Corel Painter - 04 - Magazine, Art, Digital Painting, Drawing, Draw, 2d

O f fi c i a l C o r e l ® P a i n t e r

Learn to paint digitally today!

T M

M a g a z i n e

Artistic advice and inspiration Edit with the Focus effects Using the Artists’ Oils Creative questions solved

Official Magazine

I s s u e f o u r

O N N T H HE D I E IS C S C

FEATURED IN THIS ISSUE

GE T T S T TA R T TE D E D W I IT H T C O H OR E R L E P AI N NT E T R E R • Q U UI I C C

Selection tools

K S T K S TA R T G T GU I ID E D E • P R RO G O R AM D E EM O M O • R E ES O S U O R U C R E C S E S

Control every part of your image with our guide to selection options

Learn to draw faces Understand face proportions and draw portraits from scratch

Pastel pictures

Watercolour masterclass

Discover how to re-create this classic art form on your computer

Produce a beautiful lake scene, courtesy of the Watercolor brushes

Special feature! See page 22

V i s i t u s o n l i n e – w w w . p a i n t e r m a g a z i n e . c o . u k

Use photos to create art Three top artists reveal how and why they use photos in their artwork

www.paintermagazine.co.uk

c M a n d a P C

Free CD inside 207 PHOTOS | BRUSHES | FONTS

ISSUE FOUR

Home prints The best suppliers of fine art paper for home inkjet printers

Paul Gauguin Re-create Gauguin’s colourful style in our Paint Like… tutorial

Readers’ art See what artwork other readers are creating with Corel Painter

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

Pg 48 4 8 Selection tools We reveal how to use the best selection tools and improve your work

Pg 52 Watercolours Perfect the classic look of watercolour paintings with this tutorial

Pg 68 6 8 Drawing 101: Face proportions What you need to sketch faces from scratch

Visit our website!

It’s impossible to identify a typical user of Corel Painter – the variety of styles st yles and techniques is what makes it so special. But one noticeable trend to have appeared is that of professional photographers using the program to offer clients �ine art portraits. Not only does this add something extra to their services, it also means they enjoy another creative outlet. Our feature looks at how three photographers are using Corel Painter to do just this, so turn to page 22 and get some valuable advice from the experts. If you prefer a rougher �inish to your work, the pastel tutorial on page 40 offers the perfect anecdote. Learn how to build up a great pastel effect and load your your image with texture. text ure. In complete contrast to this, page 52 reveals how to manipulate Corel Painter’s Pai nter’s Watercolor Watercolor brushes to create a lake scene that looks as wet as its subject matter. And if you enjoyed our portrait painting tutorial last issue, turn to this issue’s Drawing 101 10 1 on page 68 and discover how to sketch faces from scratch. Happy painting!

I S S U E F O U R

















































s p g 3 2 it s p a it r a rt r ia n p o rt r ian o r c t o i ic V

Watercolour

R E V O C T N O R F E H T N O

masterclass Turn your photos or sketches into stunning watercolourr images watercolou

Pg 52

P22 22 USE USE PHOTOS TO CREATE ART

P99 GE GET T STAR ART TED WITH DIGIT DIGI TAL PAIN AINT TIN ING G

DISCO COVE VERR HOW HOW THR HREE EE PHOTOGRAPHERS PHOT OGRAPHERS ARE CREATING ART FROM THEIR IMAGES

FREE CD-ROM PACKED WITH ESSENTIAL RESOURCES FOR CREATING DIGITAL AR ART T

Regulars in every issue 08 Subscriptions

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Sign up for our subscription service to save money and make sure you never miss an issue 10

31

Another bumper crop of weird photos to load up in Corel Painter and get creative with

Corel Painter community See what’s happening in the world of Corel Painter and catch up on readers’ letters

Painter showcase Delicious pages of beautiful Corel Painter artwork from both new and professional artists

Reader’s Challenge

98

On the the disc Get all the information of the art resources on this issue’s disc

Pg 34 3 4 WIN! YOUR WORK PRINTED TO CANVAS

Reviews 84

Kodak EasyShare V803 It may be a humble compact, but we find out that it still delivers a hefty amount of power. Read our review to find out more

86

Wacom Favo Favo Comic Pack Like manga? See if you’ll love this special graphics tablet package from Wacom, which bundles together a Graphire4 tablet and specialist software

Pg 97 9 7 88

Books Head

88

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Use photo ph otoss to create art pg 22

Paint like Pau aull Gauguin pg 60 Interview: Bruce Dor Dornn pg 14

Oriigin Or gina al ar artw twor ork k by Fa Fay y Si Sirrkis

Feature Combine Combin e digital art ar t 22

Original artwork by Bruce Dorn

Turn photos into into art

We catch up with three professional photographers and discover how and why they are using Corel Painter to create art

V isit t o our w ebsit e no w !

tutorials Create inspirational art 32

Daniel Cox Cox shows you how We get this talented artist to talk us through the creation of one of his images, and share his best creative tips

40

Get up and running… 38

Watercolour masterclass

Effects: Focus Control how a viewer’s eye moves around your image by using the Focus commands

