vintage image
Sketch with pastels
Have fun creating a loose
pastel sketch
Watercolour masterclass
Get to grips with the
Watercolor brushes
Paint like: Paul Gauguin
Emulate the colourful style of
Gauguin
Drawing 101
Facial proportions
Learn to divide and draw faces
Q&A
Reviews
Kodak EasyShare V803
Wacom Favo Comic Pack
Books
Output
Fine-art inkjet paper reviewed
Readers Gallery
Anna Thielke shares her work
Feature focus
Get the most from the
magazine website
Tutorials
Paint like: Constable
Turn a sketch into a classic
masterpiece
Illustrate with sketches
and oils
Use Corel Painter to make
great illustrations
Design a concept car
Have fun and create your own
vehicle
Create, load and save
brushes
Get to grips with using brushes
in Corel Painter
Use free resources to create
art
Generate artwork without
paying out a penny!
Drawing 101
The skills of still life
Valuable tips for drawing
still life
Q&A
Reviews
Pentax K10D
Wacom Cintiq 21UX
Books
Output
Create textured prints
Ind
Primers
Brush category: Blenders
Effects menu: Objects
Feature focus
Create with Patterns
Tutorials
Make digital mosaics
Get creative with the Make
Mosaic command
Paint like: LS Lowry
Re-create the timeless style of
this popular artist
Paint realistic fur
A great technique for creating
the impression of soft fur
Create metallic textures
Liven up sketches by applying
gritty textures
Drawing 101
Sketching hands
Bring realism and life to your
hand sketches
Q&A
Reviews
Canon EOS 400D
Pantone huey screen calibrator
Design Source CDs
Books
Readers Gallery
Tim Jessell shares his work
Readers Gallery
Cheryl Blanchard shares her
work
Readers Gallery
Jeff Johnson shares his art
ISSUE
01
ISSUE
05
ISSUE
03
88
088-089_OPM_13_Index.indd 88
Index Index
Index
Index
Index
Index
Index
14/1/08 17:27:28
Inde x
Inde x
Inde x
Inde x
ISSUE 8
ISSUE 9
Interview
Maura Dutra
Interview
Jeff Nentrup
Interview
Rebecca Parker
Feature
Paint dramatic seascapes
The tools and techniques for
painting the sea
Feature
Painting portraits
Artists share their tips for
painting the perfect portrait
Primers
Brush category: Calligraphy
Primers
Brush category: Chalk
Feature focus
Gradients
Feature focus
Composite methods
Tutorials
Using blending techniques
Soften portraits by employing
some blending know-how
Paint like: Edgar Degas
See how the Pastel brushes
can produce a masterpiece
Paint with pen and ink
Use Painters brushes for a
traditional ink drawing
Paint the perfect sunset
Simple techniques for golden
skies
Tutorials
Limited colour palettes
Strip away colour for
maximum impact
Paint like: Edvard Munch
Re-create the iconic Scream
image
Paint a futuristic cityscape
Follow one artist as she creates
a sci- landscape
An introduction to
airbrushing
Learn about the Airbrush tools
in Painter
ISSUE 7
Drawing 101
Life drawing
How to approach this classic
discipline
Q&A
Reviews
Nikon D40X Zoom Kit
Pantone eye-one display 2
Books
Art study
How to paint trees
Essential tips for capturing
realistic trees
Drawing 101
How to draw eyes
The best way of drawing
stunning eyes
ISSUE 11
ISSUE 12
Interview
Andreas Rocha
Interview
Cliff Cramp
Interview
Eric Tranchefeux
Feature
Creating from the colour
wheel
An introduction to how to use
colour in your art
Feature
Get creative with Clone
Color
See how the Clone tools can
reap artistic rewards
Feature
Capture the seasons
Top tips for painting each
season successfully
Feature
The art of the self-portrait
Different artists reveal how
they paint their own portrait
Primer
Brush category: Charcoal
Primers
Brush category: Cloners
Primers
Brush category: Colored
Pencils
Feature focus
Photo-editing tools
