The Complete Guide to Digital Painting Vol 3 - 2010 UK

T H E C O M P L E T E G U I D E T O…

DIGITAL PAINTING CD INSIDE

T U TOR I A LS FOR CR E ATING DIGITA L M A ST ER PIECES

256 pages

for Windows and Mac

of guides

VOLUME THREE

Learn to paint digitally today!

IN-DEPTH GUIDES FOR…

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This is the third volume in the popular The Complete Guide to Digital Painting series, packed with expert advice and tips

Imagine Publishing Ltd Richmond House 33 Richmond Hill Bournemouth Dorset BH2 6EZ ☎ +44 (0) 1202 586200 Website: www.imagine-publishing.co.uk

Project Editor Julie Easton Art Editor Danielle Dixon Editor in Chief Jo Cole Head of Design Ross Andrews Printed by William Gibbons, 26 Planetary Road, Willenhall, West Midlands, WV13 3XT Distributed in the UK & Eire by Imagine Publishing Ltd, www.imagineshop.co.uk. Tel 01202 586200 Distributed in Australia by Gordon & Gotch, Equinox Centre, 18 Rodborough Road, Frenchs Forest, NSW 2086. Tel + 61 2 9972 8800 Distributed in the Rest of the World by Marketforce, Blue Fin Building, 110 Southwark Street, London, SE1 0SU. Disclaimer The publisher cannot accept responsibility for any unsolicited material lost or damaged in the post. All text and layout is the copyright of Imagine Publishing Ltd. Nothing in this magazine may be reproduced in whole or part without the written permission of the publisher. All copyrights are recognised and used specifically for the purpose of criticism and review. Although the magazine has endeavoured to ensure all information is correct at time of print, prices and availability may change. This bookazine is fully independent and not affiliated in any way with the companies mentioned herein. Trademark(s) or registered trademarks of Corel Corporation and/or its subsidiaries in Canada, the US and/or other countries. Screenshots are ©Copyright 2010 Corel Corporation, reprinted by permission. The Complete Guide to Digital Painting © 2010 Imagine Publishing Ltd ISBN 978-1-906078-71-3

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68 Complete guide to concept art Sketch and draw anything you can imagine with our guide to concept drawings

76 The secrets of matte painting

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Matte painting it a skill used in the film and games industry, and now you can master it too

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82 Paint a sci-fi scene In the first in a double-whammy of sci-fi tutorials, master the art of scene setting

06 The Painter Cheat Guide

88 Create a sci-fi character

Top tips from Painter experts to help improve your paintings

Bring your characters into the space age with our guide to sci-fi art

14 Clone a portrait in oils

94 Paint steampunk

Learn how to make your portraits look like real oil paintings

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20 Improve your portraits Portraits are a key skill in digital painting, so learn to get them right here

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Go underwater to create a scene with plenty of depth and mystery

Master your use of colour and all your artworks will start to benefit

Don’t forget about what’s behind your subject – it can make or break an image

120 Pen and wash studies

34 Custom brushes for landscapes

This traditional Japanese skill is yours to master with this in-depth workshop

Perfect your landscape artworks with this in-depth guide

Five-page expert tutorial on cloning a landscape image

Vibrant comic-like scenes let you have a bit of fun in Painter

112 Colour control

28 Draw focus with backgrounds

44 Create a stunning landscape

100 Anime creations

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106 Create an underwater scene

24 Paint skin texture Get your skin texture right and your images will look much more realistic

Create artwork with classic steampunk elements and colours

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50 Complete guide to oil brushes We explore the different brushes available and what to use them for

56 Paint a cityscape from photos City-based landscapes have a lot of detail to capture. Find out more here

62 Paint dramatic night scenes Use night-time tones and good lighting to bring darker scenes to life

04

Digital Painting

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126 Paint a vintage portrait

Use photo references and line art to create a vintage look

132 Use a limited colour palette You don’t have to use lots of colour to create impact, as we show you

138 How to use liquid inks Create a fun and colourful scene by learning how to use this brush option

144 Create metallic effects Make your paintings shine with our guide to going metallic

150 Cloner’s guide to composition

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How to get your composition spot on when using cloning techniques

158 Paint like: Pablo Picasso Channel your inner Master and re-create the famous style of Picasso

164 Paint like: Monet Create traditional landscapes in this amazing painter’s style

170 Paint like: Rococo Rococo painters are known for their portraits and distinct style

176 Paint like: Rackham

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Create illustrations in the style of Rackham over this tutorial

182 Paint like: MC Escher Surreal but brilliant, chanel the Escher style here

188 Paint like: Baroque

#TVUMKNNU UGEVKQP 212 Introduction Your guide to the art skills section

214 From pencil to Painter Take traditional skills to the digital age

222 Guide to coloured pencils An in-depth look at how these tools aren’t just for kids

226 Guide to charcoal Master a real-life charcoal effect for amazing portraits

230 Guide to watercolours Create stunning landscapes by understanding how watercolours work

234 Guide to using real oils Oils work great for some many types of art – find out more here

238 Guide to gouache Get to grips with gouache and how to use it to the best effect

242 How to paint reflections Master the art of reflections – get them right to add realism

246 How to paint water Water is a difficult subject matter, but we put you on the right track

250 How to paint light Create amazing lighting in your digital paintings

Create ornate and inventive paintings with this guide

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194 Paint like: Pop Art Block colours and abstract ideas create pop-art designs

200 Paint like: Classicism Step back in time and get some classic painting advice

206 Paint like: Modern realism Our final guide to emulating past styles over this six-page tutorial

258 Disc pages Take a look at the tutorial files, stock photos and resources on the free disc

Digital Painting

05

Feature The Painter Cheat Guide

The Painter %JGCV)WKFG Whatever kind of artwork you're into, this collection of handy tips, tricks, fixes and features will help you work faster and more efficiently, and take advantage of the power of Painter TVJKUVQT[KUHWNNQHGZCORNGUQHRCKPVGTU ¿PFKPIPGYOGVJQFUQHWUKPIVJGKTVQQNU 9JGVJGTVJG[YGTGKPXGPVGFVQKORTQXG VJGURGGFQHVJGCTVKUV UYQTMÀQYQTETGCVG CWPKSWGXKUWCNGHHGEVVJGUGVTKEMUUQQPDGEQOGRCTVQH QWTYQTMKPIRTCEVKEGU %QTGN2CKPVGTGOWNCVGUTGCNOGFKCUQ[QWECPVCMG CFXCPVCIGQHOCP[QHVJGUGVTKGFCPFVGUVGFVTCFKVKQPCN OGFKCVKRUYKVJKPVJGRTQITCO$WVCUCFKIKVCNRCKPVDQZ 2CKPVGTCNUQQHHGTUCNOQUVGPFNGUUQRRQTVWPKVKGUVQYQTM HCUVGTCPFOQTGGH¿EKGPVN[QTETGCVGWPKSWGOKZGU QHDTWUJUV[NGU2CKPVGTNGVU[QWOKZOGFKWOUVJCV YQWNFDGPGCTN[KORQUUKDNGQPECPXCUUWEJCUQKNUCPF YCVGTEQNQWT+VUENQPKPIECRCDKNKVKGUQHHGTGPJCPEGF QRRQTVWPKVKGUHQTRJQVQTGCNKUOQTVJGEJCPEGVQ GZRGTKOGPVYKVJUQWTEGOCVGTKCN

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CHEAT GUIDE EXPERTS Our experts share their top tips and timesaving workarounds to help you speed up your workflow and create fantastic effects Our Painter experts are here to help you with a range of Painter cheats. Here we tell you a bit more about the talented artists who have opened their Painter tip box.

6

Digital Painting

Cat Bounds Cat is an expert at all things Painter, turning her hand to almost any function in the program. Here she shares cloning and texturising tips.

Jim Scullion A leading sports artist and regular contributor to our Q&A Art Class pages, Jim shares some texturising and compositing tips.

Odwin Rensen

Wen-Xi Chen

Jeremy Sutton

Odwin specialises in photo painting and portraits. Here he shares tricks for creating perfect skin texture and making your own brushes.

