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PREMIER ISSUE
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Techniques Drawing 101 Art history 01
Clear guides to the vital Corel Get to grips with perspective Learn about Vincent Van Gogh 9 771753 315000
Painter tools and commands and produce better art and re-create one of his paintings!
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
PREMIER ISSUE
premier issue of the Of�icial
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Create and organise layers Composite methods and opacity Preserving transparency Layer masks
Get to know
P16 GET TO KNOW P99 GET STARTED WITH Special in-depth look at the
COREL PAINTER X DIGITAL PAINTING
new and enhanced features
Pgin34Corel Painter X
READ OUR SPECIAL 10-PAGE GUIDE FREE CD-ROM PACKED WITH
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FOUND IN COREL PAINTER X DIGITAL ART
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Look out for the special pages The king of graphic tablets is here.
presenting sublime artwork is waiting for you on Intuos3 A6 Wide; take your seat on
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76 Art Class 88 Books
Come here for a host of Who said books are dead? We
valuable artistic tips, tricks look at three fantastic additions to
and techniques anyone’s library
94 Reader’s Gallery 90 PhotoArtistry canvas
Come here and get inspired by Learn how to use this company
the amazing artwork created by for ordering professionally-printed
Jeff Johnson canvases of your work
Interview
Tips from the professionals
Paint perfect skin 10 Heather Michelle Bjoershol
pg 58
We discover the techniques from a true Corel Painter
Master. Learn how the program helped her
take her work to a whole new level
Visit our
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Create inspirational art
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28 Discover how to use the
Quick Clone tool Primers
Take your first steps in digital Get up and running…
painting with this guide to the 46 Acrylic brushes
Quick Clone command
See what all the options do in this
38 Chiaroscuro portraits brush category and how they can
Create charcoal portraits with be used to best effect
real impact by emphasising the 64 Effects: Orientation
light and shadows Learn how to twist and turn and
48 Paint like: Van Gogh alter selections or layers with the
Drawing 101
Keep you ears intact and follow Orientation effects
the simple steps to produce
WEBSITE www.etherielle.com
JOB TITLE Professional photographer/digital artist
CLIENTS Corel, Ballistic Publishing, Dianna Lynn Photography
An interview with…
Heather Michelle Bjoershol
More and more professional photographers are turning to Corel Painter to offer
customers greater creative choice. We caught up with Heather Michelle Bjoershol
to see how the program has helped her create a fantastic business
here used to be a time when old round-faced CRT, and Photoshop 7. My How do you start a digital painting?
photography and art were kept in-laws bought me a Wacom tablet and Typically, I’ll receive a raw image and go
in distinctly separate camps, but Painter 8. I found a basic Epson printer through a detailed consultation with the
these days that distinction has in their clearance section strictly for photographer client. I’ll process it through
become more blurred. Photographers are paperwork, and used a computer chair Adobe Photoshop CS2 and make some
now turning to Corel Painter and offering I had bought at a yard sale. My friend adjustments in colour and density. In this
an art service to customers alongside the bought me a CD burner and I was in stage, I’ll do all the artistic retouching
traditional photos. business. The majority of my clients have so I have a near-perfect image to refer to
Heather Michelle Bjoershol is one such come to know Etherielle just by word of when I start painting. Once compressed
photographer who has also incorporated mouth and more recently by Corel’s use of into a TIFF, I’ll import it into Painter,
Corel Painter into her work�low. Her my ‘Little Miss’ image in its Range�inder and use it as a reference image. Every
image ‘Blue’ has been used by Corel on the ad (2006). image goes through this process. Once in
back of the Corel Painter X box artwork
and exempli�ies the program’s fantastic
[OPPOSITE PAGE] capability to turn �ine art photography
Young Winter
Heather describes this into �ine art. We caught up with Heather
image as one of her to �ind out more about her work.
absolute favourites,
even though it took a few When did you start the Etherielle site?
attempts to get it looking
as she wanted Why did you decide to do it?
I started Etherielle in April of 2005 and
built the website the same month. I had
abruptly quit my job and my husband was
still commuting to school. I took a look
at my skill set and decided it was time to
birth Etherielle. The name derived from
my artwork at the time: something with
a spiritual, or ghostly quality, something
that had a deeper meaning, with hidden
layers and captive interest in the eyes.
I started with next to nothing. It was
[RIGHT] a miracle it got off the ground. We had
Aphrodite no savings account, no credit line, and
This painting is an had barely enough in the bank to get
excellent example of
how Heather can turn
us through two months. My equipment
a normal photo into a summed up to an antiquated G3 Mac (with
serene piece of art 333MHz processor, and a 528 MB RAM),
10
12
[ABOVE] Haunting
When Heather
Painter, I’ll block in colours and work they came in, I’d study them for hours, transforms a photo into
from the background in to the subject. and research the photographers featured. a painting, every single
Since eyes are my favourite portion to There was one in particular who stood part is covered with
13
it?
Interview Heather Michelle Bjoershol
BACKGROUND
I quickly cloned in
some extra shear in the
background where it
was torn at the top of
her head, and did a quick
colour adjustment using
selective colour and levels.
SMALL STEPS
I continued the process
of laying down paint, and
blending it, and laying more
colour, and continually
blending. I never want
to overwork an area, so I
the Smeary Round brush. Another tool ‘Blue’. Those paintings re�lect more of with some adjustment layers in Adobe [ABOVE]
I’m playing with is the Sargent (Artist my personal style, and each inspires Photoshop to achieve the blue tones Blue
Using an original portrait
Category) brush. I love the chunky, me when I look at them. I keep one as before painting it further. Once I had the by Lonnie Hoke, Heather
unpredictable feel it gives an oil. Secretly, my desktop, and one as a print in my blue tones down, then I envisioned more set about creating a
I love cloning brushes, but you didn’t of�ice. Both were commissions from hair, and harsher atmosphere. I got ‘it’. fantastic image that has
hear that from me. They are a godsend amazing clients. Gregory’s piece came ‘Blue’ came second and I took one look at made it onto the Corel
Painter X box!
on straight lines. Anyone who knows me �irst. Looking at it, there was ‘something’ it and became excited. It was one of those
knows I cannot draw or paint a straight there, but I couldn’t put my �inger on it. images I worked through the evening and
line to save my life. With some images, the ‘it’ is there, but ‘it’ emailed a test proof over immediately at
doesn’t emerge until much later stages. 10 o’clock at night. I got a call from Lonnie,
What is your favourite piece of Painter I painted the image as a photo-realistic and we were both stuttering over the
work that you have created? oil in colour. It was good, but ‘it’ wasn’t image, saying, “Wow… I can’t speak… Oh
It’s a toss up between Gregory George’s there yet. Then it hit me. Again, I painted my gosh… uh, WOW!” I loved the image.
‘Young Winter’ and Lonnie Hoke’s through the inspiration, and played Every step, I just loved the image.
I have been obsessed with the two
“I know it sounds a bit cheesy but I’ll go out prints ever since.
some days just to see the sky at sunset” See more by visiting Heather’s website at
www.etherielle.com.
14
Get to know
17
The Corel
DIVINE PROPORTION
Alongside the new Layout Grid tool,
18
19
The Layout Grid also allows you to improve the composition in your photos or images
Leonardo da
Vinci applied the
principles of divine
The options within the Divine proportion in his
Proportion box give you total control work, including on
over the tool the Mona Lisa
Compositional tools
Before any painting can take most useful. It’s possible to change the size, angle and orientation
of the guide and also save out certain presets for common tasks.
place, an artist needs to work out By using this tool, you can arrange your photos or paintings
the arrangement of a piece, and according to tried and tested artistic methods. Even if you don’t
the next couple of new features we’ll look follow it exactly, the guide can be used to see where the important
areas of an image are, and will help you position accordingly. You
at help with exactly this can use it to roughly mark out a blank canvas, or apply it to a photo
The Divine Proportion tool takes a classic compositional theory before cropping.
and brings it direct to your digital art studio. It works around the Another great compositional tool is the new Layout Grid. This
ratio of roughly three to �ive, which results in a composition that’s works along similar principles to the Divine Proportion tool, in
aesthetically pleasing. The term ‘divine proportion’ was created that it allows you to visually divide the grid up into sections and
by Luca Pacioli way back in 1509. He wrote a treatise about the plan where your most important features go. It comes with three
subject, which was illustrated by none other than Leonardo da presets ready to use (Rule of Thirds, 3x5, 5x5) but you can use the
Vinci, who also applied the ratio to his own work such as the Mona Layout Grid palette to create divisions of your choosing. Simply
Lisa and The Last Supper. adjust the Divisions slider to the setting you want.
The concept is simple. According to the ratio, there are certain The Layout Grid is an exceptionally useful feature. For example,
‘hot spots’ in an area. By placing focal points of an image in these if you are creating a painting from a photo reference, you can apply
hot spots, an artist can ensure that as a viewer’s eye travels around the same grid to the source image as to your canvas. This allows
an image it will �ind the points of interest. you to break the reference down into separate chunks and you can
The Divine Proportion tool is found in the toolbox. Once enabled, then sketch the information in each of these chunks to create the
a guide will appear on the canvas consisting of a grid, a spiral and basics for the painting. It is also a good way of seeing how best to
an axis. You can keep all lines on, or just select the ones you �ind crop a photo or image according to where the lines lie.
20
21
01 Set the scene Open up the photo you want to use and then
go to Window>Show Underpainting. This will bring up the
palette with all the options for applying settings to your photo.
