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

M a g a z i n e

Official Magazine I s s u e t e n

Record actions with Scripts Using Painter’s brushes Quick start guide on the CD

O v e r

4 5

o f p a g e s a s t u t o r i a l s

Get creative with cloning

Create your Create own gallery

Produce sophisticated paintings with the Cloners, whatever your skill level

Sign up to our website and show the world your work! www.paintermagazine.com

Get started with

landscapes 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 m

P C a n d M a c c

Make light work of complicated landscape landsca pe scenes by using the Image Hose in your your workflow Turn to page 36

FREE CD

INSIDE

TEXTURES | REFERENCE FILES | ART STUDY PHOTOS Mark-making Achieve convincing drawings with our guide to pencil marks

Cloud study Practical advice for painting different types of clouds

Creative strokes Add interest to your images by creating a painted background

ISSUE TEN

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9

771753 315000

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Welcome This is THE magazine maga zine for anyon anyone e wanting to further further their Corel Painter Painter skills or learn how to become become a better artist ar tist

Pg 46 46 Using Scripts Learn how you can record all of your Corel Painter actions

Pg 60 60 Create fantasy adventures The tricks to creating imaginative illustrations

Pg 56 56 Art study: Painting clouds Discover the techniques and equipment needed to paint realistic clouds

Out of all the features in Corel Painter, the Clone tools are the ones that cause the most discussion. To To some artists, artist s, they are seen as cheating – no better than tracing over an image and colouring in. But we think that they are a fantastic way for users to get used to the program and can actually be used to create very sophisticated images. Our main feature this issue looks at cloning, taking you through three projects, each for different skill levels. You’ll learn how to use multiple multipl e brushes, introduce textures and also how to clone ‘freestyle’. Turn to page 22 and �ind out more. Elsewhere this issue, we take a good look at the Image Hose, speci�ically as a way of creating better landscape paintings. You’ll �ind that on page 36. We also have a brilliant art study on painting clouds (page 56), a tutorial on the Scripts function funct ion within Corel Painter Painter (page 46) and an in-depth look at what marks to make in your sketches and drawings (page 68). Have fun!

Visit our website!

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g 5 0 p g5 es s rok e t ok s r o e s st s L o o R E V O C T N O R F E H T N O

pg 22

Fea F ea tu r e Achieve striking images using the various Cloner tools

Get creative with the Pg 98 FREE FREE CD

TUR URN N TO THE HESE SEPAGES AN AND D FIND NDOU OUT T WHAT CREATIVE RESOURCES AWAIT YOUU ONTHIS IS YO ISSU SUE’ E’ S CDD-RO ROM. M.YO YOU’ U’LL FIND LOADS OF REFERENCE PHOTOS!

Pg 36 LANDS LANDSCAPE CAPE ART A RT

DON’TWO DON’ WORR RRYY AB ABOU OUT T PAINT NTIN ING G EVERY ELEMENT IN YOUR LANDSCAPE SCENE - WE SH SHOW OWHO HOW W THEIM IMAG AGE HOSE HO SECANMAK AKEE THINGS EAS ASIE IER R

Regulars in every issue 08 Subscriptions Take Tak e out a subscription to the magazine and save money! For non-US subs, see page 89

96 Website challenge Haven’t entered one of our challenges yet? Turn to this page now!

10 Corel Painter community The best sites, services and resources for creatives

the disc 98 On the A full breakdown of the content on this issue’s free CD

14 Interview See how professionals are using Corel Painter. This issue we look at Andreas Rocha 34 Painter showcase

Or ig ig inal ar tw or k by Ata A Allis ish hahi

Clone tools WIN! A YEAR’S SUPPLY OF THE MAGAZINE!

pg 96

Reviews 82 Wacom Bamboo Fun Picking your first graphics tablet can be a stressful thing, but Wacom have tried to make things easier with this entry-level product. See how it shapes up

[mju:] 820 camera 84 Olympus [mju:] On first glance, the [mju:] 820 looks like any other compact, but then you discover it has eight megapixels, boasts a 5x optical zoom and is waterproof. It even manages to take good pictures!

























Interview pg 14 pg 60 Fantasy creations

Or ig inal ar tw or k b by y Andr eas R Ro ocha

Interview

pg 36 Get started in land landscapes scapes

Inspirational artists 14

Andreas Rocha

Discover how this talented artist incorporates so many different styles into his portfolio and learn his tips for creating stunning digital art

tutorials Create inspirational art 36

Get started in landscapes Quickly build up your landscape scenes by using the Image Hose

42

Painted borders Give your paintings the perfect setting with this guide to creating borders

50

Loose brushstrokes Relax your style and build up a loose but very effective

V isit t o our w ebsit e no w !