Wen-Xi is a talented digital artist who creates art in a wide range of styles and formats. She shares some advanced techniques here.

Jeremy sent us two great tips to share, including the answer to the one question we all ask – "How can I fix my impasto paintings?"

The complete guide to

Digital Painting

ADD TEXTURE

HES S U R B M O USE CUST

Digital Painting

7


CLONING AND COLOUR

Create perfect photo paintings with these top tips! F-X Glow

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Dodge

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01 Dark clone

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8

Digital Painting

back the light parts 02 Clone

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Digital Painting

“Some of the most interesting collages begin with images having no pre-conceived associations”

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Digital Painting

9


BRUSHES AND PAPER

You may find one or two surprises in this section…

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01 Create a new variant

02 Save your new variant

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10

Digital Painting


Digital Painting

“It is important to use a grainy brush to pick up the texture as you paint”

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the image 01 Select

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02 Save

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to canvas 03 Apply

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Digital Painting

11


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“Now you can create complex patterns in no time at all with Painter's Cloner tools and Pattern maker” %JGCVCVINC\KPIYKVJ2CKPVGT U NC[GTOQFGU +V UCNNVQQGCU[VQIGVECTTKGFCYC[YKVJEQNQWTUCPF GPFWRRCKPVKPICRKEVWTGYKVJKPEQTTGEVVQPCNXCNWGU 6JGTGKUJQYGXGTCYC[VQCEJKGXGVJGTKIJVVQPGUCPF UCXGVKOGYKVJEQNQWTKPI5KORNGDGIKPYKVJCITG[UECNG UVWF[QHYJCVGXGTKVKU[QWCTGRCKPVKPI+H[QW TGWUKPITGHGTGPEGU KV UCIQQFKFGCVQFGUCVWTCVG[QWTTGHGTGPEG1PEG[QWJCXG[QWT ITG[UECNGWPFGTRCKPVKPIETGCVGCPGYNC[GTCPFUGVVJGEQORQUKVKPI OQFGVQ%QNQTK\GVJGPWUGVJG2CKPV$WEMGVVQ¿NNVJGNC[GTYKVJC UKPINGEQNQWTVQUGVVJGOQQFQHVJGRCKPVKPI0QYETGCVGCPQVJGT NC[GTUGVVQ%QNQTK\GCPFUVCTVVQDNQEMKPCTGCUUWEJCUUMKPENQVJGU CPFJCKT6JGDGCWV[QHVJKUKUVJCV[QWECPWUGXGT[TQWIJUVTQMGU QHEQNQWTCUVJGWPFGTRCKPVKPIYKNNFQCNNVJGVQPCNYQTMHQT[QW (KPCNN[ETGCVGCPQVJGT%QNQTK\GNC[GTCPFFCDKPKPVGTGUVKPIEQNQWTU NKMGUCVWTCVGFTGFUCPFQTCPIGUHQTVJGEJGGMUNKRUPQUGGVE

12

Digital Painting

01 Sketch

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02 Tonal study

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Digital Painting 4GUEWGKORCUVQRCKPVKPIU WUKPIHKNGHQTOCVU

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as TIFF 01 Save

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and fix 02 Re-open

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03

Colour wash (NQQFCPGY%QNQTK\G

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04 Defining colours

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Digital Painting

13

Tutorial Clone a portrait in oils

Clone CRQTVTCKVKPQKNU Use the Clone and Blender brushes to change a photo into a beautiful oil painting. It’s that easy! Tutorial info Artist

Odwin Rensen Time needed

4 hours Skill level

Beginner On the CD

Brush info

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the image 02 Clone

01

Open the image (KTUVIQVQ

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14

Digital Painting

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03 Edit the hair

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Digital Painting Tutorial Clone a portrait in oils Digital Painting

15


%NQPGCPFDNGPFEQNQWTU With the use of Clone and Blender brushes you can create this oil painting effect the hair 05 Blend

04 Blend the skin

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in soft highlights 07 Put

06 Eyes and mouth

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08 More soft highlights

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%NQPKPIYKVJ1KNUDTWUJGU

Hair Blender

How to clone the effect of an oil painting

Digital Airbrush

Below you will find an overview of all the brushes that are used for this painting: 01 The Hair Blender brush is based on the Captured Bristle brush. Use this to blend hair and create wisps. 02 The Digital Airbrush paints soft highlights and shadows. 03 The Small Highlights brush is based on the Charcoal brush and is used for small reflections on the lips, eyes and skin. 04 We used the Impressionists Blender brush in order to fill in the background.

16

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Digital Painting

05 The Background Mixer brush mixes colours and creates a marbling effect. 06 The Cloud Color brush from the Sponges category creates painterly dabs. 07 The Grainy Water brush is used for blending the skin and blurring the background. 08 The Oils Opaque Round brush is used to create the painterly reflections in the eyes. You can find the instructions for creating all of these brushes on the disc.

Small Highlights Impressionists Blender Background Mixer Cloud Color Grainy Water Oils Opaque Round

09 Small highlights

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Digital Painting

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11 Colour the eyes

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During the process of making the oilpainted portrait, many brushstrokes and layers are added and many changes made. To keep control over your workflow it can be very useful to insert several save points. This way, you can keep different copies of your work during the process and you have more control over your work. You can go back to earlier versions in case you decide something needs to be changed.

Clone a portrait in oils

Reflections on the 10 skin

Tutorial

Save your work

ections in the eyes 12 Refl

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13 Brighten the iris

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Make it easy on yourself

14

Save and merge 0QYVJCVYGJCXGRCKPVGFVJGHQWPFCVKQP

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15 Set up the background

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When blending hair and painting wisps and strands of hair, it can sometimes be difficult to get control over your brushstrokes. To make it easier, you can select the Rotation tool from the Toolbox and rotate your painting to an angle that makes it easier for you to paint.

Digital Painting

17


%TGCVKPIVJGDCEMITQWPF The background will create a painterly effect Mix the background 17 colours

Brush Tracking Brush Tracking is a great tool that enables you to adjust the intensity and resistance of your brush. When you go to Edit>Brush Tracking, a scratch pad will appear. Making a scribble with much pen pressure gives more resistance when painting, and less paint will appear on the canvas.

16 Paint the background

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5GNGEVVJG %NQWF%QNQTDTWUJ HTQOVJG5RQPIGU ECVGIQT[5GVVJG 5K\GVQ/KZ VJGEQNQWTUYKVJC EKTEWNCTFCDDKPI OQVKQP0QYUGNGEV VJG$CEMITQWPF /KZGTDTWUJ5K\G RKZGNUCPFYKVJ CEKTEWNCTOQVKQP OKZVJGEQNQWTU 5GNGEVVJG)TCKP[ 9CVGTDTWUJ CPFYKVJCEKTEWNCT OQVKQPDNWTCPF UOQQVJVJGEQNQWTU 6JKUETGCVGUC OCTDNKPIGHHGEV

18 Mask the background

5GV VJGHQTGITQWPFEQNQWTVQDNCEM VJGPUGNGEVVJGDCEMITQWPFNC[GT)QVQ .C[GTU %TGCVG.C[GT/CUM5GNGEVVJG.C[GT /CUMHTQOVJG.C[GTURCNGVVG5GNGEVVJG &KIKVCN#KTDTWUJYKVJ5K\GUGVVQ6Q DNGPFKPVJGRQTVTCKVRCKPVYKVJDNCEMVQJKFG VJGDCEMITQWPFCPFYKVJYJKVGVQTGXGCNKV

19 Dodge and burn

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20 Details

0QYKV¶UVKOGVQRWVKPVJG FGVCKNU5GNGEVVJG*CKT$NGPFGT DTWUJCPFETGCVGNKVVNGYKURUQHJCKTD[ RWNNKPIVJGJCKTKPVQVJGDCEMITQWPFEQNQWT 8CT[VJGDTWUJUK\GVQOCMGNCTIGTCPF UOCNNGTYKURU5GV$TWUJ5K\GVQVQETGCVG UKPINGJCKTYKURU

Composition When changing a photo into a painting, keep in mind that it can be necessary to alter the composition. Maybe the photo itself isn’t taken in the best way or there is not enough space around the subject. Getting the composition right from the start will be of great importance for the end result. A good way to check the composition is by flipping the image horizontally.