Auto art
and then let the Auto-Painting
controls turn it into art
22
01 The two
images
First, open up the
two images that
you wish to use.
The image you
want the colours
applied to needs to
be the one selected.
Go to Effects>
Tonal Control>
Match Palette.
Colour control
Having complete control over
colour options is of utmost
importance to any artist and
Corel Painter X comes with new tools to
help users get the exact colour they want
02 Slide around In the palette that appears, pick the image you’re taking
the colour from in the Source drop-down. Now alter the sliders to get the
desired effect. Don’t put the values too high or you risk over-saturation.
First up is a new effect. The Match Palette effect will match are also useful in paintings, because you can apply shadow and
colour and intensity between two images. This means that highlights without having to paint in anything extra.
to alter the overall colour of one image, you can just open up The Dodge and Burn tools come with their own options to
another image with the desired colour and bring the effect into make sure that you get the exact effect you want. With these
play. The Match Palette command also comes with controls options, you can adjust the size of the tool as well as how opaque
for dictating the level of colour, brightness and intensity. The it is. A low opacity and large size will produce a subtle, soft
command is excellent for adjusting photos, but it is also good for effect. The Jitter setting lets you set random dabs outside the
quickly trying out new effects. Let’s say you have a landscape brush stroke. These can be very effective and soften the �inal
painting with very blue colours. Open up the Match Palette look even more.
command and import a sunset photo. Apply the colour values The Mixer palette revolutionised the way colour was blended
to your painting and you can get an idea of whether it’s worth and applied and the task has got even more sophisticated with
turning the painting into a sunset scene! the new Universal Mixer palette. With this users can blend their
Photographers have been using Dodge and Burn tools for colour and paint straight onto the canvas, as long as they are
years to selectively darken and lighten areas of an image. You using one of the brush variants that supports mixing. These are
can enjoy the same control with the brand new Dodge and Burn Artists’ Oils, RealBristle brushes, Camel Hair, Flat, Bristle Spray,
tools. Found inside the toolbox, you use the Dodge tool to lighten Watercolor Camel, Watercolor Flat and Watercolor Bristle. After
Lighten areas in pixels and the Burn tool to darken them. Although they are very mixing your colours in the palette, you can now paint directly on
a photo with the simple, they are also powerful creative tools. If you are prepping the canvas using one of these brushes. The last colour that was
Dodge tool, or
darken sections a photo for painting, you can use the Dodge and Burn tools to used on the Apply Color tool or Mix Color tool is loaded onto the
using the Burn tool lighten or darken areas without affecting the whole image. They brush and can be applied to the canvas.
23
Set up workspaces
Custom displays for improved performance
Just as an artist will use certain paints or brushes for different types of
work, you can set up specific workspaces for various types of art. They
are easy to do and can be exported or imported from other machines.
Performance
Access extra learning tools from the
Welcome book enhancements
To help with all the new features,
Corel Painter X also offers extra
performance capabilities
First up is Universal Binary support, so the program is optimised
for both Intel and PowerPC-based Macs. There is also support for
Windows Vista and Mac OS x 10.5, which has resulted in a much
faster and far superior creative environment.
Another bonus for users is the new Secure Saving and Auto-
Backup system. This helps ensure that you won’t lose any of your
precious work if you suffer a power surge or computer crash.
To help users get the very best from Corel Painter X, there
are a number of excellent learning resources that ship with the
program. The �irst of these is a series of tutorials from Painter
Masters. These help you get started with the program and
provide an insight into how the professionals work. There are
also training videos from Jeremy Sutton that help you become
attuned to the program and also a Painter on the Net tab. Found
on the Welcome book, this directs you straight towards the very
best online resources for the Painter community. There are also
handy tips and tricks for getting more from the program.
24
The perfect
experience. In addition to the software, the Corel Painter X paint can somewhere
you get a colour printed user guide, HTML in the image. It can be a major focal point,
and PDF help �iles, the complete Learning or just somewhere in the background – as
creative tool
Corel Painter X videos with Jeremy Sutton, long as it’s there (and as long as you create
a collector’s edition poster and a hand-held the image using Corel Painter) we don’t
composition guide for working en plein air. mind what you do!
With this new version, has
Corel come up with the
perfect painting software?
It’s a tough question, and perfection
is a term which shouldn’t be used
freely. However, Corel Painter X has a
slew of new features that improve the
program overall, and help users get
more from their photos and art. By far
the most impressive new addition is
the RealBristle painting system. With
this, Corel has shown that the term ‘real
media software’ isn’t just some clever
PR spin. The fact that these brushes look
and behave so much like traditional art
materials means that it is impossible to
tell what has been done on a canvas and
what has been done with Corel Painter.
Hopefully this feature will have
whetted your appetite for what Corel Deadline for all entries is 25 April 2007
Entries need to be 300ppi, and if they are under
Painter, speci�ically version X, can do. 2MB you can email them to competition@
We’ll be looking at all of the features paintermagazine.co.uk. Alternatively, pop This competition is open to residents of the United Kingdom, EU
in more detail over coming issues, and your entry on a CD and post it to: and North America. Corel has the right to substitute the prize for
a similar item of equal or higher value. Employees of Imagine
producing targeted tutorials to help you Paint Can competition, Publishing (including freelancers), their relatives or any agents
get the most from the program. Whether Official Corel Painter Magazine, are not eligible to enter. The Editor’s decision is final and no
you’re a �ine artist looking for some Imagine Publishing, correspondence will be entered into. Prizes cannot be exchanged
Richmond House, for cash. Full terms and conditions are available on request.
inspiration, a keen photographer eager
33 Richmond Hill,
to try out something new, or you’ve just Bournemouth,
From time to time Imagine Publishing or its agents
may send you related material or special offers.
always been interested in the program Dorset, BH2 6EZ, UK. If you do not want to receive this, please state it clearly
but didn’t know where to start, this Unfortunately we can’t return any CDs on your competition entry.
magazine is for you!
25
28
Tutorial
opacity Note the Follow a photo’s contours
small black and white It’s important to follow the flow of the image and not to go across it
box in the upper right or just up and down. Notice the difference in these two brush strokes
of the frame. Click on on the painting. Note in the first image the brush direction follows the
it and a menu appears flowers lines. This is the correct way of painting. Notice the second
with the tracing paper image painted straight across and up and down. This is an example of
opacity. These little what your painting should NOT look like! Use a mixture of strokes that
03 Acolour
different
It is
at this point that we
can change the colour
of the tracing paper
if we like, using the
Color Picker tool. We
like to use a colour
from the original
Using brush strokes in many different directions is the best way to go
photo, so we brought
the original back up
and chose one of the
pinks. Using the Paint
Bucket tool, position
it over the Clone copy
and click. The tracing
paper will now turn a
lovely shade of pink.
04
brush
Choose
your
Go to the
Brush Categories.
By default, since we
Quick Cloned the
image, the category
reverts to the Cloner
Brushes. Click the
brush and the drop-
down menu will come
up for all the brushes
05 Brush Controls The default brush
setting for the size of this brush is too
small to paint this painting. See the brush controls
in that category. at the top of the screen and change the size from
Choose the first one: 12 to 40. All the other settings, however, should Half moon strokes can create a nice effect for your image
Bristle Brush Cloner. stay the same.
29
Experiment
for results
If you are new to using
Quick Clone, try and
spend a bit of time
using each brush on
a photo. By doing this
you can build up a feel
for which ones are
suitable for certain
jobs (for example,
detail, background,
06 Begin painting Zoom in on the flowers and begin to paint.
Follow the natural lines of the flowers. Use a mix of long strokes and
short ones. Turn the paper off and on to see your painting and zoom in closer
07 Vary brush size It really is a case of just following the original
picture to create your painting. To get into smaller areas, vary the
brush size in the brush controls. Small brushes are also preferable for the more
texture etc). to see the brushstrokes. See the box on brush strokes (p29) for more on this. detailed areas.
09
Experiment with
other brushes
You can mix brushes
together in one
painting. Try the
Camel Oil Cloner and
when using it, also
paint over some of
the painted areas with
30
Tutorial
Help is only a click
colour away with Corel
Change the brush Painter’s built in Help.
category to Acrylics At the top of your
and pick the Capture screen all the way
Bristle variant. Click to the right, you will
the stamp icon in the see the word Help.
Color Selector so the Click that and you
15 Sign
work
your
There
are many ways to sign
the painting. We’re
going to use the Text
tool and use a font to
sign the painting. Go
to Window>Show
Layers. Add a layer and
go to the toolbox and
click the ‘T’ icon. At
the top of the screen
the box appears to
show all the fonts you
have available. Choose
your font and click in
the image and type.
31
32
Using layers
can be used on a normal, ‘dry’ layer,
when you use watercolour brushes
you need a wet layer to go with them.
Essentially this means that the paint
reacts as if it were still wet, even if you
take a break for several hours!