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

Primers

Get up and running… 32

Brushes: Cloners See what effects this mighty brush category gives

























y t i n u C o m m Tutorial

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

Corel claims you can now create a masterpiece from a photo in as little as three simple steps. Try it and see for yourself!

Corel Painter Essentials 4 out now Entry-level software adds new intuitive workspace and more! SOFT SO FTW WARE

ith a host of new features, Corel Painter Essentials 4 has been launched for both PC and Mac users. A slimmed-down version of Corel Painter, this latest upgrade is ideally suited to new users and those on a budget. Version 4 introduces two distinct workspaces, Drawing and Painting and Photo Painting, each of which gathers the media, paper and brushes relevant to the task at hand from a recon�igured

toolbox. A new Brush Drawer makes brush identi�ication and selection a breeze, while new Color and Mixer palettes allow users to pick a colour with just one click. The Photo Painting System with Smart Stroke Technology has been redesigned and enhanced to ease the path from photo to artwork. Brushes within the Photo Painting System now act as cloners that take their colour from the source image. Introduced in Corel Painter X, the new RealBristle Painting System authentically reproduces the sensation of the interaction between paint, canvas and brush. New pens and paper textures offer of fer more choice

Brushes are organised into types (thick, wet etc) and include some RealBristle effects

and including new training videos and tutorials, our goal is to educate and inspire our customers while giving them the creative freedom fr eedom to develop something truly unique,” enthused Robert



























PORTFOLIO

Expose yourself at Artfair365.co.uk Online gallery offers worldwide showcase for artists, illustrators and photographers f your Corel Painter creations have advanced beyond the basics, you might be looking for a suitable place to sell your work. work. Galleries and art fairs f airs are �ine but Artfair365.co Artf air365.co.uk .uk offers a potential worldwide audience for your artwork. Created by James Taylor, the site has been attracting artists and art lovers, with over 3,000 images available to buy. As an additional incentive, sales are commission-free. “Buyers contact the artists directly through our message system on the site, which brings the buyer and the artist together,” explains Taylor. Sign up for free or get a premium account for between £25/£50 per year at www.artfair365.co.uk .

“As we’re not directly involved in the sales process, all sales are commission free,” says site creator Taylor

origina riginall artwork artwork by by Maur Maureen een Andr Andrew ewss

O S O T H CK P OC O S T

Picture perfec Picture perfectt stock from Pixel Pixel

Love illustration? illustration? You’ll love lov e Illust Illustrophile rophile!!

d o o w n e e r G n e e r u a M y b k r o w t r a l a i n i g r o

























s r e t t e L r u o an come ca agazine where you c ma he m th ome to the part of t lco Welc ou fancy! yo and share your thoughts on anything y

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

Which Wacom Wacom?? I’m interested in buying a Wacom tablet but really have no idea as to how to go about it. Have you any advice on what one is best? It would be really good if you could have a special tutorial or something about using a tablet with Corel Painter. I’m sure there are lots of ‘newbies’ like me who would appreciate it!

Jennifer Crouch Crouch

Hmmm, we’re we’re going to need ne ed a bigger space than this to answer your question Jennifer! Picking the perfect tablet depends on so many

different factors, such as what you want to use it for, what kind of desk space you have and obviously what budget you have! We can recommend the Intuos3 range as a safe bet if you can afford it, as it has professional functions for you to develop and grow into. You may have also heard that Wacom has recently released its Bamboo range, which is perfect for complete beginners. At the risk of looking like we’re fobbing you off, keep an eye on this magazine in the future. We will be reviewing the new Bamboo offerings (starting this issue) in addition to providing a guide to using the Wacom tablets to their full potential.

Reader’s tip Share your Corel Painter wisdom… wisdom…

One brush wonder I always experiment with different painting techniques and recently tried one that’s so simple I can’t believe I didn’t do it before. Try painting with j ust one brush. You’d be amazed at how many different effects you can get just by changing the brush size, yet the image looks unified because of the similar strokes. It’s definitely changed how I paint!

Timothy T imothy Hutton

More techniques please Out of all the tutorials you have, I must say that I prefer the art technique ones the most. I never went to art school and so it’s really useful to learn about the rules so I can apply them in my own work. Please do more of these tutorials!

Kevin Cleaver

Choosing the right graphics tablet for you requires more advice than we can fit in here!