18

Digital Painting

21 More depth

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22 The final step

+PVJKUNCUVUVGRYGCFLWUVVJGEQNQWTUCPF EQPVTCUVCPFCRRN[C5JCTRGP¿NVGTG)QVQ'HHGEVU 6QPCN %QPVTQN $TKIJVPGUU%QPVTCUVVQVWTPDQVJWRCDKV)QVQ'HHGEVU 6QPCN%QPVTQN #FLWUV%QNQTUCPFVWTPFQYPVJG5CVWTCVKQPD[CPF *WGWRD[)QVQ'HHGEVU (QEWU 5JCTRGPCPFUGV#OQWPVVQ

UJQYECUG

DEREK BURNS

6+6.' 9'$5+6' ,1$6+6.'

111111*! JVVRFGXKCPVFGNFGXKCPVCTVEQO 2TG2TGUU1RGTCVQT ³+¶XGYQTMGFKPVJGNQECNPGYURCRGT HQTCNOQUV[GCTU6JG[GCTUJCXG DGGPDNGPFGFVQIGVJGTYKVJVJGDTWUJ QHOQPQVQP[UQKV¶UJCTFVQRWVCP GZCEVHKIWTGQPKV+¶XGOCPCIGFVQ MGGRO[UCPKV[FWTKPIO[URCTG JQWTUD[UNQYN[YQTMKPIWRHTQO FQQFNKPIVQUMGVEJKPIVQFKIKVCN RCKPVKPI1QQQQQJ!KUQPGQHO[ HCXQWTKVGUCUVJGTGKUCFGITGGQH JWOQWTKPKV+VJKPM+YCUKPHNWGPEGF D[VJGOQXKG9CNNGCU+NKMGFVJGKFGC QHCNQPGN[TQDQVYCPFGTKPICTQWPFC YCUVGNCPFQPN[VQEQOGCETQUUCNKVVNG TGFVTKE[ENG´

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Tutorial Improve your portraits

20

Digital Painting


Digital Painting Tutorial info Artist

Tutorial

Wen-Xi Chen Time needed

Two hours

+ORTQXG[QWT RQTVTCKVU

Skill level

Intermediate

Improve your portraits

On the CD

Final image

If you want to make sure your portraits sparkle, you have to get the eyes right. Here’s our guide to the skills you need GCNNMPQYVJGUC[KPIµ'[GUCTGVJGYKPFQYVQVJG UQWN¶#PFCUENKEJoFCUKVUQWPFUKV¶UWPFGPKCDN[C RQKIPCPVSWQVG9JGPRCKPVKPICRQTVTCKVVJGG[GU VGNNCPGPVKTGUVQT[VQVJGXKGYGTCPFIKXGVJGYJQNG RKEVWTGCXKVCNNKXGNKPGUUVJCVGPVKEGUVJQUGYJQNQQMCVKV6JGG[GU CTGYJCVOQUVRGQRNGYKNN¿TUVPQVKEGYJGPNQQMKPICVCRQTVTCKV CPFUQKV¶UXGT[KORQTVCPVVQOCUVGTVJGVGEJPKSWGQHRCKPVKPI VJGO#YJQNGCTTC[QHGOQVKQPUKUEQPXG[GFVJTQWIJVJGOCPF CUWDVNGEJCPIGECPCHHGEVVJGGPVKTGOQQFQHVJGRCKPVKPI+UVJG EJCTCEVGTJCRR[QTUCF!#TGVJG[CNGTVQTCTGVJG[QHHKPVJGKTQYP FTGCOYQTNF!

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6JGDCUKEU Start off on the right track with shape and position

01 The sketch

5VCTVKPIQWVYKVJCNKPG UMGVEJKUCIQQFYC[VQIGVVJGDCUKEU KPRNCEG%TGCVGCPGYNC[GTHQTVJKU6JGG[G KUPQVCPQXCNUQTGOGODGTVQFTCYCPQFWNG KPVJGKPPGTEQTPGTUQHVJGG[GUHQTVJGVKUUWG CPFVGCTINCPFUKPVJGUQEMGV'[GDTQYUECP DGRNCEGFKPTGNCVKQPVQVJGG[GUCPFPQUVTKNU

02 The eyebal

N6JGG[GDCNNUCTGOQUVN[ URJGTKECN6JGTGFEKTENGUKPVJKU RKEVWTGKPFKECVGVJGEKTEWOHGTGPEGQHVJG YJQNGG[GDCNNCPFQHVJGKTKU7PNGUUVJG RGTUQPKUQRGPKPIVJGKTG[GUXGT[YKFGKVKU WPNKMGN[VJCV[QWYKNNDGCDNGVQUGGDQVJVJG VQRCPFDQVVQOQHVJGKTKUCVVJGUCOGVKOG

03 Pupils and iris

5MGVEJKPVJGKTKU CPFVJGRWRKNU*GTG¶UCNKVVNGVKR EQPUKFGTYJCVUQTVQHNKIJV[QWTEJCTCEVGTKU KP+HKVKUFCTMVJGPVJGRWRKNUYKNNDGFKNCVGF DWVKHKV¶UNKIJVVJG[YKNNDGEQPUVTKEVGF+V¶U NKVVNGFGVCKNUNKMGVJKUVJCVTGCNN[OCMG[QWT RCKPVKPIEQORNGVGUQFQP¶VOKUUVJGOQWV

Digital Painting

21

Tutorial Improve your portraits

.GVVJGTGDGEQNQWT Now that the sketch is done, it’s time to move on to the fun part

Make it glamorous Want to add some eyeshadow? Create a layer on top of your eye painting and set the Blending Mode to Colorize. Now pick some colour and get creative! When set to Colorize, only the colour properties of this layer are imposed on the picture below and you don’t lose any detail. This means that you’ll no longer have to dodge between each individual eyelash!

What’s that coming over the hill? Whether you’re trying to make your viewer laugh, cry, think or just look more carefully, try adding an extra twist to your painting by elaborating on the reflection in the eyes. A space ship, zombie attack or perhaps just some windows – make the most of what you have in order to tell the story.

22

Digital Painting

04 Skin colour

1PVJGNC[GT WPFGTPGCVJVJGUMGVEJDNQEMKP VJGOKFVQPGQHYJCVGXGTUMKPEQNQWT[QW CTGWUKPI6JG(KNN$WEMGVQTCNCTIGCKTDTWUJ YKNNFQVJGVTKEM9JGPRCKPVKPIG[GUCNYC[U TGOGODGTVQEQPUKFGTVJGEQPVQWTUQHVJG HCEGCTQWPFVJGOKIPQTKPIVJKUYKNNOCMG [QWTRCKPVKPINQQMÀCVCPFNKHGNGUU

05 Shadows and highlights

%TGCVGC PGYNC[GTQPVQRQHVJGUMGVEJCPF UVCTVRCKPVKPIKPVJGUJCFQYUCPFJKIJNKIJVU 9G¶TGWUKPIC5QHV#KTDTWUJHQTVJKUVCUM 6JGURJGTKECNUJCRGQHVJGG[GDCNNOCMGU KVUQVJCVVJGG[GNKFUCTGCNUQEWTXGF-GGR KPOKPFVJCVVJGG[GNKFUJCXGCVJKEMPGUUVQ VJGOCUQRRQUGFVQDGKPIRCRGTVJKP

9JCVGXGTVJGG[GEQNQWTKURCKPV VJGDQVVQORCTVQHVJGKTKUKPVJCVEQNQWT CPFWUGCFCTMGTVQPGHQTVJGVQRRCTV 6JKUKUDGECWUGVJGNKIJVUQWTEGKUCDQXGG[G NGXGNKPVJKURKEVWTGUQVJGVQRQHVJGG[G YKNNDGKPUJCFQYECUVD[VJGWRRGTG[GNKF CPFVJGG[GNCUJGU