Paint with with pastels Discover how to master the art of working with digital pastel and create a your own glorious piece of art

52

Primers

w w ww . w paint er mag az ine. c o o. uk

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Brushes: Artists’ Oils For luscious brush strokes, this brush set is hard to beat. Learn more about it here

























y t i n u C o m m Tutorial xxxx

NE WS E VEN TS RESOURCES ITES S T LE T TERS WEB INFO FORUM

Get creative with free photography There’s a whole culture of free photo sites to explore and then get painting with! RESOUR RE SOURC CES

MorgueFile ( www. www. morguefile.com ) is another top provider of quality photos for personal or commercial use

he relationship between Corel Painter and photos can be an extremely extr emely close one – our feature on page 22 shows how three photographers now incorporate digital painting in their creative work�low. Of course, there’s also the opportunity to use photos as the driving force behind a painting.

There’s no need to limit your creativity to what you can personally photograph, though. The art community is a sharing place and the amount of sites that offer free photos for download is growing all the time. One of the best places to go is Stock.XCHNG (www.sxc.hu). Sign up to the site and then search the database for the photo you need. Once signed in, you can download as many photos as you like, but do pay attention to any restrictions placed by the photographer photographer.. If you do need photos for a commercial project, MorgueFile (www.morgue�ile. (www.morgue�ile. com) is just the ticket. ticket . You can download

us place to to ww.sxc.hu ) is a fabulo us ck.XCHN G ( w ww.sxc.hu Sto ck.XCHN tos or qualit y free pho tos come f or

Finally we have to mention Yotophoto (www.yotophoto.com www.yotophoto.com). ). This is a search



























RESO RE SOURC URCES ES

Prepare to enter texture heaven Free resource site offers lots of potential to digital creatives orel Painter’s brushes can live or die by the paper they are used on, and the secret of a really good paper is one that has plenty of texture for the brush to cling to. One excellent way of getting the exact paper texture you need is by creating your own, and a great site to visit to help you with this is Image*After (www. (www. imageafter.com). imageafter.com ). This is a really helpful site that has thousands of free photos for you to download, and it has a particularly good texture section. Arranged into categories such as metal, fabrics, rock and goo (!), you just have to click on a texture text ure you like and then wait for it to download. Once downloaded, open up in Corel Painter, take a grab and turn it into the perfect paper texture!

Creative happenings from around the world MAY

31

iStockalypse

If you’re near Austin, Texas from 31 May to 3 June, pay a visit to the iStockalypse. Kicking off with a full day of training for beginners looking to improve their photos, visitors can look forward to a few days of sun and fun. Pay a visit to www.istockphoto.com to www.istockphoto.com to see if there are any places left.

Image*After has lots to offer Corel Painter users looking for images to turn into paper textures

L S OL O O T T T A R

MAY

Improve your colour knowledge

Become part of the GFXartist comm community unity

Handy online tool means means perfect colours every time

PORTFOLIO

icking colours that work together is an essential part of any artist’s work�low. The wrong colour can ruin an otherwise perfectly executed painting, so it’s important to get things right. If your colour theory is a bit rusty, though, Steel Dolphin Creative (www.steeldolphin. (www.steeldolphin. com/color_scheme.html)) has just the com/color_scheme.html thing. This free online tool will work

Diary

d a t e s

Discover some phenomenal artists, such as Katarina Sokolova, who created the

Inspiration and glory await you at Inspiration this popular art site reating artwork can be a lonely business, which is why communities such as GFXartist are so important. The site went live in March 2000, operated by Brothers in Art who hail from the Netherlands. Thanks to a dedicated team of volunteers from around the world, it has grown into a thriving community for people to come and discuss their work, to learn from the tutorials or just to catch up with friends using the buddylist and message system. It’s impossible to do a casual browse of the site – the variety of photography, digital art and

24

Karen Sperling art exhibiti exhibition on

Visitors to Ney York’s Monkdogz Urban Art Gallery can enjoy a show that includes the work of Corel Painter genius, Karen Sperling. Running until 2 June, get more information from www.monkdogz.com JUN JU N

07

Landscape photography class

If you head over to Pittsfield, Illinois, on 7-9 June, you will find a three-day training course on taking landscape photography. Your Your host is Don Gale and if it sounds like something you’re interested in, visit www. photographyhybydon.com to photographyhybydon.com to see if there are any places left.

























s r e t t e L r u o here you can come wh agazine w ma he m th he part of t th Welcome to t ou fancy! yo nything y an and share your thoughts on a

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

Tweaking the past I have your magazine and I would be interested to appear in print. I have sent you one of my latest digital artworks made completely with Corel Painter and my Wacom tablet. As you can see, this digital artwork is a re-creation or interpretation of Girl with

a Pearl Earring , painted by the Dutch master Johannes Vermeer. Many people often describe it as ‘the Mona Lisa of the North’ or ‘the Dutch Mona Lisa’. Most of my digital artworks are abstract and neo- �igurative. I have been using Corel Painter since the earlier versions, but in the case of this image, I used the Artists’ Oils brushes, Impasto tools, and also John Derry´s brushes. If any other readers would like to see more of my work, my digital art portfolio can be found at www.ivandomeyko. co.nr.. co.nr

Readers’ Tip Share your Corel Painter wisdom

Quickly get back to the default I’m forever tweaking my brush variants or adding to various libraries and used to go mad trying to restore to the default settings. Then someone told me to hold down Shift as you start the program an d it’ll go to the original state. Tho ught I’d pass it on!