Thanks for your email, Kevin. You can rest assured that we will always have traditional art techniques in the magazine, as we enjoy reading all the tricks too! We notice you’re in the US, so you may not have seen our new Art Study section. This will incorporate traditional techniques for painting certain objects and translate it into Corel Painter’s language. Over each issue, these pages will build up i nto

























Looking to traditional art techniques will enhance your Corel Painter experience

an essential resource for painting different elements in your projects. These pages join our popular Drawing 101 section.

Clone come good Here is my latest image. I have been using Corel Painter for a couple of months and am just starting to feel con�ident con�ident with using the Cloners. When I started, I ended up with a photo-realistic look but now I mix up brushes br ushes and am much happier!

Jeffrey Jeffr ey Hamilton Perfect timing, Jeffrey! You may have noticed that our feature is about using the Cloner tools in different ways, so hopefully you can use this to work your way through the options and create even better images.

The big picture I’m a professional artist from Holland, traditionally trained at The Royal Academy of Arts and Design in ‘sHertogenbosch, Holland. I got my degree in 1982, so it was some time ago! I’m 50 years old and a daily user of Corel Painter. I believe the �irst version I bought was Painter 4. Since then, I’ve been hooked on the program; it is the largest box of inspiration I could ever imagine, and as fast as a wizard’s wand! This week I sold my �irst painting for an entrance of a company , and I’m very happy with it – so happy that I thought you might like to see it. It’s all created in Painter. For more information, just take a look at my home page. Visit my website at www.advanbokhoven.nl

Ad van Bokhove Bokhovenn

m Come and join our oforum and website c . e Make yourself known! n www.paintermagazine.com i z a g a m r e t n i a p . w w w

Not only do we deliver inspirational and practical tutorials on your favourite program every month, we also have a dedicated Corel Painter website that you can visit to get your artistic �i x while you wait for the next issue. From here, you can join up for a free account and then create your own gallery for the world to see! You can explain the process or inspiration behind each of your images, and you can also comment on other members’ artwork, share your wisdom and take part in regular challenges. There’s also an area to download tutorial �iles from previous issues in case your CD has gone missing. If you feel like a bit of creative interaction, we also have a forum for you to come and leave your thoughts on the magazine, ask Corel Painter questions and also pass the time with other digital artists. So what are you waiting for? Visit www.paintermagazine.com www.paintermagazine.com today! today!

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Interview Andreas Rocha

WEBSITE JOB TITLE CLIENTS

www.andreasrocha.com Freelancer Sci-Fi Channel, Pinnacle Entertainment Group, The Enigma Factory

An int inter erv v ie iew w w itth… i

Andreas And reas Roch Rocha a With a passion for digital art, Andreas Rocha has won many admirers admirers for his work, ranging from matte painting to conceptual art, illustration to erotic portraits. Nick Spence catches up with him

[BELOW]

Leaving Home Rocha’s Leaving Home started as something completely different. Rocha was aiming for a 1960 sci-fi wasteland

iving and working happily together with his wife and dog in Lisbon, Portugal, Andreas Rocha has been painting digitally for ten years. Having �inished an architect degree, Rocha worked in an architecture of�ice for two years, then a 3D architectural visualisation company for three years. During this time, drawing and painting digitally had always been a hobby, but Rocha had hoped to turn it into a full-time career. Now successfully working freelance,

advertising and games promotions. His work has appeared in prestigious publications including 2DArtist, and Exposé and and Exotique from Ballistic Publishing. Rocha works predominately with Corel Painter and Adobe Photoshop, often combining the two to stunning effect. A number of free tutorials are available on his website. Do you have a typical workflow when you paint digitally? My typical work�low is not to have a

erotic subject. On the other hand, I am also always trying out new approaches to starting a painting. Sometimes Sometimes I start with a line drawing, other times with a speed painting. However, there are some steps which I have learnt are crucial for me in the painting process. Invest time to collect references, as the brain works much better from visual registries than from memory. It’s amazing what our brain can collect, but you shouldn’t trust it too much. Take your time. Painting can be a very passionate process, but that

























Fresh Meat

Inspired by a cold February walk through one of Lisbon‘s most charismatic parks, for this striking painting, Rocha scanned sketches into Painter and worked on them, gradually adding colour and detail

a h c o R s a e r d n A y b k r o w t r a l a n i g i r o l l A



























Interview

Andreas Rocha

In Thought Created for CGTalk’s Exotique 1 book, Rocha didn’t finish this painting in time. One year later, he reworked it, correcting flaws from the previous version and sent it to the Exotique 2 call for entries. To his delight, it got chosen to be part of the collection

























Home Coming This is a work in progress, and an example of Rocha’s working methods. Several tutorials showing other works in progress are available on his website

