07 Iris

08 Catchlight

09 The fleshy bits

6JGKTKUKUVJGOQUVFKUVKPEVKXG RCTV+VEQPUKUVUQHRKIOGPVGFVKUUWG VJCVECPTGIWNCVGVJGUK\GQHVJGRWRKN+VKU VJKUVKUUWGVJCVHQTOUVJGDGCWVKHWNRCVVGTPU KPVJGKTKU5YKVEJVQVJG(KPG&GVCKN#KT QT CP[DTWUJUOCNNGPQWIJCPFRCKPVKPUQOG NKPGUVJCVTCFKCVGQWVHTQOVJGRWRKNU

6JGECVEJNKIJVKUVJG JKIJNKIJVHQWPFQPVJGG[GDCNNU+VKU CTGÀGEVKQPQHVJGNKIJVUQWTEGCPFYKVJQWVKV VJGUWDLGEVVGPFUVQNCEMNKHGCPFNWUVTG6JG ECVEJNKIJVFQGUPQVJCXGVQDGCEKTENGNKMG OCP[CTVKUVUWUGUQWUG[QWTKOCIKPCVKQP ,WUVTGOGODGTVQTGÀGEVVJGWRRGTG[GNCUJGU

vessels 10 Blood

$NQQFXGUUGNUCTGPQV QPN[XKUKDNGCHVGTC NCVGPKIJVQHRCTV[KPI [QWMPQY'XGPKP PQTOCNUKVWCVKQPU KVKURQUUKDNGVQUGG DNQQFXGUUGNUKPVJG EQTPGTUQHVJGG[GU 6CMGCXGT[UOCNN CKTDTWUJCPFFTCYKP UQOGDNQQFXGUUGNU YKVJCFCTMTGF

06 What’s your eye colour?

2KEMQWVCRKPM[ JWGCPFRCKPVKPVJGKPPGTPQFWNG CPFCNQPIVJGKPUKFGQHVJGDQVVQOG[GNKF)Q CTQWPFVJGGFIGUYKVJCUNKIJVN[FCTMGTRKPM 5GV[QWTDTWUJUK\GVQQTRKZGNUCPFRCKPV UQOGYJKVGKPLWUVCDQXGVJGNQYGTG[GNKFCPF VJGKPPGTEQTPGTHQTCOQKUVGHHGEV

11 Bottom lid

0QYUVCTV VQYQTMKPUQOGQH VJGUMKPVGZVWTG CTQWPFVJGG[GUD[ JKIJNKIJVKPI7UKPI CRCNGUMKPVQPGQT YJKVGFTCYKPUQOG UJQTVNKPGUCNQPIVJG GFIGQHVJGDQVVQO G[GNKF VJGRCTVVJCV UVKEMUQWVVJGOQUV


Digital Painting Tutorial

Get your curlers

Improve your portraits

Those pesky eyelashes – they’re there to do you a good deed by keeping dust out of your eyes, but they sure are tricky to paint. Here are some tips to help you along

13 Shadows? Here? 12 Bottom lashes

0QYEJCPIG[QWTCKTDTWUJVQ6CRGTGF&GVCKN #KT6GUVKVQWVVQ¿PFVJGTKIJVUK\GHQTG[GNCUJGU+V¶UCIQQF KFGCVQETGCVGCPGYNC[GTCVVJKUUVCIGCPFRCKPVCNNQH[QWTG[GNCUJGU QPVJCVNC[GT6JGDQVVQONCUJGUCTGEWTXGFFQYPYCTFUKPOCP[ ECUGUDWVVJG[OC[CNUQRQKPVWRYCTFUQTUVTCKIJVQWV

;GUGXGP G[GNCUJGUECUVUJCFQYU#TGYGDGKPI RGFCPVKE!2GTJCRU$WVKH[QWCTGIQKPIVQDG RCKPVKPICENQUGWRQTDGIQKPIKPVQCNQVQH FGVCKNVJGPKVOC[DGYQTVJTGOGODGTKPI VJKUNKVVNGUPKRRGVCUKVFQGUCFFVQVJGTGCNKUO QHKVCNN2CKPVVJGUJCFQYUQPVJGNC[GTDGNQY VJGG[GNCUJNC[GT

01 Brush creator

6JG2CKPVGT FGHCWNVUGVVKPIHQTVJG6CRGTGF &GVCKN#KTKU5K\G'ZRTGUUKQP2TGUUWTG 5GPUKVKXG6JKUFQGUP¶VNQQMXGT[IQQF WPNGUU[QWJCXGUWRGTJWOCPEQPVTQNQH [QWTITCRJKEUVCDNGV6T[EJCPIKPIVJG 5K\G'ZRTGUUKQPVQ&KTGEVKQPKPUVGCF

14 Upper lashes

/QTGQHVJGUCOG JGTG.CUJGUFQP¶VRQKPVUVTCKIJVWR VJG[CTGEWTXGF6JKUOGCPUVJCVVJGTGYKNN DGCUNKIJVFQYPYCTFFKRDGHQTGCPWRYCTF EWTN#ICKPWUGCVCRGTGFDTWUJVQIGVVJCV RQKPVGFVKRNQQM

15 Eyebrows say it

6JKPDWUJ[QTPGCV±YJCVGXGT[QWT G[GDTQYPGGFU[QWECP¶VIQYTQPID[HQNNQYKPIUQOGDCUKE RTKPEKRNGU*CKTUKPVJGKPPGTEQTPGTVGPFVQITQYRQKPVKPIWRYCTFU CPFVJGHWTVJGTQWV[QWIQVJGOQTGVJG[EQPXGTIGKPVJGEGPVTGQH VJGG[GDTQY

02 Painting

'[GNCUJGUNQQMNKMG NKVVNGTQWPFUYQQUJGU+VKU NKMGN[VJCVXKGYGFHTQPVQPVJGTGYKNN DGCPQXGTNCRDGVYGGPVJGNCUJGUCPF G[GDCNN0QVKEGVJGYC[VJGG[GNCUJGU HCPQWVKPQRRQUKVGFKTGEVKQPU

16 Skin folds

6JGTGCTG ETGCUGUKPVJGUMKP CTQWPFVJGG[GUUQ WUGVJG&TQRRGTVQQN VQRKEMCFCTMKUJ UMKPVQPGCPFFTCY CVJKPNKPGYKVJKV 0QYFTCYCVJKP NKPGQHNKIJV UMKPVQPGLWUV DGPGCVJKVCPF XQKNC;QW¶NNJCXG PCVWTCNNQQMKPI UMKPETGCUGUHQT GZVTCTGCNKUO

03 Grouping

.CUJGUCTGPQV CNNGXGPN[URCEGFCPFQHVGP VYQCFLCEGPVNCUJGUEQPXGTIG6JKUKU RCTVKEWNCTN[PQVKEGCDNGQPVJGDQVVQO NKFYJGTGVJGG[GNCUJGUCTGURCTUG

Digital Painting

23

Tutorial Paint skin texture

24

Digital Painting


Digital Painting Tutorial Paint skin texture

2CKPVUMKPVGZVWTG

Learn how to bring life to skin tones, and use a combination of painting, drawing and cloning techniques to make your portraits shine…

Tutorial info Artist

May Yeoshen Time needed

2 hours Skill level

Intermediate

PGQHVJGOQUVKORQTVCPVVJKPIUKPGXGT[RCKPVKPI VJCVKPXQNXGUC¿IWTGCUQPGQHVJGOCKPHQEWUGU KUVJGUMKP+VTGÀGEVUVJGCIGQHVJGRGTUQPVJGKT GVJPKEKV[CPFVJGKTIGPFGTCNQPIYKVJOCP[QVJGT VJKPIU±KPENWFKPIVJGKTRGTUQPCNKV[(CEVQTUNKMGVJGQXGTCNN EQORQUKVKQPVJGVKOGQHFC[CRJQVQYCUVCMGPCPFYJCVMKPFQH NKIJVKNNWOKPCVGUKV PCVWTCNQTCTVK¿EKCNYKNNOCMGVJGUMKPVQPG CPFKVUVGZVWTGXCT[1XGTGZRQUGFUMKPVQPGUYKNNDGXGT[DTKIJV CPFJCXGNKVVNGVGZVWTGYJKNGUMKPVQPGUYKVJOQFGTCVGNKIJVYKNN UJQYUQOGVGZVWTGCPFJCXGCYKFGTTCPIGQHJWGU *WOCPUMKPEQNQWTECPTCPIGHTQOCNOQUVDNCEM FWGVQ XGT[JKIJEQPEGPVTCVKQPUQHVJGFCTMDTQYPRKIOGPVOGNCPKP VQPGCTN[EQNQWTNGUU YJKEJCRRGCTUTGFFKUJYJKVGFWGVQVJG DNQQFKPVJGUMKP5MKPEQNQWTKUFGVGTOKPGFD[VJGCOQWPV CPFV[RGQHOGNCPKPYJKEJKUVJGRKIOGPVKPVJGUMKP9JGP