34
Feature focus
flow through with Learning those all-important symbols
long brush strokes,
The top-left drop-down menu represents the ‘Composite Method’
without overlapping of the layer, and controls how it blends with others. The slider
something on another controls layer opacity, and then you also have the ‘Preserve
layer below. They Transparency’ and ‘Pick Up Underlying Color’ options. Below the
work as a stencil layers themselves you have a set of icons for the basic functions
basically, so you only you’ll need over and over.
reveal what you want
to on any given layer. Lock Layer
Layers
Liquid Ink Layer
Watercolor Layer
Layer Hidden
Layer Visible
Standard Layer
Layer Commands
Dynamic Plugins
New Layer
35
Name as
you go
When you’ve got the
creative bug, and are
desperate to get your
ideas out on your
(digital) canvas, it
always makes sense
to name your layers as
you go along. Unless
you keep track of all
36
Feature focus
14
Colour tint to adjust
colour balance
13
Water and character
Layers
glow effect
07 A bigger splash Select all the water
layers, and then click the arrow to the
top-right of the Layers palette. Select Group, to 08 Table details Leaving the water
group, add a new layer and paint in the 12
compress the layers into a folder. Add a new layer other elements on the table. Add a layer mask to Eye highlights and
for the spray and sheen. Try setting the composite make sure you don’t need to overlap the edges headphone cable
method to Screen, and using various light even if using big strokes. On another layer, use the
airbrushes you’ll be able to bring the wave crest to Calligraphy brush to add more interesting strokes 11
life. Don’t forget the boat either! to the table.
Liquid Ink layer brushes
Special layers 10
Character details
07
Water highlights and
finishing touches
06
Desk elements and
09 Watercolor
Layers
and Liquid Ink
From the icon at the bottom
of the layers palette, add a new Watercolor Layer
10 Making her glow Create a new
layer above everything else, setting
the composite method to Overlay. With large 05
character details
above the drawing. Experiment with the different soft airbrushes and light tones, paint in some
brushes, but really you just want to add a few highlights on the water and the girl’s face and
subtle marks here and there to bring it all together, clothing. This brings everything to life and draws Boat
and add interest. The Splatter Water lets you add attention to the wave and character. Add some
04
wet rings, for example. Add a Liquid Ink layer for tighter marks to the inside of the chin and nose for
subtle table details. an extra sheen.
Water effects
03
37
Chiaroscuro
charcoal portrait
Charcoal is one of the oldest and most versatile drawing mediums.
Here we create a classic portrait drawing in Corel Painter
Tutorial info raditionally, to test a student’s very subtle, ghost-like images, or more Painter’s charcoal brushes, the degree of
mettle, art teachers would set dramatic studies of light, shade and realism and the similarity to real charcoal
Painter master the task of creating a charcoal contrast. Here we’re going to use Corel we can achieve is truly breathtaking. You
Tim Shelbourne portrait, giving no other tools Painter to concentrate on the latter, are left with a �inished image that you
than a sheet of paper and a charred and actually take the contrast effect really feel could be smudged with just the
Time needed
willow stick to create tones of grey to one stage further, producing a dramatic touch of an outstretched �inger.
1 hour
describe form and tone. Charcoal is the Chiaroscuro picture. This is where the This project is all about the beautiful
Skill level quintessential drawing medium which portrait is dominated by deep shadows art of drawing but to help get you started,
Intermediate has been used for millennia, its history and midtones, with a few, super-bright we have supplied a simple line drawing
stretching back to the days when the �irst sparkling highlights. on the disc, which you can use to establish
On the CD human beings sketched images of wild This is one of those fantastically juicy a framework for the portrait. Use this
Starter sketch animals on cave walls. Such is the power of techniques where you begin with rather drawing, alongside making frequent
the black and white drawing that charcoal vague, loose shading to establish the references to the �inished in the magazine,
is every bit as relevant now as it was at the overall tonality, and then gradually coax and you are sure to be delighted with the
very dawn of drawing itself. more detail from the image by building end result! It will be your enthusiasm and
In essence, monochrome drawing upon this tone pattern with increasingly Corel Painter’s sophistication that work
techniques can be used in one of two �iner shading and line work. By using the together to create a masterpiece. What a
ways. With charcoal we can create either right technique, in conjunction with Corel winning combination!
38
39
07 Midtone
range Don’t
add any of the darkest
tones in the face yet,
just establish the
midtones range over
the whole head. Refer
The whole to the finished drawing
in the magazine for
picture the placement of these
It’s all too easy to tones and use lively
get bogged down in brushwork. Build the
unnecessary detail too tones up gradually by
soon in a project such repeatedly working
as this. To avoid this,
over the areas rather
you need to remember
to treat the image as a
whole, and not just a
collection of individual
than painting tones
in one hit. Add a few
lively strokes over the
08 Darker tones Add a new layer and increase the brush Opacity
to 50%. Reduce the size of the brush and start to sketch in the
darker tones in and around the eyes. Use very small strokes here, using a little
facial components. shoulders and chest. crosshatching and very little pressure on your stylus to build up the tones.
For instance, when
you’re creating the
initial shading and
tones, do this over the
entire head, and don’t
be tempted to get
distracted by starting
to add detail to an
eye or the nose in the
portrait. It’s essential
that detail is added in
the later phases of the
drawing, once a good
10 Soften
solid underpainting and
has been established.
smudge By
40
Tutorial
Chiaroscuro, in its literal translation means ‘Light
and Dark’, and this can be seen in the images
which result from using this technique. Among
others, two of history’s greatest exponents of
Brushes
this dramatic drawing and painting technique Who would’ve
were Caravaggio and Rembrandt. We’ve supplied thought that
Hard Charcoal
Stick
Given its name, there’s
no surprise as to this
brush’s qualities. It’s a
variant of charcoal with
a much harder edge,
which makes it ideal
http://www.charcoalfactory.com/ http://en.wikipedia.org/wiki/ http://gallery.sjsu.edu/arth198/ for defining details and
Articles/Secrets.html Chiaroscuro painting/charcoal.html nice sharp brushwork.
Here’s a great website for anything charcoal! The number one reference for the history For a staggeringly in-depth guide to the Even when you have it
With links to everything you need to know and use of the chiaroscuro effect! You can history and use of charcoal throughout set to low Opacity in the
about this ancient drawing material, some always count on Wikipedia to give you the the existence of humankind, you’ll need Brush Properties, you
really fine examples of charcoal masterpieces most comprehensive guide to almost anything, to go a long way to beat this site. Come can achieve some really
and even an e-book all about charcoal that you and this is no exception. Here you’ll find the here and see how charcoal has been used dense blacks with this
can download, it’s a ‘must see’ if you’re serious complete definition and some great examples from the days of the cavemen right up to variant. Try it out on
about black and white drawing. of its use. the present. detailed areas.
41
11 Change
charcoal
variant Time to
change your brush
now. Click in the
Variant Picker and
choose Soft Charcoal.
Go to Window>Brush
Controls>Show
General. Expand the
Angle category and
reduce the Squeeze
slider to 60%. Expand
the Size category
and set Minimum
Size to 70%. Set size
12 Adding detail Add a new layer. Now use this brush at a very small
size to add some real detail to the eyes. Use small hatching strokes
in various directions and don’t be afraid to build up some real blacks here.
Expression to Pressure. Remember to leave the small highlights in the eyes, but don’t worry if you miss
Now close this panel. them as we’ll be adding more highlights later.
15 Texture
sketching
By reducing the brush
to a very small size,
you can add some fine
diagonal scribbles here
and there over the
Laying on 16 Another
charcoal
variant Time to
the layers change the brush
You will notice that variant again now.
throughout this Click in the Variant
project that we Picker and choose Hard
complete each phase Charcoal Stick 30. Now
of this drawing on go to Window>Brush
separate layers. By
Control>Show
17 Refi
working on separate ne the background and
General. Set Minimum
layers, you have
far more flexibility Size to 80%. Now set outlines Add a new layer and use this
when it comes to the brush Angle to brush to add some real blacks into the background
making additions or 55 degrees and the around the head, diagonal lines work well here.
corrections without Squeeze to 30%. Set Use the brush at around 20 Pixels size, adding sharp
actually affecting an the Brush Opacity lines to delineate the outline of the head and neck.
earlier or later stage to 50% and Opacity Also add some real darks into the hair, around the
of the drawing. Expression to Pressure. hairline and over the shadowed ear.
42
Tutorial
layers In
a traditional charcoal
drawing, highlights
are added in the final
stages of drawing by
‘lifting’ small areas of
charcoal with a soft
Finishing touches
The light at the end of the tunnel
When black
is white
Remember, even
22 Add some
highlights
Zoom into the eyes
though this entire
image is made up of
various shades of grey,
throughout the project
and use this brush
your foreground
at a tiny size (four or colour is black. By
five pixels) to add the using just black as
really sharp, bright foreground, you can
catchlights to the eyes. achieve tones of barely
Now, using the brush off-white, through
at a slightly larger size, a myriad of greys,
and using the finished right down to solid
23 More
highlights
Be sure to add the
make sure of this,
go to Window>Brush
Controls>Show
highlights to the nose General. Then, in the
and the lips, as these General section of the
will add form and palette, make sure that
volume to these areas. the Opacity Expression
Well placed, small and is set to Pressure.
numerous highlights
throughout the head
will add sparkle and
polish to your finished
drawing. Make sure
to add some small
highlights over
the hair to indicate
24 Finishing touches Now’s the time to sit back and study
your finished image. You can use any of the brushes we’ve used
throughout this project to add any final accents and line work that you feel
light reflecting off necessary. It’s important to keep this image quite loose and sketchy, so don’t
individual strands. be tempted to overwork the detail.
43
BRUSH CATEGORY
are great for building up the
main areas of colour. Although
Acrylics
this variant is opaque, it doesn’t
feature too much impasto, so
it can be used in short dabbing
strokes to create interest within
fairly solid areas.
PRIMER
Corel Painter has acrylic brushes
that are designed to mimic all of
DETAIL WITH IMPASTO
these capabilities very accurately.