Interview

Andreas Rocha

Padrone e Servi Rocha’s Padrone e Servi was created for the Master & Servant contest, promoted by CGTalk.com. Rocha’s aim was to present the Mafia master-servant relationship in a comical way, in which the boss is like the father of a ‘family’ which protects him

Litt ittlle Fi Fish Litt Li ttle le F Fis ish h is

























Bring ‘Em On This is one of Rocha’s striking character paintings

“Fantas Fantasyy should sh ould be based based on

























Interview

Andreas Rocha

Something else I learnt through the years is that it is easier with some tools to have predeined variants at different sizes, instead of using the Alt+Ctrl shortcut to resize the brush. With one of my favourite tools, the Soft Oil Pastel, I found out that it was much better to have six predeined sizes which I would intuitively use, knowing their sizes beforehand, instead of constantly guessing the needed size with Alt+Ctrl. I built a new Custom Palette with 2, 4.5, 7, 10, 20 and 40-sized Soft Oil Pastels and it is so much quicker and easier to use.

Your work covers many areas including matte painting, characters, conceptual and even erotic paintings. Is there any area you prefer? I think it all star ted with erotic paintings and then developed to more complete environments with stories in them. I still love to do erotic paintings, but I understand that I have a lot to learn in this area. I believe matte painting is my favourite theme now. The classic science iction and fantasy movies of the 1980s have had a profound inluence on me and these were illed with matte paintings.

Which are your favourite tools to use in Corel Painter? My favourite tools would have to be the Soft Oil Pastel, the Palette Knife (both Loaded and normal) and the Just Add Water blender. blender. I tweaked twea ked some of them to my liking. With the Palette Knife, I reduced the Color Variability to almost 0 and set the Expression in the Angle tab to Bearing, which I believe is not default any more. With the Just Add Water tool, I added a variant with hard edges, with which I can do some smooth blending but achieve brushstrokes with character at the same time.

You have several excellent tutorials on your website. What’s the best way to learn Painter if you are just starting off? The great thing about Painter is that with such an array of tools, it is very easy to do wonderful stuff right away, so getting hooked up is quite easy. However, that initial spark is sometimes lost quite quickly if you do not have an end in mind. Try to channel that initial enthusiasm to make a painting you are proud of, by using good references, asking for criticism and advice and also taking your time to complete it. Quantity is good for practice, but quality is what keeps you going.

Solomon Kane This painting showcases Rocha’s strong character design work



















































Feature

Get creative by using Clone Color

CLONING

SP S PECIAL

























The right directio direction n Use the brushes in a sensitive way for the ultimate cloned image

SCRIBBLE SCRI BBLED D MARKS MA RKS

x

Just because you are using the cloning features, you still need to be sensitive to a photo’s form and move the brush as you would if you were painting from scratch.

Three steps for ensuring great artwork When it comes to cloning a photo, the battle is always against creating something that looks very digital or clinical. To avoid this, build your image up in three stages. This brings a texture and depth reminiscent reminiscent of traditional media.

























Feature


o to T urn t 2 3 e ge g a p l f u l l e h t e e se s o to t f o on io sec t i r u s he s b r e n o lo l C

Getting your photos ready for the clone process Although you can use most photos straigh t out of the bat, it’s worth prepping them before you unleash the Cloner tools. The best way of doing this is to alter the photo’s colour. Think about what s tyle you are emulating and edit accordingly.

The clone choices reside in the File menu. From here you can jump into a Quick Clone, set an image as the Clone

























First option option

clone k c Quick a s i c Level: B a

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e the g is wit h th nin ing clon ey in in clo urn rne jou rt our our jo sta tart e to to s lace ical al plac log ogic The he l f or or age ge f n im ima re a an epa pare pre es yo you t o pr abl ble is en ena This ity.. Th f acil acility ne f k Clo Clone Quic uick e lone >Qu Quiick Clon ile> go to File n a phot o, goto pen ply ope imp tep. p. Sim e s ste in on one ing g in onin clon s n ers er Clo lon the C the and nd a ge a ge r ima im you our er y ar ov over pea appe er wi will ap ape ing g pap trac acin and tr e, here pleher ample exam In ou our ex ad.. In y lo load ically mat icall auto utom ill a t egor egory will h ca cat ush brus ing g e usin us t u ure r text tex lour ur f colo co n g o of v erin eri t cov co ligh ght te a a li r eate ea t o cr c oing ing t re g go are we a h w it k e es s st r rok o u shst sh r bru br a der de bro b roa m e d som so n add ad , t h hen e n er, er clon h alk clo alk h e C Ch t ng t he pin keepi l, sti stilll kee etai tail, e d de som ome g in in s ring ’lll the then brin We’l ner er.. We clon Oill clo an Oi mo ore ng m look ok ing re lo t he he pict ure ep t to k k eep is to aim is The he aim se T loose work loo rush shw bru and trok ok es an hstr bru russhs dd b we e add h as as w aph t ogr ograp hot an a p a pho g th tha ting pain aintin a p lik e a a e is h ere er e r t reve wherev t o pa paint wh ays ys t alw lwa n is is a tion mpt atio e te tem The t ail. ail. Th det de ll p all a k e eep e t to k to d not no , and an u ch, ch m nt t oo mu ain ot to p to pai is n not triick is the tr p, bu but the gap ga ti inti f a il p in