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

%NQPGVJGRJQVQ Start off with skin tones by cloning a favourite family photo

02 Colour correction

01 Prepare the photo

9GJCXGP¶VRTQXKFGFCUVCTVKOCIGQPVJG FKUEDWVVJGVGEJPKSWGYKNNYQTMQPQPGQH[QWTQYPRJQVQU UQRKEMCHCXQWTKVGCPFNQCFKPVQ2CKPVGT)GVTKFQHCP[FKUVTCEVKPI DCEMITQWPFUD[RKEMKPICUWKVCDNGVQPGCPFRCKPVKPIQXGTKVWUKPI CJKIJQRCEKV[DTWUJUWEJCUVJG1RCSWG#ET[NKE9GYCPVVJG ¿IWTGUVQDGVJGOCKPHQEWUQHVJGRQTVTCKVYKVJPQFKUVTCEVKQPU

+PQWTKOCIG VJGYQOCPJCUCPQTCPIGUMKP VQPGUQYGYCPVVQNQYGTVJKU6JGTGCTG FKHHGTGPVYC[UVQFQVJKUQPGQHVJGOKU%QNQT %QTTGEVKQP 'HHGEVU 6QPCN%QPVTQN %QTTGEV %QNQTU2KEMVJGTGFUSWCTGYJKEJTGRTGUGPVU VJGTGFJWGKPVJGQXGTCNNKOCIGCPFNQYGT VJGDTKIJVPGUU1PEG[QWIGVCFGUKTGFVQPG 3WKEM%NQPGVJGKOCIG

03 Let the cloning begin

/CMGUWTG VJCVVJG7UG%NQPG%QNQTKUEJGEMGF KPVJG%QNQTUVCD0QYYG¶XGRTGRCTGFQWT RJQVQYGUVCTVRCKPVKPIWUKPICJKIJQRCEKV[ DTWUJYKVJCPKEGVGZVWTGNKMGVJG5OGCT[ 4QWPF/CMGUWTG[QWENQPGHQNNQYKPIVJG VTKFKOGPUKQPCNUJCRGUCPFXQNWOGUQHVJG UMKP6WTPQP6TCEKPI2CRGTHTQOVKOGVQ VKOG %OF%VTN 6VQWUGKVCUCTGHGTGPEG

Digital Painting

25

Tutorial Paint skin texture

5VCTVRCKPVKPIUMKPVQPGU Get into the tones and textures

Translucent skin To show translucent skin you should use bright tones. For instance, ears in Caucasian people will have red hues since the light shines through it. To show translucent nostrils, make use of bright pinks and oranges. And if a skin is so translucent that you can see the veins through it, paint them gently on another layer with a low opacity to show some realism. Also, a very light cyan is really effective for indicating pale and translucent skin.

04 The colour palette

1PGQHVJGYC[UVQIGVCEQNQWTRCNGVVG KUD[NQQMKPICV1NF/CUVGTU¶RCKPVKPIU#%NCUUKECN$GCWV[ D[,QJP9KNNKCO)QFYCTFKUCIQQFGZCORNGHQTVJG[QWPIIKTN/CMG UWTGVJGUMKPVQPGUCTGUQOGYJCVENQUGVQVJGRJQVQ[QWCTGRCKPVKPI QXGT7UKPIVJG'[G&TQRRGTRKEMVJGOQUVGZVTGOGVQPGUQHDTQYPU QTCPIGUCPFRKPMUCPFOKZVJGOWRKPVJG/KZGT

05 Paint the skin tone

7PEJGEM7UG%NQPG%QNQTCPFETGCVG CPGYNC[GT HQTVJGUMKP/CMGUWTGVJGQRVKQP2KEM7R 7PFGTN[KPI%QNQTKUEJGEMGF7UKPICPQKN[DTWUJNKMGVJG5OGCT[ 4QWPFYKVJCP1RCEKV[QHCTQWPFUVCTVRCKPVKPIVJGOKFUMKP VQPGWUKPIVJGEQNQWTUKPVJG/KZGT6T[WUKPIVJG'[G&TQRRGTVQQNCU OWEJCU[QWECPVQDNGPFKPEQNQWTUHTQOVJGENQPGFKOCIG

06 Shadows and light

%TGCVGCPGYNC[GT HQTVJGUJCFQYU CPFUVCTVUJCFKPIQPVJGEJGGMUCPFDGNQYVJGPQUGCPF VJGHQTGJGCFYKVJCFCTMTGFFKUJDTQYP0QVKEGVJCVVJGJCKTECUVU CUJCFQYQPVJGUMKP#UHQTVJGDCD[WUGCIGPVNGQTCPIGWPFGTVJG OQWVJEJGGMUCPFNGHVRCTVQHVJGHCEG%TGCVGCPGYNC[GTCPFLWUV NKMG[QWFKFYKVJVJGDCUGVQPGCPFUJCFQYCFFKPVJGNKIJVU;QWECP WUGCXGT[NKIJVRGCEJJGTG

08

Bring up the details6JGTGCTGFGVCKNUVJCVCTGEQXGTGFYKVJ

VJGDKIQKNUVTQMGUVJCVCTGCXGT[KORQTVCPVRCTVQHVJGHCEG 9KVJVJG5QHV%NQPGTCVCNQYQRCEKV[DTKPIWRVJGOQUVKORQTVCPV FGVCKNUQHVJGHCEGVJGG[GUOQWVJCPFPQUVTKNU6JGUGFGVCKNUECP DTKPICP[RQTVTCKVVQNKHG

26

Digital Painting

07 Blend the colours

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09 Colour correction

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Digital Painting (CEKCNHGCVWTGUCPFFGVCKNU

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11 Texture on the skin

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In order to achieve warm, non-flat, glowing skin tones, make use of a wide range of dark or light pinks, lilacs, greens, browns and oranges. They will make your skin tone stand out and look more realistic – as long as it’s shaded in the correct areas. The zone from the brows to the bottom of the nose tends to be a warm hue, whereas the forehead and neck are rather neutral. The lower zone of the face tends to be cool.

Paint skin texture

10 Add variety to the skin tones

Tutorial

The colours of skin tone

Use a variety of tools to make your skin realistic

12 Add details

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13 Freckles

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Brushes for the skin

15 Last touches

14 Let it shine

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If you are going for a more traditional look, then you can make use of brushes based on oils – like the acrylics or the oils. They are great since they don’t have an airbrushed look and blend very well to mix the different colour tones. If you’re looking to get more texture on your skin, choose a speckled brush with subtle grain, like the Sponges. And if you want elements to pop out, apply subtle touches of glow.