Sarah Steeley Great tip, Sarah. It’s certainly a trick we use here quite a lot!

Ivan Domeyko

Has anyone else done the same as Ivan and given a modern twist to a traditional painting?

Thanks for the letter, Ivan, and also for sending us your work. A lot of people are turning to iconic paintings such as Girl with a Pearl Earring and and giving them a modern twist. It’s a great way of instantly getting a clever picture. We do something similar in out regular Paint Like… tutorials, but tend to stick with a straightforward re-creation of a classic image. Actually, while we’re on the subject, it ’s worth saying how valuable working in another painter’s style is. By forcing yourself to work in another way, you tend to uncover new methods for doing something – often far better methods!

Sharing the wealth Just had to write and say that I love the magazine. The �irst issue just debuted here in Canada. Please �ind two sample images for attached submission in the magazine and please keep up the GREAT work. If anyone want to visit it, my website is www.webcomicsnation. com/jgesq/

Juliann Grant Julia Well, keeping with the spirit of sharing the love, we really like what you’ve done with these images. We’re guessing they started off

























kThe latest from our u .forum and website o c . Website updates e n i z a g a m r e E N NT E T R E T H R t HE E F O OR U R M U M n C H HA LLE i NG N E G E a p . w w w As you can see below, we’ve had the winners in for our �irst website challenge, but this is only the �irst of many! We will be holding a continual challenge on the website with nice long deadlines, so you have plenty of time to get your entry in. And here’s a couple we’ve had so far, to boost you along. The �irst is from Kobi McKenzie, while the second is courtesy of ‘Snowy’. Keeping with the website, we just wanted to let you know that we’ll be introducing minor tweaks in the near future to make it even better!

Julian has merged traditional paint techniques with modern images to create these vibrant and striking artworks

as photos? By keeping photo elements and mixing it with more obvious painterly effects, you’ve created something that has its own kind of mood. There’s the urban feel of the photo coupled with the softer side of the brush strokes. Excellent stuff! And your site has some great stuff on it too.

Customisation caution I thought I would write in and share a little problem that I had recently. Even if it stops one reader having the same frustration as me it’ll be worth it! I recently bought Corel Painter X and eagerly started playing about with all the different tools and commands. Enjoyed doing this for a while and then settled down for some proper work.

A few weeks went by and I bought your magazine. I was following Jeff Johnson’s tutorial and went to select the Artists’ Oils brush he used but couldn’t �ind it! All I had in the brush category was one poultry variant. I had a look in some other categories and saw there were quite a few brushes missing. By this time I was well and truly stumped – I could see them in the Libraries but not in the actual interface. And then it dawned on me. When I was playing around with the program, I was tinkering about in the Customize Workspace area. I had turned some brushes off and had somehow set that as my default workspace. Needless to say, all is good now! Patrick Pat rick Sw ift

Ha ha, thanks for the tale, Patrick. I think we’ve all been in your shoes – randomly clicking lots

D o on ’ n ’ t t b e e s h hy y – t h he s t e r ti i l r e l l l t i e ’ ’ s s im e m e t o o e n n t t e e r r w w ! ! G o ww . p ai n o w t o o nt t e e

rm r a g az m c o o. u k i in e n e . k / c co o m p m e p e t t i i t t i i o o n s n s

























Interview Bruce Dorn

WEBSITE JOB TITLE CLIENTS

www.idcphotography.com Freelance photographer and artist United Press International, Condé Nast Publishing

An int inter erv v iew with with… …

Bruce Bruc e Dorn From Hollywood to Corel Painter Master, Bruce Dorn has had an eventful last few years. Nick Spence discovers how a period of reflection led to a whole new career

[BELOW]

Thinkn’ about Runnin’ Autumn colours define this late round-up as an Oregon cowhand keeps an eye on an independent-minded maverick. Bruce

any would think t hemselves lucky to have had one glittering career. Bruce Dorn however, has had several, covering cinematography, photography and illustration. Surprisingly, his career as an award-winning Corel Painter artist only began after a mystery illness laid him low. Fearing that he may be chairbound for the rest of his life, Bruce tu rned to the computer and began experimenting with Corel Painter. Today, Bruce is the only digital artist to be recognised as a Canon Explorer of Light, Ca non Print Master and Corel Painter Mast er. His digital artistry has also earned him

Why and when did you start using Corel Painter? By the year 2000, I had been working as a director/cameraman director/cameraman in Hollywood for almost 20 years. My area of speciality was high-risk cinematography and visual effects. Things were going swimmingly until I was suddenly stricken by a bizarre health problem. I was strapped into one of my race cars when my legs went tingly and then numb. They stayed that way for 16 weeks. I had trouble walking and dif�iculty doing my job. Everything changed at that moment. The condition was never adequately diagnosed, but ultimately cleared up

























n r o D e c u r B y b k r o w t r a l a n i g i r o l l A



























Interview Bruce Dorn

Classic Flamenco

Lacking a proper studio environment, Bruce lit and photographed the dancer in a modest residential garage. The architectural background was added in Photoshop and the composite image was rendered using Painter IX

