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Second op tion

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Using texture

























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Third op tion

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Start painting! It’s time to lay down the first firs t paint application















































































































































































































































































































































































































































































































































































































































































































































showcase

ANNE POGODA

TITLE WEBSITE

Gothic Girl www.darktownart.de

















































Drawing 101 A guide to mark-making

o… id e t o… u i d A g u

mark -mak ing For perfect pictures, you need to pick the right marks for the job. Read on for a guide to what works well when drawing a great sketch TCHIN CHIN G LLEL H A T PARAL PARA

HA DING ON AL AL S T

ONA L E C T I O R E DI R MA KING -M MA R K C R O S S H H A A T TC H

Drawing reference photos

esigners and artists are constantly being challenged to become more sophisticated and creative in t heir approach approach to grabbing people’s attention, and it is the way they use t heir tools, be it a pen, brush or computer to create marks on paper,, that ensure their survival in th is paper

the pun, mark-making is the best way to make your mark. The suitability and readability of the marks need t o be completely appropriate to get the message across. These pages set out to enhance your understanding and your awareness of the power of your mark-making, and how it will make

on our part, choosing the right words for an answer is just as hard as choosing the right marks for an image. But this isn’t as esoteric as it might sound. There are tried and tested methods for which marks convey what effect –some are good for shadow, for example, or there’s the perfect mark for

























D r a w i n g 1 0 1

Your mark options The best marks for the job All marks are dependant on pressure (how hard you press it into the page), softness (what H or B the lead of your pencil is) and expression (what is the meaning of the mark? Is it a light crosshatch to suggest a light shadow on a face, or is it a harsh, brash, speedily drawn cross-hatch that suggests movement, speed or darkness?). These will vary drastically as you might want to portray anything from smoothness, wetness

CROSS-HATCHING

DIRECTIONAL MARKS

mood you want to convey, there are some tried and tested marks that always work wonders. Here are the best:

Cross-hatching is the fail-saf e mark within markmaking; it covers all evils, flaws and errors. You can count on it when you aren’t quite sure what mark to use. It can be very effective for furry or fluffy objects.

Directional shading is a very expressive type of markmaking, a representatio n of which way and length you feel the mark should be made. It is great for fur and vegetation, such as grassy tufts and tussocks.

PARALLEL-HATCHING

DOTTING

SMOOTH SHADING

Parallel-hatching is really a response from you as you react to the object in front of you. Look carefully at the surface; do the grains or hairs or cells all go in one particular way? We used it effectively for describing the grain in wood; da Vinci used it to suggest the sky in about two seconds flat.

You can use dots to describe shadows as they graduate away in the same way as cross-hatching. The emphasis is not so much on press ure and meaning, but size, tool and repetition. A sharp pencil creates a tiny delicate dot; oil pastel creates a stodgy, meaty one.

Smooth shading… everyone’s mark-making nemesis! The temptation to scribble can be overwhelming. Our tip to create smooth shading and avoid stripes at all costs is to use a B lead on it s side. Shade with an even pressure, in circles, to avoid stripes. This is very good for metal or shiny, smooth objects with a flat texture.

or �luf� iness. While a lot is left to what

CIRCULAR STROKES OR CONTOURS

A g u i d e t o m a r k - m a k i n g

























Drawing 101 A guide to mark-making

Contour strokes

Mor g gu eFile r ef . no. 114 32

Notice that the swirls are contours like you would find in a tree trunk, concentric circles that follow the form of the shape of each block hen you watch water sparkle and move continually, the big abstract shapes and blocks of colour that undulate harmoniously together merge with soft and hard lines. We chose to use curvaceous contour

lines that de�ine those emergent shapes with de�inition. This is not a �luff y texture, it needs structure, which is odd for something so formless. Shading these shapes accurately and observing their jigsaw-piece snugness are your keys to success.