Digital Painting

27

Tutorial Draw focus with good backgrounds

&TCYHQEWUYKVJ IQQFDCEMITQWPFU Tutorial info Artist

Marta Dahlig Time needed

6 hours Skill level

Advanced On the CD

Reference files

Apply professional techniques in your own work with this great tutorial on using backgrounds as a way to make your portraits shine VKUQHVGPVTWGVJCVDCEMITQWPFURNC[CUGEQPFCT[TQNGKP CRCKPVKPIGURGEKCNN[RQTVTCKVWTGCUOQUVCTVKUVUVGPFVQ EQPEGPVTCVGQPVJGEJCTCEVGTVJGFGUKIPCPFVJGGZGEWVKQP 6JGTQNGQHETGCVKPICPGHHGEVKXGEQPVGZVJQYGXGTECP PGXGTDGWPFGTGUVKOCVGF±UGVVKPIWRCDGCWVKHWNGPXKTQPOGPV QTKPVGTGUVKPIUEGPGHQTCRCKPVKPIECPITGCVN[DGPG¿VVJGYJQNG RKGEGPQVQPN[CGUVJGVKECNN[DWVKPVGNNGEVWCNN[#YGNNFGUKIPGF DCEMITQWPFECPITGCVN[EQPVTKDWVGVQETGCVKPICRCKPVKPI¶U PCTTCVKXGFTCYKPIVJGXKGYGTKPVQVJGUEGPGCPFRTQXQMKPI VJQWIJVUSWGUVKQPUCPFHGGNKPIUCDQWVCRKGEG+PQWTRCKPVKPI VJGDCEMITQWPFFGVCKNUCNNQYVJGXKGYGTVQWPFGTUVCPFOWEJ OQTGCDQWVVJGEGPVTCNEJCTCEVGTCUYGNNCUETGCVKPICUGVVKPI YJKEJFTCYUVJGG[GVQJGT+PEQORCTKUQPVQVJGEJCTCEVGT¶URCNG ENQVJKPIVJGDCEMITQWPFKUTKEJN[FGVCKNGFDWVKVGPJCPEGUTCVJGT VJCPQXGTYJGNOUVJGRKGEG6JGIQNFGPTWNGQHUWEEGUUHWNRCKPVKPI

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%QNQWTVJGQT[CPFEQORQUKVKQP Plan your composition carefully

composition 02 General

01 Colour palette

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Digital Painting

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03 Focal path

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$WKNFWRVGZVWTG A range of textures add life to your background Rough rocky 04 surfaces

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05 Smooth stone surfaces

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and silk 07 Velvet

06 Textiles

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Reference! If you don’t know how to paint something, search the web for photos that might help you out. No one is omniscient – we learn with every piece we paint. However, use references for what they are: a reference. Don’t try to mimic them, but instead try to analyse what you see – why is this drapery formed in such a way? Why do the colours interact the way they do? This requires more patience, but will greatly benefit you and the acquired knowledge will come in handy in many situations in the future.

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Digital Painting

08 Apply patterns

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Digital Painting 6JGHKPGTFGVCKNU

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10 Satin

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Realism isn’t about painting every last hair strand or blade of grass – it’s about making the viewer think that you did. Getting too detailed can sometimes hurt you much more than being too general as sharp details can drag attention away from the mood of an image, and end up jeopardising the success of your piece. To avoid this danger, do an exercise: paint general shapes when zoomed out, and only zoom in to define the shape and to add detail here and there.

Draw focus with good backgrounds

enrichment 09 Textile

Tutorial

Hint at details

Introduce textiles and foliage into your background

leaves 12 Detailed

11 Leaves

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Brush usage

touches 13 Finishing

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14 Bounce off colour

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In general, there is no such thing as a good or bad brush to use. There are some, however, which should be used with extra caution. Some brushes seem to offer quick and effective results, which are not necessarily the best. This will vary with your favoured style of painting, so don’t be afraid to experiment with your brushes.

Digital Painting

31


#FXCPEGFVGZVWTGUCPFURGEKCNGHHGEVU Pay attention to shadows, light effects and details

Creativity blocks If you feel you have a creativity block or generally lack inspiration, try to do a small exercise. Take a stock photo and give yourself 15 minutes (no more!) to do something with it. Do not use filters, just sketch on top of the reference. There is only one rule: the newly made sketch has to be as different from the original photo as possible.

15 Torn fabrics

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16 Airbrush

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and form 18 Cast

17 Detailed clouds

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flip 19 Horizontal

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32

Digital Painting

20 Finish it up

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ATA ALISHAHI

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Feature

Custom brushes

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34

Digital Painting


Digital Painting ,-1&-0#,/ !-1&+ $/20%"0

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Digital Painting

35

Feature

Custom brushes

2CKPVVJGUM[ Here’s a couple of brushes that make painting a cloudy sky easy 6JKUUM[YCURCKPVGFYKVJLWUVVYQDTWUJGUVJG9GV5QHV#ET[NKEDTWUJCPFVJG )NC\KPI(NCV DQVJCNVGTGFHQTUK\GCUPGGFGF6JKUOQFK¿GFXGTUKQPQHVJG9GV5QHV #ET[NKEKUXGT[GCU[VQWUGVQDNQEMKPVJGDCUKEUJCRGUYJKNGVJGOQFK¿GF)NC\KPI (NCVCFFUXQNWOGCPFFGVCKNDWVTGOCKPUCUUQHVCUENQWFU 6JG9GV5QHV#ET[NKEJCUDGGPCNVGTGFKPVYQYC[UVQOCMGKVOQTGGHHGEVKXGDQVJ CXCKNCDNGKPVJG)GPGTCN$TWUJ%QPVTQNURCNGVVG(KTUVXKCVJG4CPFQOOGPWVJG ,KVVGTYCUKPETGCUGFVQYJKEJIKXGUVJGDTWUJCNQXGN[ITCKPKPGUURGTHGEVN[UWKVGF

t e s n u s , e s i r n Su

HQTENQWFU0GZVXKC%QNQT8CTKCDKNKV[VJG4)CPF$YGTGDWORGFWRVQ0QY VJGDTWUJDTKPIUCXGT[PCVWTCNNQQMKPICOQWPVQHEQNQWTXCTKCVKQPVQGXGT[UVTQMG ±CPGHHGEVVJCVKUGUUGPVKCNVQNCPFUECRGYQTM 6JG)NC\KPI(NCV NQECVGFKPVJG1KN$TWUJRCNGVVGYCUCNVGTGFHQTEQNQWT XCTKCDKNKV[KPVJGUCOGOCPPGTCPFVJG1RCEKV[YCUDWORGFWRCDKVVQYJKEJ KPETGCUGUVJGEQPVTQNQXGTGFIGU4GOGODGTYJGP[QW¶TGRCKPVKPICUM[VQMGGR [QWTVGEJPKSWGNQQUGCPFPCVWTCN

LARGE AREAS SOFT CLOUDS 6JGDCUKEHQTOUYGTGDNQEMGFKPYKVJQWTD[PQYVTWUV[ OQFK¿GF9GV5QHV#ET[NKEYJKEJYCUUK\GFVQ¿V+V¶UC RGTHGEVDTWUJHQTETGCVKPIVJGUQHVHQTOUQHENQWFU

VARIATIONS 6JGXCTKCVKQPU YKVJKPVJGENQWFU YGTGRCKPVGFYKVJ QWTOQFK¿GF )NC\KPI(NCV YJKEJDWKNFUWR XQNWOGUQHVN[YKVJ OCZKOWOEQPVTQN 6JG%QNQT8CTKCDKNKV[ QHVJKUDTWUJKU GURGEKCNN[WUGHWNKP OCMKPIVJGENQWFU NQQMPCVWTCN

$NGPFKPIVJGNCTIGT CTGCUYCUFQPGYKVJ C5QHV$NGPFGT5VWOR 0QTOCNN[VJKUDNGPFGT NGCXGUCTGCUKVOQFK¿GU VQQÀCVCPFNKHGNGUUDWV D[FTQRRKPIVJG1RCEKV[ VQDWORKPIWR VJG,KVVGTVQCPFVJG 4)$UNKFGTUVQ[QW YKNNETGCVGCXGT[NKXGN[ VQQNHQTFQKPIVJG¿PCN DNGPFKPIQPKVGOUNKMG VJGHQTGITQWPFCPFVJG DKIRCVEJGUQHUM[

SWIRLS

EDGES 6JG6KPVKPI$CUKE4QWPF KPVJG6KPVKPI$TWUJRCNGVVGECPDGGCUKN[ OQFK¿GFVQJCPFNGUWDVNGGFIGUNKMGVJGFKUVCPVJKNNUCPFVJGENQWFU FKTGEVN[KPHTQPVQHVJGUGVVKPIUWP5KORN[UGVVJG%QNQT8CTKCDKNKV[4)CPF $VQVJG,KVVGTVQVJG1RCEKV[VQCPF[QWYKNNJCXGHQWPFCPGYHTKGPF