Feature focus
Using the Scripts command
Primers
Brush category: Conte
Feature focus
Using a Wacom tablet
Tutorials
Impressionist landscapes
Unleash the power of the
Impressionist Cloner
Create ice-cool images
Turn winter colours into a
painting
Paint like: Henri Matisse
Loosen up by getting in a
Matisse mindset
Create concept art
See how one artist builds up a
retro space scene
Master the Sumi-e brushes
Create delicate art with these
Tutorials
Get started with landscapes
Use the Image Hose in your
artwork
Create painted borders
Set your artwork off with this
border idea
Relax your style
Experiment by painting with
loose brushstrokes
Create fantasy adventures
Capture the spirit of animated
lm with this tutorial
Art study
How to paint hair
Quick methods for realistic hair
Drawing 101
How to capture motion
Good advice for drawing
dynamic images
Q&A
Output
Order frames online
Readers Gallery
Dee Gordon shares her work
ISSUE
07
Reviews
Olympus E-410
Backups4All
Kata Panorama U Laptop Case
Inde x
Q&A
Reviews
Corel Paint Shop Pro Photo X2
Casio EXILIM Zoom EX-Z1200
Books
Books
Output
Turn your art into objects
with the Bags of Love printing
service
Readers Gallery
Jan David shares her work
ISSUE 10
Art study
How to paint clouds
Top techniques for painting
different types of clouds
Drawing 101
Mark-making
Improve your drawings by
learning the best marks to use
Feature focus
Using masking techniques
Learn how to master the art of
masking
Tutorials
Learn to paint skin tone
Paint natural-looking skin tone
from scratch
Painting a still life
Use photos as a basis for
traditional still-life images
Sketch like: Leonardo da
Vinci
Create your very own da Vinci
sketch
The principles of speed
painting
Follow one artist as he talks
you through creating a speed
painting
Reviews
Wacom Bamboo Fun
Olympus [mju:] 820
Art study
How to paint fabric
Great techniques for tackling
different types of fabric
Drawing 101
Sketch cats
Techniques for drawing your
feline friends
Books
Q&A
Output
Turn images into wall art with
Memories On Linen
Reviews
Corel Painter Essentials 4
Ultimate Klara Medkova
Readers Gallery
Ata Alishahi shares his work
Books
Q&A
Readers Gallery
Sue Stevens shares her work
Output
Using the MyPublisher service
to create a photo book
Readers Gallery
Susi Lawson shares her work
ISSUE
08
ISSUE
07
Tutorials
Create a Japanese
woodprint
Re-create this traditional style
using Painters brushes
Paint like: Tamara de
Lempicka
Capture the spirit of Art Deco
and this inuential artist
Create realistic rays of
sunlight
Immerse yourself in a softly lit
woodland scene
Improve the background of
photos
Place subjects in better
surroundings with this tutorial
Art study
How to paint realistic
buildings
Essential techniques for
making buildings look 3D
Drawing 101
Portrait composition
Different ideas for composing
your portrait art
Q&A
Reviews
HP Photosmart C5280
How to Paint from
Photographs using Corel
Painter X
Books
Output
Embellish artwork using
traditional materials
Readers Gallery
Giovanna Gazzalo shares
her work
ISSUE
11
ISSUE
10
Index
Index
088-089_OPM_13_Index.indd 89
Index
Index
Index
Index Index
89
14/1/08 17:28:03
Gallery
92
092-095_OPM_13_gallery.indd 92
11/1/08 10:51:22
01
Title: Pinecone
A portrait of my daughter. My babies,
good friends and heroes inspire me daily.
93
092-095_OPM_13_gallery.indd 93
11/1/08 10:54:04
Gallery
03
Title: Neil
This is a portrait of Neil Gaiman, the comic-book legend. I
sometimes push my paintings to the caricature level.
02
04
94
092-095_OPM_13_gallery.indd 94
11/1/08 10:55:04
05
95
092-095_OPM_13_gallery.indd 95
11/1/08 10:55:36