For small areas of detail and interest, use
Because acrylic brushes work with
the Thick Opaque Acrylic variant at a
the surface texture you’re painting small size to place small accents of thick
on, it’s worth choosing a good, strong colour with lots of impasto. This variant
surface from the Papers palette before is also great for some defining line work
you begin. Don’t forget to check back next here and there to reinforce the important
issue, where we look at the next brush hard edges in the painting.
category in the list!
46
Primer
Every brush brings its own, unique effect
There are 31 variants for the Acrylic brushes, although a lot of these are
just different sizes of the same variation. We’ve put together a visual
WET ACRYLIC guide of the main brush types here, so you can quickly see what type of
UNDERPAINTING effect can be achieved by each one
Wet Acrylic versions
Acrylics
were used first in the
image. Because they are
very soft and smudgey,
these variants are Thick Acrylic Round
fabulous for establishing
your underpainting. Use
this variant for blocking
in tone and colour over
the painting before
adding in any extra detail Thick Opaque Acrylic
with thicker, sharper
acrylic brushes.
Wet Acrylic
BRUSH PALETTE
Selecting a brush requires
nothing more than clicking the Wet Soft Acrylic
brush variant menu and then
clicking on the brush you want
from the menu.
Opaque Acrylic
47
48
49
50
Tutorial
When researching
Van Gogh’s original
‘Sunflower’ painting,
we found various
versions. When doing
a re-creation such
as this, the aim is to
51
Flowery painting
Work up your sunflowers
15
flower
The right
droopy
Preferences Paint in the
rest of the table. Use
Begin the painting the Selection tool
experience by going to create the shape
to Preferences. Adjust of this flower and
settings to suit your cut unneeded parts.
needs from Brush
Create the orange
Tracking to Shapes,
Save and others.
These settings are not
for life and might need
14 Vase paint Choose Artists’ Oil>Bristle
Brush, set Opacity to 30-40, Grain to
12-14 and Draw To Color. Fill in the top and bottom
shade and apply at low
opacity, Draw To Color
only mode and colour
changing as your work part of the vase. Now change Draw To to Depth it in. Sample green
progresses. Don’t and Color, increase brush size and apply strokes of shades off the original
be afraid to revisit yellow to the top, and brown to the bottom part. flower and paint the
Preferences to make Pick an orangey colour, set Draw To Color and with stem and green around
further adjustments. a small 4-5 brush, work your way around the vase. the orange petals.
52
Tutorial
texture Set
Grain to 14-16, Size
to 4-5 and Opacity
between 90 and 100.
Apply very short, brisk
stubby strokes. Start
with brown, move to
16 Brown centre Before designing the short spiky strokes for the
round, pom-pom-like bushy centre flowers, use a Bristle Brush to
paint in the green at the very centre and brown that surrounds it. Now open
motion around the
centre. Select, Copy
and Paste this flower
Brush Creator>Stroke Designer, pick Impasto and set to Draw To Color and to go between it and
Depth. Set Depth to 200-260 and Expression to None. Apply this brown the yellow flower on
Impasto brush to the pad to try it out. the left.
19 Red flower
In the Mixer,
find a red tone to match
the red of the flower
on the middle right. Go
Impasto brushes
Some of the strokes in Van Gogh’s original
painting have oil paint gathered around the
edges. This tends to happen when the brush,
loaded with paint, is applied to the canvas and
left to dry.
The Impasto brushes apply a particularly
convincing loaded brush. In an attempt to
achieve the look mentioned here, try the
following settings. Choose your Artists’ Oils
Thick Wet Impasto Brush and open the Artists’
Oils Brush Controls palette. Set Paint amount to
60, Viscosity to 40 and Blend to 40. Set Brush
Bristling to 15, Clumpiness to 75, Trail-off 40 and
20 Now the petals Sample yellow off the original and use the same
brush as in previous steps to colour in the yellow petals. Apply
medium to long, curvy but not too smooth strokes. Apply a few straight
Wetness to 85.
Paint over the same spot repeatedly without
lifting the stylus off the canvas. You will see the
stokes too. Now sample a brown colour, change setting to Draw To Colour, paint gathering around the edges. For an even
and loosely draw brown petal shapes as in the image. deeper stroke, increase the Depth level.
53
22 Step back
With every
creative work, it is
important to step
back and look at the
whole piece. Zooming
out will give you the
equivalent of taking a
23
Knife
Use the
Palette
The original
painting shows brush
work as well as flat
palette knife in use. In
the background, you
can see strokes going
both horizontally and
vertically with paint
building up around
the edges. Open your
Brush Creator, choose
Artists’ Oils>Wet Oily
24 Background Palette Knife Go to
Palette Knives> Loaded Palette Knife, set
to 50-60 Size, Depth only and again, apply strokes
Customise Palette Knife, set Draw across the image. Apply one horizontal Palette
To to Depth only and Knife stroke and follow with a vertical one over
Arrange your palettes
to flow with your
try out the strokes on it. Repeat several times to create a small area of
work. It will not only the pad. cross-hatch pattern.
tidy up your screen
but makes often-used
tools more accessible.
Every palette can
be dragged into
any location on the
desktop and grouped
with others. Once
you’ve dragged and
arranged the palettes,
go to Window>Arrange
Palettes>Save layout.
(Under Window you
can also delete any
earlier layouts that
you created).
The idea is to create
the ideal workspace
for different types of
projects, so you have
a palette specific for
drawing for example,
25 Final touches Zoom in to 100% and slowly examine your image.
Enhance light areas with bright-yellow strokes and dark areas with
browns and blacks. Use a thick Impasto, loaded oil brush and sample colour 26 Adjust Colours Go to Effects>Tonal Control>Adjust Colours and
choose Uniform Color. Drag the Hue Shift and Saturation sliders,
or one set up for oil off the relevant area in the painting. Here we wanted the sunflower at the very very slightly to the left. In the Preview window, examine the final result. If not
and so on. top to be less picture perfect and more expressive in style. convinced, click to Reset and start again.
54
58
59
Flip your
canvas
Experienced digital
07 Neaten I zoomed
in at this point and
painters will have neatened up the
heard this many times painting of the eyes.
before, but it’s one of You don’t have to
the most useful tips do this, and I would
I’ve ever received. advise against is adding
When painting, agonising detail to one
flip your canvas part of the painting
horizontally at regular when the rest is in
intervals to check all is much disarray; you
going well. Sometimes
mistakes in proportion
are hard to spot until
this method is applied.
06 Adjustments To add drama to the
picture, make the light source slightly
stronger and shift its position downwards. It is
never know what you
may have to sacrifice
in order to achieve
Work in the flipped sometimes unrealistic to expect a painting to work the painting you really
version for a while straight away, so use placeholders for items that want in the end. I also
until it looks right, and will be returned to later. For example, I made the flipped the canvas to
then flip again. hair just a scribble to return to later. get a new view.
60
Tutorial
The best way to apply shading
In addition to the Airbrushes, the Palette Knife is the major tool of
choice here. It’s really good for blending colour and building up that
all-important shading.
01 Control When
pressed firmly on the
11 Butterfly
like the make up can change a whole Create a new layer. I drew out produced is true to
painting. I used a mixture of the Palette Knife the shape of the butterfly first with a thin that on the colour
and Airbrush for the eye area. It is a good idea to black airbrush, any other tool is fine for this, as wheel, when pressure
build the make up in layers of low opacity strokes long as the outlines can be drawn. Fill in the main is soft, the Palette
rather than one heavy stroke. Just select, colour colour of the butterfly with an Airbrush – this tool Knife is good for
and apply. I also built up the neck and back as with gives you more control over the tricky small areas. blending colours
the face. Use a reddy-brown colour. already on the canvas.
03 Highlight
To apply
strong highlights,
shorten the length of
your Palette Knife and
press down strongly
on the tablet. The
61
15 Unity At this
point I thought
that the girl and the
butterfly were too
separate. In order to
unit the two, I decided
to add hands. It’s
always a good idea
to have a rethink of
your image as you go.
Things change so it
pays to be flexible.
16 The hands If you don’t fancy drawing your own hands, load up the hand file from the disc.
To obtain the right lighting for the hand, I held my own hand against a lamp and looked at the
colours of different parts of my hand. It is always useful to have a model or photo reference on hand for
realistic painting!
62
Tutorial
cloth has different
black!
weight; they fold in When trying to
different ways, they are achieve a darker
affected by tension and shadow colour, don’t
gravity. If you’re going give up and resort to
for a realistic-looking using black. It simply
picture it is advisable washes out your
17 More hands Create a new layer and trace out the outline of the
hand sketches. At this point you may delete the layers with the
sketches on them and paint onto the layer with the trace. The light source
the main character. In a
situation like this, a few
well-placed sweeps of
here is the butterfly so the parts of the hands facing inwards are lit and those colour with a Palette
facing out are in shadow. Shade as you did the skin. Knife should suffice.
63
PRIMER
EFFECTS MENU
Orientation
Learn how to twist and turn objects
using the Orientation effect
or any artist – whatever their skill
level – the ability to view objects
in different ways and imagine new
compositions is very important.
In a lot of ways, creating successful art is
like piecing a jigsaw together. Only when
all the objects in your picture are all
correctly placed do you get to enjoy the
whole picture.
The best way to place elements in
different positions is by heading up
to the Effects menu and exploring the
Orientation options. From here you can
rotate, scale, �lip and distort objects in
your canvas and see how they might
look if they were in a different position.