36

Digital Painting

6CMGVJG5QHV$NGPFGTDTWUJ

NQECVGFKPVJG$NGPFGT$TWUJ RCNGVVGCPFUGVVJG,KVVGTVQ VJG%QNQT8CTKCVKQPVQHQT4) CPF$CPFFGETGCUGVJG1RCEKV[ VQ0QY[QWJCXGCPGZEGNNGPV DTWUJVQUQHVGPJCTFGFIGU OCPKRWNCVGNKVVNGUYKTNUQHENQWF CPFDNGPFHQTOUVQIGVJGT


Digital Painting

&01+ 1%,/&7,+ 0 6JKUNKVVNGUVWF[QHCDNWTTGFUJKOOGTKPIJQTK\QP YCUETGCVGFKPCDQWVOKPWVGUWUKPIVJGUCOG DTWUJUGVCUKPQWTµ5WPTKUGUWPUGV¶RKEVWTG1WT 5QHV$NGPFGT5VWORUK\GFVQTGCNN[ECOG KPJCPF[JGTG+VETGCVGFCFCRRNGFGHHGEVYJGP DNGPFKPIVJGVYQ¿GNFUQHEQNQWTVQIGVJGTYJKEJ TGCNN[JGNRGFVQETGCVGCPCVOQURJGTKEJC\G6JG JKIJNKIJVUQPVJGYCXGVQRUYGTGRCKPVGFNCUVYKVJ QWTOQFK¿GF6KPVKPIDTWUJ

Cloud v ariations

6JGXQNWOGUQHVJKUENQWFYGTGDWKNVWRYKVJ C(KPG(GCVJGTKPI1KNYKVJVJGHQNNQYKPI CNVGTCVKQPU)TCKP1RCEKV[CPFVJG%QNQT 8CTKCDKNKV[YCUDWORGFWRVQ4)$6JGPC OQFK¿GF1KN[$NGPFGTDTWUJYCUWUGFVQYQTMVJG GFIGU VJGUGVVKPIUJCFDGGPCNVGTGFD[KPETGCUKPI VJG1RCEKV[VQCNVGTKPIVJG)TCKPVQCPF KPETGCUKPIVJG,KVVGTVQ

6JGENQWFU¶OCUUGUYGTGDNQEMGFKPYKVJCP:5QHV 4QWPFRCUVGNYKVJC,KVVGTQHCP1RCEKV[QH CPFC%QNQT8CTKCDKNKV[QH4)$6JGP C)TCKP[$NGPFGTYCUWUGFVQYQTMVJGGFIGU CPFTQWPFQWVVJGHQTOU6JKUYCUOQFK¿GFD[ KPETGCUKPIVJG1RCEKV[VQCPFFTQRRKPIVJG )TCKPVQ7UGVJGUGDTWUJGUYKVJQVJGTFT[ OGFKCNKMGEJCNMCPFRCUVGNU

6JG(KPGT/QR&KIKVCN9CVGTEQNQTDTWUJYCUWUGFVQ DNQEMKPVJGDCUKEUJCRGUCPFXQNWOGU+VU1RCEKV[YCU FTQRRGFVQVQOCMGDWKNFKPIWRVJGUQHVENQWFHQTOU GCUKGTCPFKVU)TCKPYCUCNVGTGFVQ#OQFK¿GF(NCV 9CVGT$NGPFGTYCUWUGFVQTQWPFQWVVJGHQTOUCPF YQTMVJGGFIGU+VU1RCEKV[YCUEJCPIGFVQKVU )TCKPVQCPFVJG,KVVGTVQ7UGVJGUGYKVJQVJGT YCVGTDCUGFDTWUJGUNKMG&KIKVCN9CVGTEQNQTU

Digital Painting

37

Feature

Custom brushes

6TGGUHQNKCIGCPFRNCPVU Let’s look at some brushes that work well painting our leafy friends

38

6JQWIJVJGTGCTGOCP[RNCEGUKPVJGYQTNF CPFKPQWTKOCIKPCVKQPVJCVEQPVCKP PQXKUKDNGXGIGVCVKQPCPFTGOCKPCDGCWVKHWNUWDLGEVHQTCNCPFUECRGRCKPVGTVJGXCUV OCLQTKV[QHUGVVKPIUCTG¿NNGFYKVJCNCTIGXCTKGV[QHRNCPVUYKVJCYKFGTCPIGQHUK\GU CPFUJCRGU±HTQOCUKPINGDNCFGQHITCUUVQCVQYGTKPIQCMVTGG 'CEJHQTOKUDGUVFQPGYKVJFKHHGTGPVDTWUJGURKEMGFHQTVJGVCUMVQJGKIJVGP GZRTGUUKXGPGUU6JCVUQWPFUJCTFDWVCNKVVNGHCOKNKCTKV[YKVJVJGDCUKE

EJCTCEVGTKUVKEUQHVJGXCTKQWUMKPFUQHDTWUJGUOCMGUKVRTGVV[GCU[VQRWVVQIGVJGT CHCKTN[UOCNNUGVVJCVYKNN¿VCNNDWVVJGOQUVGZQVKEEKTEWOUVCPEGU#PFPGXGT UVQRCFFKPIVQKVCHGYFGHVCNVGTCVKQPUQHVJGDTWUJGUYKNNITGCVN[GPJCPEGVJGKT GZRTGUUKXGRQYGT/QTGQXGTKH[QWTCGUVJGVKEUGPUKDKNKVKGUCTGCNNQYGFVQETGGRKPVQ VJGCNVGTCVKQPQPVJGDTWUJGUVJG[HWTVJGTCPCVWTCNGZRTGUUKQPQHKPFKXKFWCNKPVGPV CPFRGTUQPCNUV[NG

2CKPVKPICP'XGTITGGPVTGGYKVJKVUEJCTCEVGTKUVKEGZRTGUUKXGUJCRGTGSWKTGUCDTWUJ CPFCDNGPFGTVJCVECPGCUKN[TGETGCVGVJQUGNQPIUNQRKPIDTCPEJGU#PGZEGNNGPV RCKTKPIHQTVJKUVCUMKUCOQFK¿GF4QWPF%COGNJCKT1KNDTWUJCPFCOQFK¿GF1KN[ $NGPFGT6JGHQTOUYGTGDNQEMGFKPYKVJVJG4QWPF%COGNJCKTYKVJC,KVVGT UGVVKPIQHCPFVJG4)$%QNQT8CTKCVKQPUGVCV6JGPVJG1KN[$NGPFGTYCU OQFK¿GFKPVJGGZCEVUCOGYC[CPFWUGFVQJGNR¿PKUJVJGHQTOQHVJGDTCPEJGU

#&GEKFWQWUVTGGJCUCFKHHGTGPVUJCRGEQPUKUVKPIQHCVTWPMYKVJTCFKCVKPIDTCPEJGU NCFGPYKVJUKPINGNGCXGU6JGGCUKGUVYC[VQTGETGCVGVJKUNQQMKUVQRCKPVKPVJGVTWPM CPFDTCPEJGU¿TUVCPFVJGPNC[GTUJQTVFCDUQHXCTKQWUXCNWGUUWIIGUVKXGQHVJGNKIJV CTQWPFVJGDTCPEJGU/QFKH[C/GFKWO$TKUVNG1KNDTWUJD[DWORKPIWRVJG,KVVGT VQCPFFTQRRKPIVJG1RCEKV[VQ0QY[QWJCXGCPGCU[DTWUJHQTVJGVTWPM CPFDTCPEJGU6JGDTWUJKUGSWCNN[IQQFHQTDWKNFKPIWRVJGOCUUGUQHNGCXGU

Digital Painting


Digital Painting ,10,#1/""0 #PKEGRCKPVGTN[CRRTQCEJVQ RCKPVKPITQYUCPFTQYUQH 'XGTITGGPUKPXQNXGUVJGUCOG VYQDTWUJGUYGWUGFVQRCKPVC UKPING'XGTITGGP6JGOQFK¿GF 4QWPF%COGNJCKT ,KVVGTCV CPF4)$YCUWUGFJGTGVQ RCKPVVJGTQYUQHVTGGUVTGCVGF CNOQUVCUQPGOCUU6JGP UQOGKPFKXKFWCNVTGGUYGTG FG¿PGFRCTVKEWNCTN[KPVJG HQTGITQWPFD[WUKPIVJG OQFK¿GF1KN[$NGPFGT ,KVVGT CVCPF4)$VQRWNNVJGKT RGCMUQWVKPVQVJGUM[