Dancers in Repose Spontaneously posed, captured, and painted during one of Bruce’s live Corel Painter demonstrations, this image has been the recipient of many awards. Featured in the Art of Digital show, Dancers in Repose also earned the Gold for Best Portrait in Ballistic Publishing’s book, Painter: the World’s

























Interview

Bruce Dorn

Lioness Charge Working from an image captured during an iDC Photography Photographic safari to Botswana, Bruce used the Sergeant brush and a Small Palette Knife to create a dramatic action portrait

























B r u c c ’s p e’ e p h ott o o o g r gr a p h i c c ex ex p ol l r r a t i o i n s on s of o f tt h h e N e N ew e w W e s s t w e r r e d e d e s e s r r v v e d d y l l r ew e w a r d e d w d w i t h h a a n A r t i s i t i n R e s i s d enn e e c ex e e x h i b i i t i o i n d u on r i n g g t h h e A n s e s l A el A d a m s R R ett r e r o s p s e ec c t i i v v e a t t h h e E i t el e j l o r r g M u s e u u m of of A A m e r r i c c a n I n d d i a n s s a a n d d W e s s t e r er n A r t. I f f y y o u u w o u u d l l i d l l k e e t o s o s e e m e m o r r e o e of f B B r u c c ’s e’ e w o r r , s k, s i m p y l l p p a y a v a v i s i t t o o w w w w w. i d p c h c ott o o o g r gr a p h y .c o m m

























Interview

Bruce Dorn

What advice would you give to any traditional photographer or artist starting to explore the wonders of Corel Painter? Don’t be intimidated! At �irst glance, Painter can seem overwhelming, but have no fear! Get yourself a good basic tutorial and jump right in; I promise that no pixels will be harmed in the process. As with any medium worth mastering, Painter rewards the diligent and resourceful. Select a technique and give it your best. If your initial efforts don’t quite pass muster, try again, and then again. The subtle understanding that makes for a beautiful result doesn’t arrive overnight. Invest ample time exploring and eventually grace will descend on muf�led wings. Until then, enjoy the ride. The joy of discovering one feels while painting is much of the reward.

Finally, what is your favourite piece of Corel Painter work that you have created so far? That’s like asking which child is your favourite. I love them all and each one brings back a moment and a place and a personality that would otherwise be trusted only to porous memory. My Dance Series is an ongoing pleasure and I simply love creating images of the disappearing Wild West. The people and creatures of Africa are a recent discovery that I hope to explore in great depth. All the images accompanying this article are favourites. Bruce is available for commissions, workshops, and tutorials through his website. To see more of his stunning work and learn more about his services, head over to his site at www. idcphotography.com

Bruce’s early career with the camera took him around the globe shooting photo journalistic journalis tic and editorial assignments for United Press International, Condé Nast Publishing, People, Money and Business Week magazines magazines



















































Feature

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ed od u c e c d o r d r p y l l a a u u n an a m ain t e t r er in e e w i t h h C o r e r l el P P a in m b in C o m s l l i i k ow tin g g s sk . “I “I f i ri s t st t e a e c a h ch h o w ain t in p a in n o o i i t t t a n in i a a m m p a u u t t o o t h h e e p r o r g o r g a r m am t o o o d at y y s s e e s s w w w t o o u l yl t h h en en a f t f e t r e t rt o t m ed w a y y. a t e t d m m an u u a a h h e m o u u a e e h h t rop e r er p r op e e h h ow t em op t n s h h o w r r a a e l o o t e p e eop l l y o u ou c o m in e e t h h e e u u a l al om b in I w a ann t t d n en e h h t t d an a t e t d y, an h h t h h e e m a ann w a y, t i w w d e m m o o t t w o o,, a u au e a m t w in g g r e s e u su l tl s. ”s. z z in a m m m For Fay Sirkis, art and painting was always in the blood. Enrolled in o o s r r f o o

Fay Sirkis Sirkis

art classes by her parents at an early age, Fay has wanted to paint since she was a small child. A respected traditional �ine artist, Fay now works digitally and is in demand for her evocative portraits Working from photographs as reference, Fay offers high quality Giclee prints on many subjects, personally signed and shipped with a certi�icate of authenticity. “Mostly I am commissioned to paint

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Drawing 101 Faci Facial al proportions

d an d s t an r s e r d U n d

Facial proport ions Read on for valuable rules and techniques for drawing faces from scratch