STAGE ST AGE 2

STAGE ST AGE 1

SET TING UP THE C OM OMPOSIT POSITION ION First of all you need to break dow n the picture space loosely, but with care, sweeping light H pencil lines across the paper to represent the major sections of the image. Consider areas of light or chunks of dark.

STAGE ST AGE 3

A LIGHT LAYER OF SHA PES

A SECOND LAYER OF SHAPES

Continue to use your H pencil to lay out the outlines of the main shapes that the wat er makes. As this is a light layer, it gives you a great amount of room to manoeuvre, the flexibility to make mistakes and to estimate how the final image will play out.

Use the depth of a B pencil to add some ton al variations. Keep in mind the areas at the back which are going t o demand more darkness and the front areas which need a lighter swirling description. Use a 4B or 5B pencil for the real depths of darkness and an HB will do for the swirls in the foreground.

Tonal rendering

Mor g gu eFile r ef . no. 40 411

Use your magical powers of observation to really look at how the highlights create form and the shadows create depth mooth, �lat, almost textureless objects such as those made of metal can often be the most demanding in terms of precision and control. Because the surface is �lawless and smooth, all scribbles and any out-of-place marks are STAGE ST AGE 1

to be avoided at all costs. The perfect marks can be made with either tonal rendering or a graduated shading. By following the technique below, you can simulate the subtle variations of the shadows as they merge and overlap. STAGE ST AGE 2

STAGE ST AGE 3



























Directional shading

Mor g gu eFile r ef . no.13 3132

Nature produces some of the most beautiful patterns in the world, so grab your pencil and draw them he grainy molecular nature of wood is perfect for exploring marks made in speci�ic directions. The layers and rings and whorls in the wood form repetitive patterns in clear directions. Vary your pencil and the

pressure to modulate these in order to express and describe the shape and shadows that the grains and cracks create. Careful observation and analysis of the texture is equal in importance to really nail down the image accurately.

STAGE ST AGE 1

STAGE ST AGE 2

CORRECTING AND IDENTIFYING MAJOR RELAT RELATIONSHI IONSHI PS

SETT SET TING UP U P THE THE COMP CO MPOSIT OSITION ION Break up the blank paper with a brisk and expressive drawing of the main players of your piece. Us e an H pencil to freely describe how the pattern flows across the pa ge.

Build up layers of pattern and swirling shapes and add detail where necessary. Correct and twea k with care and accuracy the spatial relationships between the curves and curls in the grain.

Cross-hatching Go to town with your pencil and marvel in the glory of folds, and the fantastic tonal variation that they provide he most fun and satisfying things to draw in our opinion are folds. Folds in anything; clothes, skin, paper. The method is almost exactly the

perfectly well, though you can use curvy lines or contour lines to create a certain effect, or even straight lines to contrast with the �low of the line. But for observational purposes

D r a w i n g 1 0 1 A g u i d e t o m a r k - m a k i n g

STAGE ST AGE 3

DIRECT DIR ECTIONA IONALL SHADING SHA DING On this H pencil skeleton, build up the flesh of your ima ge with short, stubby lines that follow the flow of the grain. Work out how they flow together and us e a pencil with more depth (4B) to accentuate the cracks and directions the grain takes. This will add substance and excitement to your finished image.

Morg ueFile ref . no.4 .42 2215

























JAKUB KUJAWA

























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Your

questions answered

Your experts Cat Bounds Cat is a much-loved member of our magazine website and she’s been kind enough to share her vast knowledge of art techniques and how to achieve them in Painter

Chris Price Chris Price is an artist with specialities in digital fine and commercial art. Through his company, Studio|chris, he shares his knowledge of digitally created art online

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

Illustration

Make sure your illustrations are in top form

Brush Tracking I want to get the best from my brush work and wondered how the Brush Tracking palette works?

Project mayhem The brushes in my Painter Brushes folder are all in alphabetical order, but inside Painter, when I open the Brush Category, they’re all jumbled. How

ABOVE

In this painting, to get soft, flowing strokes, we opened the Brush Tracker and made a heavy stroke

























First port of call Which is better, to begin painting the background irst or the main image?

media, where you would have your brushes in familiar order and close at hand. To do this, go to Window>Workspace>Customize Workspace, and in the list of media in the l eft window, choose the brush library in which you wish to rearrange the categories by clicking the plus sign. Your brush categories will appear in the right window, and now you can click-and-drag the brush category names up or down the list, one at a time. When finished, click the Done button to close Customize Workspace; your brushes will now load in the new order you’ve chosen.