You can apply an Orientation effect to
a selection or an entire layer, but if you
make a selection it will be converted to
a new layer before the effect is applied.
The selection will remain on a new layer
Too big to unless you merge it with the canvas.
handle On these pages we will look at the
options available in the Orientation WHAT A DRAG
If you are rotating a effects and look at what creative uses When you call up one of
canvas, you may find the Orientation effects, a
they have. We’ll show them applied to an
that it is too big to border will appear around
fit in the document image and also brie�ly visit the world of
reference layers. your selection or image with
window once the small squares. You can hold
rotation has taken These pages herald the �irst of a series
your mouse button down on
place. To see the big on the Effects menu. In each issue, we will these and then drag inwards
picture, hit Ctrl and work our way through all of the effects
zero (PC) or Cmd and or outwards to make the
zero (Mac) and your
and explain what all the options do, how alterations you need.
canvas will fit inside to use them and what kind of art they are
your window, ready good for. Check back next issue where we
for the next step. take a look at the Tonal Control group.
64
Primer
DIALOG WINDOW Bringing the Scale effect into play allows you to quickly increase or
In addition to being able to drag the decrease the size of an image. Like the other Orientation effects, you
carry out the command by dragging out handles, although there are
handles out to make your orientation
some other options, which we’ll look at here…
edit, you can also enter manual settings
in the dialog window that appears. You
can also find various other options in
Orientation effects
these, all of which are explained in the
boxes at the bottom of this page.
LAYER SIGNS
All of the Orientation effects take place
on a new layer, so you might want
to merge all of the layers when you
have finished with your edits. The Free
Transform option will turn a layer into
a reference layer, which is indicated by
02 Manual scaling
rather perform a more
If you’d
03 Check boxes The Scale Selection box also has a couple of check
boxes that are worth investigating. Constrain Aspect Ratio will
ensure that any scaling will still maintain the current proportions. Preserve
Center will anchor the selection or image in its place from the centre.
65
hen I was asked to give a Put very simply, perspective is a tool reality. As children our �irst recognisable
tutorial on perspective, to help achieve the illusion of depth. It is drawings are of �lat bi-lateral space, they
my very �irst instinct was an attempt to represent tri-dimensional may have been of animals or people. Our
to cringe. I’m sure many objects on a bi-dimensional surface. minds had to develop before we began
artists also share this natural aversion Perspective is not a constant. It’s not a law placing these objects in space, a typical
to this particular technique, so I decided of nature. It’s a technique to trick the eye. children’s drawing would be of a stick
that it was about time for someone to But perspective is more than just a cheap �igure and beside them is a drawing
take away some of the long-running parlour trick. The perspective that we of a house. Elements like scale may be
prejudices associated with this concept know and use today has been the product arbitrary. It’s only later do you see the use
and show how you can actually use this of tens of thousands of years worth of of depth or overlap in a child’s drawing, it
very powerful tool to realise the illusions art history and a direct re�lection of represents a more sophisticated view of
of your imagination. our attempt to visually reproduce our the world around them.
66
Drawing 101
some of the earliest art ever created you
In the example below, you can see how linear perspective works in straight
can see hints of perspective, in one of lines. The viewpoint is being directed to the vanishing point in the photo by
the greatest human works of art ever the line of trees on the right
created – the magni�icent fresco from
the Lascaux Caves in Dordogne, France.
There are animals and bulls seen running
with varying sizes overlapping each
other. Even 2000 years ago artists were
thinking about how to depict the depth of
Perspective
the reality around them!
Early cave paintings show how perspective used to When the middle ages hit the
be linear. As people began to understand depth, the iconoclasts all but destroyed any
figures started to be placed in front of one another progress that was made in depicting
three-dimensional form, thankfully the
Before I begin there is one point I want 14th century bore us artists like Van Eyck
to make perfectly clear as to not confuse and Giotto who breathed new life into the
you. Many people take the subject of lost science. But it was the Renaissance
perspective very seriously – to some period that made perspective at the heart
artists it seem almost like a religion. I am or artwork. A Florentine architect and
not one of those artists. In my opinion engineer, Filippo Brunelleschi, started to
perspective is a trick. A lie, an illusion. analyse lines and points of perspective.
It may appear to give the impression of Through his work, artists truly began
a greater reality to objects, people and to understand what was involved in
places in space, but in actuality it doesn’t giving the illusion of 3D space within
really exist. There are no totally �lat a 2D environment. His work on linear
horizon lines in our world. We live on perspective gave us the theory that
a round planet with a naturally curved objects get smaller and closer together
horizon. From our limited viewpoint the further away they are. Artists like
it is easy to make the comparison to a Picasso tried their best to destroy
perfectly �lat horizon line but it’s just traditional perspective, but yet tradition
not the truth. So why and how did it still lives on. So let’s proceed and see how
originally come about? perspective can be another tool within
An easy place to start is to talk about our arsenal to scratch away at the nature
the intention of perspective. Artists of reality around us to make a more
have always striven to manifest images accurate depiction of our imagination.
In this painting, you can see a good example of one point perspective. The eye is being moved towards one point in
the images (the bridge)
67
Types of perspective
Understand the three basic choices
One of the first places to stop when you’re thinking about perspective is
vanishing point. There are three main types of vanishing point, and how
many point there are determines how complicated the viewpoint is. We’ve
demonstrated those three types below, and shown how they can be used
when creating art
Two point
You guessed it – instead of one vanishing point you add another. This
means that you can have objects that face different directions. With two-
point perspective, you need to make sure that the front, back and side
POINT 1 POINT 2
edges of an object have to recede towards a vanishing point.
You can normally �ind this type of perspective when buildings are added
to a painting. It helps create interest in a piece and also make structures
appear as though they are solid buildings.
The example on the right is of two point perspective. You can notice
there are two vanishing points that I am creating the space from. This
helped de�ine the �igure resting in space. One of the renaissance notions
was that ‘artists must �irstly create the space and only then he is able
to situate the �igures and the object. It is in the Quattrocento that man
understood that to acquire the power of God, you had to do just like God; to
create the Earth before and then Man; not the opposite.’ Or in other words,
organise your space before you try
and add in any �igures.
Three Point
Three-point perspective is an interesting one, in that it uses the
principles of two-point perspective, ie having two vanishing
points, but it also introduces another vanishing point either
above or below the horizon line. This sets the point that the
vertical objects will vanish to. If the vanishing points are near POINT 1
each other, the objects will appear larger. Push the vanishing
points back and the objects will recede.
This was a collaboration between Marko Dejuervic and myself
and is an example of three-point perspective; the camera is tilted
POINT 2
way up and pointed down, the third vanishing point is placed far
down beyond the horizon line.
I intentionally broke some rules here by adding building
shapes in the foreground that challenge the perspective. One
fortunate aspect of digital painting is the ability to create
whatever size canvas you desire, for example I could expand
down as far as I wanted to plot whatever distance I wished the
third vanishing point to be.
POINT 3
68
Drawing 101
All you need is just a little perspective
e’ve already mentioned that a vertical position, which meant that his
perspective is an illusion, and viewpoint foreshortened the model. The
that is perfectly demonstrated result was that the parts of the model that
with the foreshortening principle. This is were furthest away from him appeared to
basically an optical illusion that an object be smaller.
or distance is shorter simply because Sometimes when you are working
Perspective
it is angled to the viewer. That object with foreshortening, your brain can be
isn’t actually shorter, but it needs to be resistant to how abstract the distortion
represented as such in order to look as may appear. Dürer’s use of the grid
though the perspective is realistic. To get system helped alleviate this. Because the
an idea of how the shapes change, pick up grid system in front of the model matched
a pencil. Hold it in front of you and then the grid system on his paper, he was able
gradually tilt it backwards and to the to transfer what he saw in each grid in
side. Each time you move it, the pencil front of him onto that grid on the paper.
becomes a different shape. By forcing himself to draw exactly what
Foreshortening normally comes into he saw, Dürer avoided drawing how he
play when drawing living beings, and thought it should look.
as such means you can’t rely on the Foreshortening can be used to make an
same constructed viewpoint as you can image far more dramatic. Many modern
with the other types of perspective. advertisements use foreshortening by
The trouble is, it can be very dif�icult to having someone hold a product close
imagine how foreshortening should look. up to the TV or camera. This extreme
The Renaissance artist, Albrecht Dürer foreshortening is an aggressive way of
came up with a clever way of helping getting attention.
him draw in correct foreshortened I used foreshortening on this white
perspective. He placed a wire grid in horse to make it the focal point of the
front of his model, and then drew what he image and increase the dynamic of the
saw on his paper, which also had a grid image. Although it’s quite subtle, it does
drawn over it. He viewed his model from make the �inal image more powerful.
69
Aerial perspective
Use colour to give the appearance of distance
he name of this is quite intimidating
– when I �irst heard it I thought
is was some kind of perspective
drawn from the view of an air plane. Can
you imagine, calculating the movement
of vanishing points over distances?
Thankfully it turns out aerial perspective
doesn’t involve a vanishing point, horizon
lines or any maths at all.
Aerial perspective, or atmospheric
perspective, is the principle that as
objects move further away, the contrast
between them and the background
decreases. It also becomes bluer. So
basically, background detail in a painting
should be fainter and bluer!