FOREHEAD AREA TO EYEBROW LINE

01

EYE AND NOSE A REA TO TO BOTTOM OF N OSE BOTTOM

03 LIP AND C HIN A REA TO TO

02

























rawing a face is one of the most rewarding but intimidating challenges art has to offer. Many people feel very comfortable with landscape and still life, even using the tricky medium of watercolour, watercolour, and yet t hey ashamedly admit that they ca nnot draw people (let alone faces). There are tried and tested means to help us all draw faces, never mind how con�ident you feel. It helps avoid all the pitfalls we bring with us f rom childhood. As children our low viewpoint means we usually look s traight up someon someone’s e’s nose when we look at a face, perhaps this is why we tend to draw eyes right at the top of the head and represent nostrils as two holes. Heads tend to be round and hair is slapped �latly on top. These mistakes stay with us unless we do two things. The �irst to take a good look at what a face actually looks like. This is a very dif�icult thing as we tend to assume we know exactly how a face �its together as we see them so f requently. But you need to look at faces as if you’ve never seen one before. You should get that ‘eureka’ feeling when you realise, for example, that the eyes are generally about halfway down the head. Because they are such an

Think about anatomy when you’re drawing Start to see the forms beneath the skin We’re not going to deal with anatomy in this issue, but it’s worth mentioning. The best way to get a real understanding of the gentle undulations of the skin on faces is to draw your own copy of the facial muscles, or familiarising yourself with how they look. This lets you get a feel for how the different parts on a face should look – basically where all the dips and curves are.

F a c i a l p r o p o r t i o n s

By understanding how face proportions work, you can create great portraits

Italian Renaissance of the 16th Century devised the so-called divine proportions. They have been used successfully to teach people the skill of accurate proportions and to help people draw successful faces.

F RON RONT T

“We assume we know know exactly how how a face fit fitss together asas we see them so frequently” intense feature and we use them so much in terms of communication, our brain somehow someho w forgets to register t hat the whole rest of the head is there. The second thing is to get hold of some general rules and gu idelines. Ancient Ancient Western art from Italy and Greece shows proportioned proportion ed faces and the ar tists of

D r a w i n g 1 0 1

Before the Renaissance, drawings and paintings of faces were devoid of expression. Religious paintings depict passive, almost genderless, �igures despite their beards being painted with great delicacy and skill but without any energy. Since the 15OOs Western art especially has strived to take portraiture from speci�ic representation of features to attempting to capture personality and individual psyches. Leonardo da Vinci applied the golden ratio to the human face in an attempt to identify the ideal proportions. This idea has been developed by artists over the centuries to give us the gu idelines we are going to follow here. We will go through the stage-by-stage process of drawing a portrait from initial ex pressive sketch to the �inished image. Finally we are going to look at each speci�ic feature, the eye,

SEE HOW H OW THE T HE NECK NE CK MUSCLES APPEAR

NOTICE NOTICE THE T HE SHAPE S HAPE OF THE FACE

























Drawing 101 Facial proportions

Work out face proportions It’s easy when you know how

hese four drawings demonstrate how the face can be divided into a grid, which can then be used to place the facial features. It is true that every face is different in many subtle ways but, as a general rule, any face can be subdivided the following ways. The outline of the head sits in the outside squares and the features are arranged within the squares. Illustrations one and two demonstrate how features line up together, for example the eyebrow and the top of the ear and the nose and the ear

lobe. This avoids the common mistakes of misplaced ears, unnaturally short foreheads, overly large chins and other misjudgements. It ensures the face shape and pro�ile contours are in the right place. The quartered grid shows speci�ic relationships between the facial features. Triangles highlight the equal distance between different points on the face on the pro�ile and also within the central features of the face. These various relationships can be listed and recognised as follows.

The eyes are nearly halfway between the chin and the top of the head. The bottom half of the face below the eyes can be divided into three to measure the space between eyes, the pudgy part of the nose, the centre of the lips and the chin. The head can be divided into �ive at the eye line and that should approximately represent where the eyes �it in. The space between the eyes is one eye length. The remaining two eye lengths are the rest of the head.

Placing the feature featuress This grid is divided up into four columns and four rows, the top row and last column are slimmer than the squares to emphasise the point that the face can generally be divided up into three, at the hairline, the nostrils and the chin. Looking at the profile, in the grid the eyes, nose and mouth are found in one side section, they could almost be said to rest in the bottom left-hand quarter, while the ear stays in the right-hand bottom quarter. And of course once these relationships are drawn they can be easily tweaked to achieve likeness and character.

EYES, EAR AND CHIN When seen in profile, the corner of the eye, the bottom of the ear and the centre of the chin all conspire to make a triangle.

Feature relationships First divide a square into quarters then split the bottom half into three horizontally. Measure between the chin and nose; this is the same distance as between the bridge of the nose and the ear. Mark this on each end of the eye line and divide it by five to show where the eyes are. (two and a half eye lengths

























From sketch to portrait

D r a w i n g 1 0 1

It’s just a case of working out the stages STAGE 1 STAGE RO UGH LY SKETCH SKETCH IN YO UR IDEA Start by sketching out the oval shapes of the head in position and use a composition that is appropriate to your finished idea. I wanted equal space around the head to really highlight the beautiful curving lines her nose and mouth make.

STAGE 2 STAGE CHECK YOUR MEASUREMENT MEASUREMENTS S

STAGE ST AGE 1

Now you have the essence of your image, check your measurements and proportional relationships with the features and the head shape. Make corrections and check features carefully with your source image.