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It usually works best to paint the background first because you can begin layering brushstrokes and colours with greater freedom, keeping in mind where your foreground image will be. If you’re cloning an image, painting

the background first will also help in simplifying the elements of your painting because you can choose which ones to recover as you paint. Occasionall y, however, you may paint the image first when doing a watercolour if you plan to paint the background around the foreground image, but do this on multiple empty layers so that you can keep the paint transparent and tweak the layers, trying out various Blending modes and Opacities.

Dynamic Plug Plug-ins -ins Can you recommend any good creative options in the Dynamic Plug-ins menu?

a jungle 01 It’s in there

If we begin with an original photo that has cluttered elements like the leaves of these irises, we don’t have to choose at this point which ones we want to use, but the size, crop, lighting and composition are important considerations now. (Photo by photographer Dave Finley.)

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The Dynamic Plug-ins menu of the Layers palette is full of creative and very useful live plug-i ns for Painter. Painter. Along with fully non-destructive Brightness and Contrast, Equalizing, Burn, and Posterize effects for live colour adjustment, there are some fun effects like Liquid Metal, Liquid Lens, Image Slicer for web layouts, and the everinteresting Kaleidoscope effect. Dynamic Plug-in layers work like any other layer in Painter. To add a new Dynamic Plug -in layer, click the Plug icon in the Layers palette and choose your new layer type. After filling in your preliminary settings, a new layer is created and you can instantly see the layer at work on your painting or drawing. Your preliminary settings may be changed at any point without affecting any structure to your main painting by double-clicking on the layer in the Layers

BELOW

The Kaleidoscope Dynamic Plug-in slices your canvas into eight triangular sections and mirrors the top-left triangle to each of the other triangles. This creates a kaleidoscopic effect that can be used on photos, or for a bit of fun, can create beautiful symmetrical patterns and

02 Setting the stage

We’ve used several layers of colour and loose brushstroke brushstrokes, s, arranging them around the centre since that is to be the focus of this painting. At this point, you may

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Q&A Q& A Art class

Don’t work against the grain Any advice for painting wood texture? I saw a traditional artist paint on wood and would like to try the same effect. N G

A realistic wood texture can be made quickl y and simply with a little ingenuit y. Most woods have the same underlying structure, so this technique is versatile and should be able to reproduce any type of wood needed with a few tweaks in the colours, level of detail and texture.

structure 01 Underlying

Start by filling your canvas with a warm peach. Use the Pepper Spray brush from the Airbrushes category at a large size to fill your canvas with a darker noise pattern. Then use Motion Blur in the angle

Here is a composite of some Woodcut effects that can be created. This is part of a stone column, but the e ffects works well on many subjects. Traditional woodcuts are often simplified but may also be very detailed

























Feeling edgy I’m having dificulty in deciding how to inish the edges of my paintings. Are there differences in how the edges of a watercolour, oil painting, or chalk/pastel would be inished? S� E�

That’s a good question and one that doesn’t have an answer that’s carved in

01 Going over the edge

You can

stone. We usually see oils and acrylics painted to the edge of the canvas or to the edge that will be wrapped around the stretcher bars. Chalks, pastels and coloured pencils may also end at the edges of the rough sheet of paper, or they may be vignetted to a soft and painterly edge within those b orders, and the same holds true for watercolours. Often the watercolour paper will be soaked in clear water and stretched over a wooden frame to dry in order to keep it from buckling when watercolour paint

02 Painterly boundaries

A

is applied. The edges may be taped, resulting in sharp, clean edges, or the artist may paint soft, drippy, splashy edges. Mostly it’s a matter of choice or the artist’s own style. How the p ainting will be framed may also figure into your choice of edges. In a painting whose image contains a goo d deal of unnecessary information around the edges, you may decide to paint it anyway because your frame or mat will cover it, and this gives you more leeway at the end to decide just how much cropping to do.

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Q&A Q& A Art class

Advi Ad vice ce se set t in bl blac ack k an and d wh whit ite e I know you don’t see many black-andwhite paintings about, but are there any tricks to painting in black and white? R� S�

Working with black and white teaches us to control the value structure of our paintings, balance blacks, whites and greys and master tonality and contrast, making our pai ntings

wonderfully readable. Many artists make preliminary sketches in black and white to serve as maps for shadows and highlights before they proceed to paint the image with col our, but a finished blackand-white painting can be very powerful, partially due to our associations with white as the essence of light, goodness, innocence, purity and all things positive while we often equate pure black with mystery, evil, death, formality, the unknown and

01 Gathering light and shadow

This is a relatively easy colour set to create as we select a colour on the Saturation/Value Triangle by dragging the circle between black on one end and white on the other and playing play ing with them in the Mixer palette, saving s aving them as we go.