This technique was discovered by
Leonardo da Vinci and you can see it
clearly demonstrated in the painting
of the Mona Lisa. Basically, air is full of
particles, vapours, smoke, pollution;
many things that are almost invisible at
short distances, but when there is a great
deal of atmosphere between you and an
object in the distance, all these things add
In the painting above,
up and slightly obscure the object. On a objects that are close to the viewpoint to focus. If you really want something to you can clearly see
sunny day you can see a �ilm of blue haze and lightly ‘dust’ over objects I want in sit far in the background, set it back with how the distant
between you and the object. the distance, the farther back, the more some atmospheric Airbrush, then knock it mountains are bluer
I incorporate aerial perspective in opaquely I paint. You will be surprised by slightly out of focus with the Blur or Just and lighter the
farther away they are
many of my works by creating a new how successful the results. Add Water tool. I took advantage of aerial
layer, selecting the Airbrush tool and Never forget that aerial perspective perspective in this image to make the
setting the opacity to 2%. I mask off only affects contrast. It has no relation buildings seem farther back.
FRONT TO BACK
Here you can see how aerial perspective works on a colour
scale. Objects that are to the forefront are always in their
true colours, but they get bluer and paler the further back
they recede into the distance
70
Drawing 101
Save yourself some time and let Corel Painter do the work for you
s an artist, my time is of the utmost value
to me. Perspective and vanishing points
take time and concentration to create,
time I could be spending enjoying my life away
from a computer monitor! If I can use a computer
program to lay down a complicated scene with
Perspective
perfect perspective, I will opt for that every time
rather than put in the effort it takes to attempt the
same results by hand. Fortunately, Corel Painter X
comes with a perspective
guide that saves you the
effort of accurately plotting
and drawing an endless
amount of lines.
Perspective is not only
reserved for buildings
and objects, you can use
perspective for anything,
Using the grids built into Corel Painter, you can even apocalyptic angels
position your objects with no fuss riding white horses.
This is also an example
of foreshortening and
overlapping shapes to
Eight tips
to using the
perspective
grids in Painter
TIP 1: FIND IT
You can find
the grid under
Canvas>Perspective
Grid>Show Grid.
TIP 2: TOGGLE
When adjusting the
perspective grid,
switch to Screen
Toggle mode to
see an expanded TIP 8: SAVE YOUR
version of the grid’s OPTIONS
boundaries. Corel Painter has the
ability to remember
and save different grid
TIP 3: layout options.
CONTRASTING
GRID COLOURS
Painter gives you TIP 7: HORIZONTAL LINES
the ability to change The horizontal lines will establish
the colours of your TIP 4: SPACING SLIDER the vanishing linear, vanishing
grid; I usually choose The spacing slider bar will change point and the horizon line,
compliments that the frequency of the grid lines; whereas the vertical lines are
have a great contrast increase the number for less lines, TIP 5: MODIFY YOUR GRID TIP 6: VERTICAL guides for the perspective marks
to the pallet at hand. down for more frequent lines. You can manipulate the grid by LINES you will be drawing.
grabbing it at its vanishing point. Define your horizon
Follow the grid lines to where they point first and then begin
would converge to find this handle. adjusting the vertical lines.
71
STEP 01 For this first step I begin by making a very impulsive mass
of marks and gestures. I am operating in a heightened state of instinct
and I make my marks freely. I am switching tools between a softer digital
airbrush for the fluid organic shapes, and a 2b coloured pencil with the
straight line option selected to create hard geometric lines and scratches.
STEP 02 With the Straight Line tool still selected STEP 03 More
I change the colour to white and scratch out some form linear refinement
01
using the guidelines of perspective. I pick multiple of form. A general
horizon lines at random and skew them. I do this to avoid shape is beginning to
anything too predictable. I scatter various vanishing emerge and evolve, I
points around the image. In my mind I’m visualising can now feel a sense
several large 3D rectangles and stacking them unevenly of weight and volume
on each other to create more of a chaotic feeling. in the image.
02 03 04
06 STEP 04 Here I add a new focal point to give the eye somewhere to
focus on amidst the confusion. I’m also introducing a new technique to
create the illusion of depth, using the Just Add Water tool I deliberately
soften areas of form in contrast to sharp areas. This variation in edges fools
the eye into perceiving atmosphere and depth of field focus. It’s a great way
to create volume with a few strategic strokes.
05 STEP 05 Here I
concentrate on adding
value and texture to
the image, I choose to
establish this nameless
form in a floating
surreal type of space,
and I deliberately
opt for no definite
horizon. As I paint this
I am reminded of the
work of artists like mc
Escher who had the
ability to create space
that contradicted the
logic I had developed.
8/2/07 17:27:46
Your questions answered
Classic cartoons
I love the look of the early
Disney cartoons but can’t
seem to get the same effect
when I try at home. I don’t know if
there’s a certain brush that I need to
use – can you advise me of one?
P������ K����
Your experts
Stewart McKissick The early Disney cartoons
Stewart is a long-time user were defined by many things,
of Corel Painter and is a including the character designs
big fan of the airbrush and and the backgrounds. The artists
illustration potential offered
by the program. Here he working on them were some of the
answers your questions on creating cartoons greatest of the era, and we wouldn’t
and character design. even presume to be their equal! No
one brush or little trick can do all they
managed to accomplished.
Tim Shelbourne However, we do have some
Tim shares his knowledge of
the Corel Painter software with
suggestions for a classic 1930’s-
you here, taking care of any era animated ‘cartoon look’. The
problems you may have. He also characters were mostly very rounded;
imparts some fine art advice the so-called ‘rubber-hose’ style. They
to help you improve your
creations and take them to the next level.
were usually inked with a solid line on
a clear acetate cel and placed over a
painted background, quite often done
What you’ll find in this section in watercolour.
For this example here, we used
Software Don’t get bogged
Corel Painter’s Felt Pens brush, Thick
down in a Corel Painter black hole
– write to us and we’ll help you and Thin Marker 10 variant to digitally
work harmoniously ink the scanned-in bunny drawing on
Fine art When it comes its own layer. This may take practice
to creating art, you often find to get the line smooth. The shapes
little niggles that ruin your were then filled in with flat colours
masterpiece. We sort them out Using a layer for the ‘cel’ and
using the Paint Bucket. The final stage was to paint Corel Painter’s Digital Wat
Illustration Make sure the Canvas layer with Digital Watercolor, mostly this style emulates the look
of traditional animated cart
ercolor for the background,
your illustrations are in top form help create a vintage feel. oon design. Rounded shap
the Tapered Diffuse Water variant. es
by following our advice
76
Q&A
I’d still like to use Corel Painter.
Is there any way that the software
can help me to create beautiful
Creative textures
paintings without me having to I’ve created a digital oil painting that
create a complicated drawing �irst?
Art Class
has worked really well, but I think it
H���� S����� would be better with a pronounced
canvas texture, so it looks just that bit more
Absolutely! You can use Cloning like the real thing. Is there any quick way in
to create a painting from a digital which I can add this to my painting once it
photograph without having to
do any drawing whatsoever. Cloning
is �inished?
allows you to use a photograph as a base R��� S�����
then use the brushes to add the texture
and expression of natural media brushes, It’s easy to add a canvas, or indeed
while gathering colour and detail from the any other texture, to the surface
original start image.
02 Choose Brush and surface The Cloning Brushes will
automatically be loaded in the Properties Bar. You can now
choose a cloning variant from the Variant Picker. Choose a suitable surface
of an image in Corel Painter. Go to
Window>Library Palettes>Show Papers. In the
Papers palette, click in the Papers Picker swatch
from the Papers swatch at the base of the Toolbar. Begin to paint over in the top right and choose the surface you’d
your tracing image. You’ll see your strokes much easier with tracing paper
like to apply. Adjust the Scale slider dependent
toggled Off.
on how large you want the individual features
of the texture to be in your image. Now go
03 Paint away!
If you want to
see more of your surface
to Effects>Surface Control>Apply Surface
Texture. In the Surface Texture dialog, from
texture, simply increase the the Using box, choose Paper. This filter will use
Feature value slider in the the surface texture you just chose. Now you
Properties Bar. The Resat can play with all the sliders until the surface
slider controls how quickly appears as you’ll like it on your image in the
the brush refills with colour, Preview pane. When you’re happy with the
so if you want to achieve look, click OK to apply the surface texture.
really smudgy marks, reduce
Often, you’ll need to fade the effect a little Via
01 Prepare to clone Open your start
image and go to File>Quick Clone.
A duplicate image will open with a ‘Clone Of’
this value. Remember to
save your finished painting
under a new filename via
Edit>Fade.
by adding a surface texture
filename prefix. You’ll see the ghosted tracing File>Save As. Bring your paintings to life
paper of your original image. You can switch
the tracing paper on and off with the toggle in
the top right of the document window.
77
Colour theory
I’m not happy with my illustrations,
and I think it’s because of the colours
I’ve been using. They just don’t
seem to ‘pop’ and it’s driving me mad! Are
there certain colours that work best for
character design? I’m guessing the bolder
the better?
M������ W���
78
Q&A
have decided to start
creating my own. My drawing
skills aren’t particularly
brilliant, so I’d like an easy
01 Simple shapes We’ve started by making
basic shapes with the Selection Tools in Corel 02 Lay out the main features Create a new layer and sketch in
dashed lines to define the centre of the shapes – this helps you to
Art Class
way of making a cartoon face. Painter: An oval, a rectangle, and a more random form. locate features on the face and keep things like eyes even. Of course, in the
How can I do this? We used the 2B Pencil Brush in the program, but a ‘real’ case of the third fellow this wasn’t so important. Start by sketching in the
S�� E����� pencil and a piece of paper is also a good way to practice. eyes and then move onto the noses and mouths. Play about with things
You can scan in shapes you like and trace them. like hair and eyebrows until you can ‘see’ the character and like the feeling.