STAGE ST AGE 2

STAGE ST AGE 3

Profile

STAGE 3 STAGE RO UGH LY SKETCH SKETCH IN S HAD OW Gently crosshatch the areas of major shadow. Do not worry too much about a broad range of values; this is very much a working drawing that is still evolving. Pay special attention to the eyes and ears and consider how the muscles may affect the contours.

STAGE 4 STAGE INCREASE THE DETAIL DETAIL AN D RECH ECK YOU R PR OPO RT RTIONS IONS Really analyse the spatial and tonal relationships and begin to evaluate and record the darkest areas. Bring in

STAGE ST AGE 4

Frontal

STAGE ST AGE 5

the background and always try to prevent your subject from floating on a white background. The black behind my subject highlights the profile features and added a little drama with the dynamic contrast.

STAGE 5 STAGE REFI NEME NT A ND FINIS H This stage is the payoff for all your hard work, where your image starts to come alive. Use a 2B Pencil to create soft and hard marks for dark shadows. Think about the nostrils, pupils, ears and centre of the lips, which are the darkest areas and work over all areas, sensitively.

STAGE ST AGE 1

STAGE ST AGE 2 STAGE ST AGE 5

F a c i a l p r o p o r t i o n s

























Drawing 101 Faci Facial al proportions

Eyes, ears, nose and mouth Now you know the structure, meet the finishing touches

Eyes

Ears

The face VIPs To bring the eyes to life, include reflected light on the pupil and take great care to draw the eyeball partially covered to avoid staring. A shadow below the top eyelid and highlights on the bottom lid open the eye up.

Small but important Chances are you won’t be drawing ears very much, but if you are, they need very sensitive shading, like the mouth. Use the hair to create its strong edge and leave a little light next to shadows to help the curves take form.

01

01

ye shape o f the e ye basic shape ial sketc h lays down the basic T he he init ial sits and how it sits

03

02

hapes ore deta il il to th e basic s hapes Add m ore s out the f eature eature s and flesh flesh out

04

02

ow the e ar ar ugh line s to sh ow Place the the ro ugh eral form edges an d gen eral

03

appy wit h the When yo u’re u’re h appy ading portion s, s, appl y light sh ading pro portion

05 04

ing, lowly bu ild ild up the shad ing, S lowly ut the pick o ut takin g care to pick that and hig hlights hlights that sh adows adows and ear its s wirly, wirly, will gi ve ve the ear ony form b ony

ted to a much s, you a re re trea ted darker s hadow hadow s, aving darker top at ste p four , but by h aving You c ould ould s top eye ore pow erful erful eye m ore

Working with the eyes When you are planning the position of the eyes, a good rule is to space them an eye’s width apart. This will avoid any skewy faces.

05



























Nose

Mouth

Smells good to us

Lovely lips every time

The nose is really tricky to draw, because it changes dramatically with the slightest movement. The most common mistake is to draw too much – keep the shadow light all over except around the nostrils but avoid thick lines on the bridge. Suggestion plays a big part in drawing noses!

A well-drawn mouth is the most important facial feature after the eyes. Remember to make the centre line the darkest, the top lip thinner and darker and avoid heavy outlines at the edge. Always try and study what you see rather than drawing how you think lips should look!

01

01

basic sh ape ape an d Crea te te the basic er then plu mp mp ou t the low er this by and top lip. Do this lip and our lines drawin g circula r cont our

02 02

n, gh shap e draw n, Wit h a rou gh lise the c artilag artilag e start to visua visua lise etch thes e in nd sk etch an d bone a nd

03

03 d, start t o ontours applie d, Wit h the c ontours the ding to p ortray ortray the add som e sha ding ’s fullnes s lip ’s

04 04

D r a w i n g 1 0 1 F a c i a l p r o p o r t i o n s

























DON SEEGMILLER

TITLE

Bridge, Ball, Trunk

















































Your

questions answered Up in flames I’m trying to paint a bonire but was wondering if there are any particular brushes that are good for painting ire? L� 

Your experts Stewart McKissick Stewart is a long-time user of Corel Painter and is a big fan of the airbrush and illustration potential offered by the program. Here he answers your questions on creating cartoons and character design.

Jeff Johnson Jeff is an excellent artist in his own right, and he is also kind enough to share his knowledge with all of you. He tackles the general creative/technique questions here, and has loads of helpful tips to make you a better artist.

What you’ll you’ll find in this section Software

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

Fine art

When it comes to creating art, you often find little niggles that ruin your masterpiece. We sort them out

You can paint fire with a mere handful of hues ranging from a near-white yellow to a deep reddish-orange. The trick is in laying down those few colours in a way that makes the fire more convincing. The Tapered Round Oil Brush is one of my favourites, and I often use it in tandem with the Oily Blenders for painting fire. The Tapered Round creates a stroke with a wide base that comes to a near point, which mirrors the shape of flames. The Oily Blenders allow you to pull sharp little flame licks out of one area into another. They both allow you to make the sinuous kind of strokes that mirror flames.