02 A closer look

From a distance, this painting of a pair of old shoes reads primarily as black-andwhite, but in detail we can distinguish quite a wide range of greys that bridge the gap

grief. We need to create shades of grey to bridge the gulf between black and white, and this is easily done in the Color and Mixing palettes in Painter. You You will find a colour set in your Support Files>Color Sets folder called Grayscale Colors that’s also very useful. Though we’re told black and white are not true colours, they are considered neutral, achromatic, or possibly the most striking of complementary colour schemes available to an artist.

























Q & A

Vignette Vigne tte fretting

The Pen that keeps on rollin’…

What’s a good way of producing a vignette frame on an image? I really think it will inish the piece perfectly.

How does the Pen tool work in Paint er? I’m inding it one of the trickiest tools to master. A N

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There are several ways to create a vignette around an image in Painter. We chose this 1,700 x 1,300-pi 1,300-pixel xel image of four-year-old four-year-old Ian taking off his boots as an example. First, go to the toolbox, choose the Oval Selection tool and drag to make your selection. You can reposition and adjust the size in the next step. Now choose the Selection Adjuster tool in the toolbox to move the selection or pull on one of the corner handles. I n order to fade the edge gradually, go to to Select>Feather Select> Feather and type in a number. We used 50 for this one; you may want to experiment. Next reverse your selection by choosing Select>Invert; now choose Edit>Clear to delete the background, leaving a soft transition into the white border. A vignette draws attention to an image and gives it a feeling

The Pen tool creates vector shapes using Bézier curves and lines with control points and control handles. Tricky it may be, but it is also a vital tool to many illustrators. One good use of the Pen tool is to create inked lines from a sketch to create cell-style shading for animated characters.

The beginning 0 1 sketch ABOVE

This photo was taken off-centre, with Ian at the edge, so we began by cloning in some leaves and grass to fill it out and leave room for our selection. Afterwards, we

Start by opening a scanned drawing or creating a quick sketch to guide your Pen tool experience. The sketch

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Reviews

Wacom Bamboo Fun

Wacom Bamboo Fun adds another reason for you you to be cheerful cheerful when FROM £69. £69.99 99 | Wacom adds creating crea ting great digital art, with its stylish stylish new graphics tablet Touch Ring

f you’re doing anything creative for any length of time on your computer, you really should think about getting a graphics tablet. Armed with a digital pen, not only can you make more subtle artistic marks but also ease the wear and

























s

New design On top of the new, iPod-style white design, the Bamboo Fun comes with a helpful one-on-one tutorial

e Wacom Bamboo Fun c p s Price

£139.99 (medium), £69.99 (small) Website

Mac requirements

Operating systems

Mac OS X 10.3.9 Intel or PowerPC Processor

www.wacom.com/ wacombamboo PC and Mac Grip Pen

PC requirements

Windows 2000, XP, or Vista

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Reviews Olympus [mju:] 820

Olympus [mju:] 820 that keeps you snapping snapping whatever whatever the £180 | The tough little compact that weather. Could this be the perfect holiday companion? eneath the shiny metal casing of the [mju:] 820, 820, Olympus has packed in a great set of features that is sure to entice the entry-level user who likes to weather the odd storm, or for those situations when you don’t want to risk your DSLR. The stylish weatherproof exterior is available

the technical details, the camera offers 20 scene modes that cover everything from Sport and Night Scene to Self Portrait and Fireworks. The Scene Mode menu is really nicely set out, with a list of icons down the left-hand side of the screen for you to scroll through, which calls up a large image illustrating the function of the mode. Wait

LCD LC D The 2.7-inch HyperCrystal LCD boasts BrightCapture Technology, delivering a good deal of clarity for shooting and playing back images, as well as navigating the menus

























Olympus [mju:] 820 Price

Metering options

Megapixels (effective)

Exposure modes

£180 ESP, S

8 A, 20 scene modes, Max resolution Panorama 3,264 x 2,488 34 scene modes Lens data

Flash modes

Zoom

Connectivity

f3.3-5.0 (36-180mm) A, RE, FI, Foff 5x opt, 5.6x dig USB, AV Focus/Macro

Weight

70cm-inf/20cm 125g (Macro), 3cm Dimension (Super Macro) 6 x 56 x 24mm Shutter speeds

Batteries

4-1/2,000sec Li-ion ISO sensitivity

Storage

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Reviews Books

Painter X Creativity

























Basics Photography: Lighting

























Reviews

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Readers’ gallery issue ten

If there’s one thing that can be said for Ata Alishahi’s work, it’s



























































































































CorelPainCorel Painter - 10 - Magazine, Art, Digital Painting, Drawing, Draw, 2d

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