The easiest way to draw Using layers allows you to
a cartoon face is to start erase or re-do without losing
with a basic shape. It’s the basic shape underneath.
best to begin with something
simple and add details – this helps
you keep the proportions you
want and visualise the character
as you go along.
The type of shape you use
can help define the character’s
personality. Round shapes are
softer – here we’ve used an oval
03 Final details
On another new
layer, redraw your features
to make an average-looking guy. more carefully and add extra
A rectangle with its hard edges details. You can then delete
makes a harder-looking ‘tough’ the layers with your basic
guy. And a somewhat less shapes and loose sketches
regular, active shape makes for a so all you have left is a nice
much more unique-looking guy. clean finished drawing.
As you can see in this painting, the areas of white paper which
have been left uncovered play as big a part in making the finished
Negative values
image successful. Bear this in mind when creating your paintings In terms of drawing and painting,
and make sure not to cover all of your paper. I’ve heard artists talk about negative
space, but I’m not sure what they’re
Water world referring to. Is there a simple explanation of
I love the dynamic watercolour this term, and would it bene�it my work for
brushes in Corel Painter, and I’m me to know about it?
pleased with my latest watercolour S���� M�D�����
painting. However, when I compare it to
‘real world’ watercolour paintings, there In simple terms, negative spaces are
seems to be something wrong about my the space around and within objects in
image, and it seems to lack sparkle. Am I your painting or drawing, and they can
missing something? be very important not only in compositional
P���� K����� terms, but also when it comes to ensuring that
your drawing is accurate. It’s often all too easy
The charm of watercolour is that it is to become too focused on the object you are
a transparent medium but to make drawing, and it can be a very useful exercise
watercolour paintings sing, it is vital that to instead concentrate on drawing the space
some of the white paper beneath remains in the around and within that object. After a little
finished painting. For instance, you can leave practice you’ll find that just by drawing these
areas of white paper untouched in your painting spaces, the shape of the actual objects will
to indicate highlights. But it’s not just highlights appear in you picture almost as if by magic!
where paper needs to show through. By making
the entire surface of your painting broken, with Here, just the negative
shapes around the tulips
small accents of white paper here and there, and leaves are shown.
you’ll end up with a far more effective and lively Although there is no detail,
image. Because watercolour is very liquid, and or any drawing within
watercolour paper can be quite rough, in real- the flowers and leaves
themselves, the negative
world painting when you drag a large brush space around and within
full of colour quickly across the paper, you get the objects describe their
the ‘hit and miss’ effect where the colour from shape perfectly. Try to
the paper catches just the peaks of the paper make a habit of seeing
the negative spaces in an
texture and leaves areas of white still visible in image before you begin to
the deeper parts of the paper grain. draw or paint.
79
Image tweaking
I love soft, bright high-key photographs, and I’d like to
produce a painting with a similar tonal scheme. With
having to use another image-editing program, can I
produce this high key effect on my start image in Corel Painter?
S���� M����
03 Duplicate
and erase
Hold down the Alt key
and click the image
with the Layer Adjust
Tool to duplicate this
layer. Set the Composite
Method for this new
layer to Darken in the
Layers palette. Choose
Erasers from the brush
categories and then
choose the Erase All
03 04 05 06
give me some quick
examples of making
or adding just a few eyelids increases the
numerous emotive possibilities.
cartoon eyes? Keep in mind that nearly all rules can be
T������ S�������� broken – maybe they can go outside the edge
of the head shape, or be different sizes from
Eyes are one one another. Finally, they can start to get a bit
of the most more realistic with brows and wrinkles to add
important parts of another layer of expression.
07 08 any character you design
– they do more to convey
Experiment! Who says a character has to
have two eyes or even that they have to
emotions and attitudes be on the head?!
80
Using the
products
We used the Olympus
camera, Wacom
graphics tablet and
Corel Painter to paint
this photo
83
Olympus SP-510UZ
£229 | Olympus offers consumers a super zoom at a super price
he prosumer market has become ergonomic. On the rear, alongside the 2.5-inch
saturated with ultra-zoom prosumer, LCD screen, is a view�inder – a pretty uncommon
with cameras like the Panasonic Lumix sight on most new digital camera releases. This
FZ7 and the Kodak EasyShare Z612 is a welcome touch and it means that you can
Connections
Connections are under rubber flaps.
offering 12x optical zoom for around the £300 turn off the LCD to save precious battery power, a These feel secure when they are
mark. The Olympus SP-510UZ drops the zoom must when you’re using AA batteries rather than closed, but could snap off when
ration to 10x, but ups the sensor to 7.1 megapixels lithium-ion. To the right of the screen, you have open. You get AV, USB and DC,
which is standard
at a super-low price, making this attractive to shortcuts for the LCD display, the menu system,
both advanced users and beginners. self-timer/delete and a d-pad, which gives you
In our experience, ultra-zoom models typically quick view, focus options, �lash and exposure
weigh in at around 300g, but the Olympus is a compensation at the touch of a button. The centre
little heavier at 325g, which you might notice if button on the d-pad doesn’t link to the menu as
you have it slung around your neck – using the expected, but is instead a function button. This
professional-looking strap supplied along with enables you to change the ISO, white balance and
Navigating the camera in the box – for long periods of time. metering in manual modes.
your on-screen But despite the weight and the hefty dimensions, On the top of a camera is a built-in pop-up
options
The camera’s menu this is an attractive piece of kit. It looks very much �lash, which has a great range, but you have to
system is intuitive to like a miniature SLR in many respects, with a remember to pop it up otherwise you can’t change
use, with big icons and large grip on the right-hand side making it easy to the �lash modes. As a useful extra, it would be nice
text denoting each area. keep hold of. The silver �inish is pretty standard, if a reminder came up on screen if you tried to Batteries
Options that are not Unusually for a prosumer, this
relevant to the shooting but it doesn’t feel like it would scratch easily, and adjust your options without popping up the �lash. camera takes AA batteries rather
mode you’re in are greyed it avoids the problem of mucky �ingers leaving The Mode dial offers users a decent amount than a lithium-ion option. You don’t
out so you can keep things prints all over the casing. of shooting options. If you’re a beginner, then get as many shots per charge, but
nice and simple. There’s a whole host of buttons and knobs to you can stick to the impressive Automatic mode, they are easily available anywhere
in the world
get to grips with, though most are pretty self- or select from one of the 21 scene options. As
explanatory. The zoom lever encases the shutter your skills advance, you’ll have the con�idence
release button in a position that’s reasonably easy to move into programmable Auto mode, which
to �ind when composing a shot, though back- gives you access to the function button options.
mounted zoom levers tend to be that bit more More advanced users can use aperture or shutter
Main menu
Flash control LCD display
options
Viewfinder
Memory card
The amount of internal memory
is not specified, but you can fit 11
images at the highest quality, which
is more than most cameras. The SP-
Playback menu 510UZ also takes xD Picture Cards
inserted into the side
Menu
74.5mm
button
xD Picture
Card house
Maximum zoom
You can achieve really great results
d-pad from using the 10x optical zoom,
2.5-inch LCD which allows you to get in close to
objects without having to physically
Shooting guide 105.5mm move yourself nearer!
84
Camera specs
Price Exposure modes
£229 A, P, AP, seven
Megapixels (effective) scene modes, nine
7.1 advanced scene
Max resolution modes
3,072 x 2,304 Flash modes
Lens data A, Fl, Foff, RE, RE+Fl,
f/2.8-8 (38-380mm) SS
Zoom Connectivity
10x opt, 5x dig AV, DC, USB
Focus/Macro Weight
60cm-Inf/3cm 325g (excl. batteries)
Shutter speeds Dimensions
15-1/1000sec 105.5 x 74.5 x 70mm
ISO sensitivity Batteries
A, 50, 100, 200, 400, AA, Ni-MH
800, 1600 (2500, Storage
4000 in 3MP mode) xD, 21MB
Metering options LCD
ESP, CW, S 2.5”
on the front
Build design
This camera has a typical prosumer
build to it with a protruding zoom lens
and a large grip over the battery casing.