Fly me to the moon Please help!! I’m I’m desperately trying try ing to paint a space scene but can’t seem to get the moon right. Is there a trick that can help me? me? S� M� d. I on e d me nti o I me s I sh e s ru s b ru o wo b t w e t the it h th e w it ir e w on f ir b o i ng b zing la z b la d ed t t his b i nt e aint p a I p , a nd d n u u o o R e ed R d r r e e a a p p T T e the th i it t h w s e e u hu h d e s a n u s a al l u e v a i c v s ic as b a e b t he e d in d in t k e c k lo o c b l s- i s s c r ris e c om e s o i ng s d dd ing a d r a er le nd e le B y y B i i l l O O e the th i it t h w e w i ime m t l le t e i it t t t l l a a t e e n p p s n t he s ce e s la c r i n p la rt t h e r i a m e s fu r f l la om e f s o ing s t e e n d ing e x xt d e s a nd i e s a d dd ie e d i n g e s s s i o s c r ro

Illustration

Make sure your illustrations are in top form by following our advice

Painting the moon is no harder than painting a ball. Well, a really big ball

























The cat’s finally out of the bag

Q & A

I’m an animal lover but I also like to do cartoony drawings. I was hoping to combine these two things and was wondering if there’s a quick and effective way to draw cartoon cats?

A r t C l a s s

K E�

Quick usually means simple. Using basic shapes to build the character is the quickest way. Here we’ve drawn three cats in three steps – one thing that can help is to study the real thing and notice the kinds of behaviours that are unique to the animal. Cats may be the most often-cartooned creatures of all. We’ve tried to choose poses that really s ay ‘feline’.

02 Adding detail

Here you may use as many or as few additional details as you wish. The minimum would be eyes and a tail, which are very defining parts of a cat. We’ve also added noses, mouths (which ‘split’ out of the end of the nose), whiskers, and legs/feet.

01 Building up the shapes

For each pose, we’ve broken it into a simple body, bo dy, head, and ears. Cat’s heads are basically rounded and can be stylised into triangles as well. Ears Ear s are always triangular. If this stage is successful, you should be able to ‘see’ a cat even now – if not, no t, perhaps another pose would be better. bet ter.

Personally, I come from a sculpture background, and overall I tend to see

03 The purrfect finish

Now you can finish the drawings however you like. Using layers in Corel Painter we erased the lines that t hat we didn’t wish to keep and coloured them in a textural manner. As always, observation and practice are keys to success.



























Q&A Q& A Art Class

Hearing your problem I’m trying to draw realistic portraits but are there any useful tricks of the trade for drawing ears? L D C�

A lot of folks dread having to draw ears, but I look forward to it! I f you break the ear down to a couple of easily remembered shapes, no matter what position you see it in after that, you can easily understand what you are looking at. I can’t remember whether I made this up or read it in a book, but my choice is to see the main forms, expressed by the curved ridges, as a letter and a number, namely the letter Y tucked into the number nine, which you can see in my diagram.

Something to ponder Do you have any good advice for painting water? I’m trying to draw a big pond.

Ass u um m e th e ni ne ne a a n nd th d th e e Y Y a a re re m m a ad e d of w w ir ir e, a e, a nd nd yo u u b b en en d d t t h h e em s m s li li g gh tl h t l y to fi fi t t h he co n nto t o ur ur s of t t h he e e e a ar, r , a s s s s ho ho w wn h n h er er e e. S e ee h e h o ow w e e a as s il i l y yo u u c c a an u n u n nde e r d rs s ta t a n nd d t h he f e f o orm rm f f ro ro m m a a n ny an g gle l e ? Th e e n n ex ex t fe w w e e ar ar s yo u u l o oo o k k a a t sh o oul l d m ak u ak e e m m y y p p oi oi nt nt f f or or m m e e, a n nd m d m a ake k e a a p re re vi vi ou ou s sly l y to to u ugh h s g s bj t d

























Time for reflection I’m just getting into the digital side of painting and I’m rather curious to know what your advice would be on how to paint

01

realistic re lections lections? ? D� C�

Most surfaces have some visible reflective properties. The different reflective qualities of different surfaces is important to study and make notes on, as little details can have a big impact on how convincing an image is. Looking at the reflective properties of water is very instructive. On a day without any breeze, water can reflect almost like a mirror. Just a wisp of wind stirs up the surface ever so slightly and the mirror gets a little clo udy. More breeze further disrupts the mirror effect, and so on. The same goes with other reflective surfaces. Shiny but rough surfaces will reflect objects much like water in a breeze, for instance. A painter will encounter more challenges

02

in the 02 Blocking values

Now I am painting in some of the colour of the wall, which reflects down to a bit past where the lines of the panelling disappear. Note how this helps define the shape of the globe’s glob e’s reflection, as well as tying the table top and the wall together better.. Objects next to one better another almost always mingle colours in this way.

A r t C l a s s

03

01 Mapping in the reflections

A moderately reflective surface like the one I’m painting here will create a sharper reflection at first and taper off rapidly. The lines that extend the panelling suggest this. Note that I dropped a facsimile

Q & A

03 Finishing up

Here is the final product. After blocking in the values of the reflections (the reflection of the base is nearly the same hue

























Q&A Q& A Art Class

Neon lights I’ve always loved those really cool neon signs you see outside cafés and clubs in ilms. Is there a way to create this effect in Corel Painter? N H�

Neon is a gas put in glass tubes that glows when electricity runs through it. There are a couple of ways using Corel Painter to get this effect. We’ll look at the easiest one fir st.

Method Meth od 1:1: The The Neon Pen In the F-X Brush Category is the Neon Pen. This brush creates a pretty good version of neon just by drawing with it. However it does have some limits. If you make it too large and turn ‘corners’ too sharply it will leave small artefacts. Remember that light reflects, so it certainly helps to have a dark ground to show the ‘glow’ around the tubes. We started with a black canvas and to appl y the effect to the words we used a handy trick. First we set the ty pe using the

Create a black 01 and white drawing

Here we’ve made a black and white line drawing of a sign. A typeface was chosen that looks like curving glass tubes, and the shapes were broken and ‘connected’ to the ground with lines representing wires.

02 Make a colour layer

The drawing was put on its own layer and the lines filled in using bright primary colours . The ‘wires’ were made grey on a separate layer. The background bac kground was filled in black so the glow would show up well.

the 03 Add glow

The layer with the colour

























Adding Addin g dep depth th to to your cityscape I’m currently in the middle of trying to illustrate a cityscape but whatever I seem to do it still looks really lat. Is there anything I can do to my image to make it look more 3D? D�� C��

Worry no more Darran because there are several things that can create the illusion of depth on a two-dimensional surface. The most important ones to remember are overlap, contrast, and a sense of light and shadow. In this example here, we have built three layers in Corel Painter to try and illustrate all of these. Hope it helps!

01

03

Q & A A r t C l a s s



















































t he n g t in U s i prod uelcP ta s er te in t

We used Cor o to his pho t th o t weak t to t it ou t tiing t ore prin t fo be f fiine ar t he f th f t o one o f to on t viie wed cards we re v

























Reviews Kodak EasyShare V803

Kodak EasyShare V803 reference library with this affordable compact camera £149 | Build up a reference orel Painter has always had a very strong bond with photography – just turn to page 22 to see how three artist s merge the two disciplines – so having decent images to use as the basis of projects is a major bonus for any artist. But it’s no longer the case that quality automatically means having to empty your bank account. Even cameras in what ’s known as the ‘budget’ range have more than

to �it inside a pocket but isn’t so thin that you wouldn’t notice if it fell out. At the risk of sounding like a camera porn mag, it also has a really nice texture t hat makes you want to touch it. it. And its general design makes it easy to hold and keep steady while you frame your shot. Take a scoot round the back and you’ll �ind a 2.5-inch LCD with two brushed meta l panels for the various controls. The metal contrasts very

Batteries The rechargeable lithium-ion battery slides neatly into its compartment. The battery door is relatively sturdy and reassuringly clicks shut

























Kodak EasyShare V803 Price

£149 Megapixels (effective)

8.0

Max resolution

3,264 x 2,448

CS, MP Exposure modes

A, SCN

Flash modes

A, RE, Fon, Foff Connectivity

AV, USB f/2.8-4.9 (36- Weight 108mm) 141.5g (excl. Zoom batteries) 3x opt, 4x dig Dimensions Focus/Macro 103 x 54.5 x 25mm 5-70cm/60cm-Inf Batteries Shutter speeds Lithium-ion 8-1/1448sec Storage ISO sensitivity SD, 32MB int A, 80, 100, 200, 400, Lens data

s c e p s a r e m a C

























Reviews Wacom Favo Comic Pack

Wacom Favo Comic Pack £74.99

| Wacom turns one of its tablets into a Manga-making machine. Is Is it a dream combination or a match made in hell? We find out… acom’s Favo Favo Comic Pack is a merry bundle of manga mayhem, boasting a Graphire4 tablet and pen (the lovely white version), a copy of Corel Painter Essentials 2 and the Manga Studio Debut 3.0 software. Chances are you won’t be creating manga masterpieces

if you’re a fan of massive sweeping gestures, you’ll �ind yourself running out of space pretty quickly. However, the smaller tablet sizes also translates to smaller price tags, making it a great �irst graphics tablet buy. The tablet in this package measures 208mm by 204mm, so will �it nicely onto any desk

























Wacom Favo Comic Pack Price

£74.99

Website

www.wacom.com Operating systems

PC and Mac

PC Requirements

Windows 98 SE, Me, 2000, XP or higher, Pentium 800 MHz or higher,, 256MB RAM, higher R AM,

800MB free hard disk space, USB port, CD-ROM drive Mac Requirements

Mac OS X 10.2.8 or higher,, G3 500MHz higher 50 0MHz or higher, 512MB RAM, 800MB free hard disk space, USB port, CD-ROM drive

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Reviews Books

Exposé 4

























Painting Water

























Output

Fine art paper

Fine art paper

























on-line paper.co.uk

























readers’gallery issue four

The freedom that Corel Painter affords artists











































































Corel Painter - 04 - Magazine, Art, Digital Painting, Drawing, Draw, 2d

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