It’s easy to hold, and we think the carry
strap is a rather nice extra
AF assist
priority options, or opt for fully manual shooting. noisy shot is arguably better than no shot at lamp
10x optical zoom lens
A smart option is the My stop on the Mode dial, all, so it’s a nice extra to have. The Macro mode
Zoom control
which enables you to save your favourite settings focuses down to 3cm (if you switch to Super Shutter release
for use in the future. Beginners can also make Macro), which is enough for most users and
the most of the Guide, which is an in-camera help produces above-average results, though the
and advice screen; advanced users can delve colours are a little soft at times. The 10x optical Power
into the Advanced Manual supplied as a PDF on zoom is indispensable, and if you activate image button
the CD-ROM and �ind out about all the options stabilisation, you get sharp shots even when it’s
available for creative shooting. It’s great that two at full extension.
on the top
help options are available. Overall, this is a wonderful camera that
Image quality is very impressive, with suits all digital creatives. The 10x zoom, 7.1 Mode dial
accurate colour rendition and sharp details in megapixels and the high ISO capabilities, along Image stabilisation button
all conditions. Especially of note is low-light with image stabilisation and custom settings,
performance, which is aided by the ISO 1600 make this an attractive model that delivers high
What we like What we don’t like
we say
setting, though a degree of noise does creep in. If quality photos for turning into paintings. Also
you’re in a really dark location, you can crank the keep your eye out for the new Olympus SP-550 Strong build design Easy to lose Len’s cap
ISO up to 4000, but this means dropping down Ultra Zoom. Scheduled for release in March, this 10x optical zoom Simple to forget to
to three megapixels and it’s not recommended model offers a world-�irst wide 18x optical zoom.
lens pop up the flash
as shots suffer from high noise levels. Still, a And we’ll review it in a future issue! Manual shooting Zoom control not
options too ergonomic
Macro shot
The macro enables you A bridge camera features
verdict
9.8
(PDF)
Minimum zoom
Even on minimum zoom, the detail
– AV cable
– USB cable Overall
score
and colour quality is exceptional with
this camera. It is the perfect model – Software CD-ROM
for going out and taking reference – Support neck strap
photos for your art – User manual
85
As close to Company
verdict
Overall
score 9.5
86
Universal
Mixer
palette
RealBristle
brushes
Corel Painter X
£242.05 | Enjoy real media effects like never before!
he wait is �inally over – the new version Da Vinci even used it when composing his
of Corel Painter is here, ready for you paintings such as the Mona Lisa, so you know
to buy and enjoy! And although you you’re in good company! When coupled with
probably expect us to say this – it’s a the new Layout Grid, it means you can ensure New and improved
With new artistic and photo editing
damn �ine new version, building upon the tried your photo cropping or painting focal points features, Corel Painter X has
and tested features that make the software so are in the best place. enough power and potential for
attractive in the �irst place. If you are just starting out in Corel Painter, anyone interested in creating the
Brushes have always been at the very or you want a quick and hassle-free way of best in digital art
centre of Corel Painter, and with this new creating art, the PhotoPainting option is for
version users can enjoy revolutionary brush you. With this you open up a photo, apply What we like What we don’t like
we say
behaviour. The new RealBristle Painting one of the new colour styles (Watercolor,
New RealBristle It would have been
System is absolutely astounding and lessens Impressionist and more) and then set the brushes nice for some more
the gap between digital art materials and program to automatically paint over your Divine Proportion tool brushes, but then we
traditional art materials even more. Put simply, photo. If you enable the new Smart Strokes are very greedy!
Dodge and Burn tools
the RealBristle brushes behave as you would feature, you can sit back and relax while the
Auto-save function
expect a traditional brush to behave. You can program detects the forms in the photo and
alter the controls so you see every bristle on adjusts the size and direction of brush strokes
the brush, and even determine how close the accordingly. Once it’s �inished, you can bring Corel Painter X Company
verdict
bristles are to the canvas. You can work with detail back using the Restoration tool or start Corel
just the very tip of the brush touching the applying manual brush strokes. Web
document, or push hard and see the bristles The new Dodge and Burn tools allow users to www.corel.com
Operating systems
splay out. With the enhanced brush ghosting highlight and darken an area on an image and Mac and PC
feature enabled, you can also see the tilt, set the level of opacity and size to ensure total Minimum requirements
bearing and location of your graphics pen. control. The support for Intel-based Macs and Mac: OS X 10.3.9 or
Traditional art techniques and disciplines Windows Vista also means that the software is later, 256MB RAM,
are very important in Corel Painter, and with optimised for today’s computers. 700MHz
PC: Pentium III,
version X you get exceptional control over how Generally, this is a good new version. The 700MHz, 256MB
you present your artwork. The new Divine RealBristle brush category is absolutely RAM
9.0
Proportion tool lets you apply a special grid sublime to use and the support for the latest
over your photo or sketch to help you position Operating Systems means work�low is smooth Overall
the important elements. This grid is based
upon a traditional art ratio that has long been
thought of as being aesthetically pleasing.
and fast. Once you add the new features to the
existing ones, it’s plain to see that Corel Painter
X is a dream package for digital artists.
score
87
Drawing Workshop:
Simple Steps To Success
£9.99 | Valuable techniques for improving your drawing skills
here may be some of you out there incorporated traditional artistic theory Author
wondering why it is we have into its pages. Although it only skims the Lucy Watson
turned our back on the digital surface of techniques such as composition, Price
format in order to review books colour and perspective, there is more than
£9.99
Publisher
based around traditional art material. You enough information for budding drawing Dorling Kindersley
may think we’ve gone mad, but we have students to hone their technique. ISBN
not. It’s a sad fact that there aren’t many There’s no denying that the book’s 1-4053-1287-4
books dedicated to the Corel Painter author, Lucy Watson, has done a fantastic
software, but in an odd way it doesn’t job in writing accessible and informative
matter too much. Because the software is text. Her tone is perfect for teaching
based around how real media works, you new skills and we never found ourselves
can dip into traditional art texts and still having to read a sentence over in order
learn loads. to work out what it meant. But the
This title here is perfect for anyone who book’s killer feature has to be the images
would like to build upon their drawing used to illustrate each point. These are
skills, or develop them in the �irst place! It absolutely beautiful and add a real feeling
is full of colour photos showing you how of plushness to the pages. You can look
to build up a drawing – from rough sketch at these to get the general idea about a
right through to detailed shading. There concept, before then reading the �ine
are various projects littered throughout detail in the text. All-in-all, this is an
the book that you can follow to create the exceptional book for keen sketchers.
end result, and these have valuable tips
and advice.
In between the information pages,
Use the you’ll �ind Gallery pages. These are a great
practical projects place to come and see what a wide range
Even though the book of style the drawing banner covers. They
is aimed at people sat also serve as an excellent idea pot to dip in
with a real pencil in their
hand, there’s plenty and out of for future projects.
of information to help One thing that we particularly
improve your drawing liked about this book was how it also
Materials
Paper choices Real-world examples
There’s plenty of opportunity to The book is stuffed with helpful
learn more about how an artist techniques for enhancing your skills
would use paper and gain a better and everything is clearly illustrated
understanding of the paper choices so you can see exactly how
within Corel Painter something works
88
89
Print your
images to
canvas!
Give your creations the final finish by getting
them printed onto canvas. Here we show
you how to use the PhotoArtistry site
Tutorial info othing quite beats a nice glossy
printout of some art to add
Painter master interest to a room. Whether
Jo Cole it’s an illustration or stunning
photo, a few well-placed prints can be all
Time needed
you need to transform a dull living space
10 minutes
into something that’s in�initely more
Skill level welcoming. However, it seems a shame
Beginner to buy somebody else’s work if you’ve
created some pieces of art yourself.
To get the most out of your photos or
illustrations, get them printed out using
Get your
the PhotoArtistry service. This company best artwork
will take your image �ile and print it out
onto a variety of mediums, all of which printed free!
offer exceptional results. As well as the Turn to page 97 and enter
straightforward photoglossy and semi- our Readers’ Challenge to
gloss prints, you can also choose to have
your image converted into a poster, and
win a canvas
maybe take advantage of the MDF block
mounting option. This is where printouts canvas stretching service, where your
are mounted onto 18 or 12mm MDF print is expertly stretched onto quality
blocks and you can choose to have the stretcher bars so it’s ready to hang.
edges of the block painted matte black, We’re going to show you how to place
white emulsion or left as natural MDF. an order at the site, from prepping your
But our favourite part of the service – and image for submission through to deciding
the focus of this tutorial – is the canvas which options to go for. The quality of
Your stretched canvas comes with The texture of the canvas is very printing option. With this, your image the product really is impressive – we
hooks, ready to hang pleasing to the eye is printed onto 340gsm matte canvas had this digital painting printed onto
that meets the Fine Art Trade Guild’s stretched canvas and were blown away by
standards. The inks used are guaranteed the results. Colours were rich, the �inish
to remain crisp for over 75 years and was impeccable and it looked like a real
each print is heat-sealed to give extra painting. Visit www.photoartistry.co.uk
protection against scratches and splashes. to see how you can turn your �iles into
If you decide to go the canvas route, we’d professional prints, or enter our Readers’
also suggest taking advantage of the Challenge to win a free canvas!
Che
05 Yourmeasurements And here is
why you needed to make a note of
the dimensions in step three! Enter them in the
your image, click the Submit your Image button,
click Choose File on the page that appears and
then click Upload File. This could take a couple of
dre
91
01
Title: Thar, King
Thar is a character portrait commissioned
for the vast Santharian universe (www.
santharia.com) I decided to give him
relatively understated armour and a rather
simple crown, in order to put the focus on
the features, and have them tell his story.
94
02
Title: Mr Bilbo Baggins Of Bag End
If you decide to do fantasy illustration, you must at some point
take on Tolkien. It was hard to resist the urge to be influenced
by the Ian Holm movie version, but instead I created my Bilbo
based on some nice photos of Irish and Scottish farmers, with a
dash of the author himself added in for good measure.
95
04
Title: Shhh!
I have two nephews and a niece who are
bezonkers over dinosaurs, and this was done for
them, though I admit I have wanted to paint a
scene like this since I was their age. I ended up
making a clay sketch of a triceratops in order to
get the perspective right, which is something I do
from time to time.
05
Title: One Tough Customer
I developed this as part of a friendly challenge
between a handful of epilogue.net artists
to create a mock cover for Heavy Metal
magazine. I opted for a humorous take and
it was good practice to try to get that Heavy
Metal feel. I think everyone else enjoyed
themselves as well.
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