/""1/2+(0 6JGTGCTGUOCNNNCTIGUOQQVJCPFTQWIJVTGGVTWPMUJGTG6JG4QWPF %COGNJCKTYCUOQFK¿GFD[KPETGCUKPIVJG,KVVGTVQCPFVJG%QNQT 8CTKCDKNKV[4)$VQ+VYCUUK\GFCPFDNGPFGFCUPGGFGFYKVJC4QWPF $NGPFGTDTWUJYKVJ%QNQT8CTKCVKQP4)$VQ$QVJDTWUJGUCTGGCU[ VQWUGVQRCKPVVJGUGNKPGCTVWDWNCTHQTOU

#ITGCVDTWUJHQTRCKPVKPIITCUUKUCOQFK¿GF)NC\KPI(NCV1KNDTWUJ#NKIJVUVTQMGHTQOVJG DQVVQOVQVJGVQROCMGUCXGT[PKEGUQHVDNCFGQHITCUUYKVJCPCVWTCNVCRGT5KORN[WUGVJGUG UGVVKPIU1RCEKV[4)$%QNQT8CTKCVKQPCVCPFVJG(GCVWTGUGVVQ6JG4QWPF$NGPFGT DTWUJKUCPKEGDNGPFKPIQRVKQPQPEG[QWTGFWEGVJG1RCEKV[VQCPFKPVTQFWEGCNKVVNG EQNQWTXCTKCDKNKV[D[DWORKPIWRVJG%QNQT8CTKCVKQP4)$VQ

" 3"0E)" 3"0+!)" 3"0; #ITGCVCNNCTQWPFDTWUJHQTRCKPVKPIDTQCFNGCHGFRNCPVUNKMGVJGQPGUKPVJKUHTCOGKUQWT OQFK¿GF/GFKWO$TKUVNG1KN+VKURGTHGEVHQTVJGKPKVKCNFTCYKPICPFKVJCPFNGUVJGUJCRGUCPF EQPVQWTUQHVJGXCTKQWUNGCH[UJCRGUGZVTGOGN[YGNN;QWECPGXGPOCMGUJCTRFCDUGZRTGUUKPI YKNFÀQYGTUCPFVJGNKMG5KORN[UK\GKVVQ¿V[QWTPGGFUCPFRCKPVCYC[

#NNQHVJGXCTKQWUNGCXGUKPVJKURCKPVKPIYGTGCEEQORNKUJGFYKVJVJG UCOGDTWUJ$WORKPIWRVJG,KVVGTVQCPFTGFWEKPIVJG1RCEKV[VQ OQFK¿GFVJGXGPGTCDNG8CTKCDNG(NCV1KNDTWUJ5QOGYGTGFQPGKP CUKPINGUVTQMGYJKNGQVJGTUYGTGOQFGNNGFWUKPICPWODGTQHUVTQMGU

Digital Painting

39

Feature

Custom brushes

)TQWPFEQXGT Time to explore brushes that are well suited for the stuff that’s underfoot… 9JGTGFQCNNVJGUGRNCPVUEQOGHTQO!1J[GCJVJGITQWPF)GVVKPIVJGTKIJVNQQMQHVJGITQWPFUGVUVJGUVCIGHQTCIQQFNCPFUECRG6JGTGKUCNOQUVCUOWEJ XCTKGV[KPITQWPFEQXGTCUVJGTGKUKPVJGRNCPVYQTNFKPVGTOUQHRCKPVKPIVJQWIJOWEJQHVJCVXCTKGV[GZKUVUKPUWDVNGVGZVWTCNFKHHGTGPEGU±YKVJVJGGZEGRVKQPQH TQEMUCPFENKHHUCPFVJGNKMG,WUVCHGYDTWUJGUCTGPGGFGFVQJCPFNGOQUVEKTEWOUVCPEGUCPFYGYKNNNQQMCVVJGOPQY

9GVITQWPFJCUOQTGJKIJNKIJVUVJCPFT[ITQWPFUQCUQHVXGTUKQPQHVJG 5RCVVGT#KTDTWUJYQTMU6CMGVJG8CTKCDNG5RCVVGT#KTDTWUJCPFCNVGTKVKPVJKU YC[1RCEKV[,KVVGT5RTGCF(NQYCPF(GCVWTG

40

OILY MUD

DRY MUD

WATERY MUD

8CTKCDNG5RCVVGT #KTDTWUJ1RCEKV[ ,KVVGT5RTGCF (NQY(GCVWTG

4QWPF:5QHV2CUVGN 1RCEKV[)TCKP ,KVVGT4)$%QNQT 8CTKCDKNKV[CV$NGGFCV

&KIKVCN9CVGTEQNQT5RCVVGT 9CVGT,KVVGT1RCEKV[ 4)$&KHHWUKQP CPF9GV(TKPIG

&/1E"/1%+!/, (

201E0+!+!-")"0

6JGTQEMUCPFENKHHUKPQWTKOCIGYGTGRCKPVGFYKVJQPGDTWUJUK\GF VQ¿V6JG8CTKCDNG(NCVKULWUVTKIJVHQTGZRTGUUKPIVJGUJCRGUCPF EQPVQWTUQHCTQEM$WORWRVJG,KVVGTVQUGVVJG1RCEKV[VQ CPFVJG%QNQT8CTKCDKNKV[4)CPF$VQ

6JGDGUVDTWUJHQTRCKPVKPIFWUVCPFUCPFKUVJG8CTKCDNG5RCVVGT#KTDTWUJ5GVVJG(GCVWTGCV VJG(NQYCVVJG1RCEKV[VQVJG,KVVGTVQCPFVJG%QNQT8CTKCDKNKV[4)CPF$VQ 0QY[QW¶NNTGCNN[DGCDNGVQECRVWTGVJGNQQMQHITCKP[UCPF$WORWRVJG(GCVWTGCDKV UC[VQ VQETGCVGUQOGRGDDNGU9QTMQPCUGRCTCVGNC[GTHQTDGUVEQPVTQN

OILY ROCKS

DRY ROCKS

WATERY ROCKS

OILY SPATTER DUST

DRY GRAINY DUST

WATERY DUST AND PEBBLES

8CTKCDNG(NCV 1RCEKV[,KVVGT %QNQT8CTKCDKNKV[ 4)CPF$VQ

5SWCTG*CTF2CUVGN 1RCEKV[,KVVGT )TCKPCPF%QNQT 8CTKCDKNKV[4)$VQ

&KIKVCN9CVGTEQNQT&T[ DTWUJ&KHHWUKQPUGVVQ CPF%QNQT8CTKCDKNKV[ 4)CPF$UGVVQ

8CTKCDNG5RCVVGT#KTDTWUJ 1RCEKV[,KVVGT(NQY %QNQT8CTKCDKNKV[4) CPF$VQ(GCVWTGVQ

4QWPF:5QHV2CUVGN 1RCEKV[)TCKP,KVVGT CPF%QNQT8CTKCDKNKV[4) CPF$VQ

5RCVVGT9CVGT1RCEKV[)TCKP &KHHWUKQP9GV(TKPIGCPF,KVVGT #NVGTUK\GCUPGGFGF6JKUUYCVEJ YCUOCFGYKVJUK\GRKZGNDTWUJGU

Digital Painting


Digital Painting

9CVGTEQNQWTU

SPLASHING AROUND

Let’s take a trip down the river to find some good brushes for painting water in a range of circumstances 9CVGTKUTCTGN[UVKNNUQCXCTKGV[QHFKHHGTGPVDTWUJGUOWUVDGWVKNKUGFVQOCMGGHHGEVUVJCVUWIIGUVKVUOCP[UVCVGU 9JGPYCVGTKUTWUJKPIFQYPCYCVGTHCNNKVKUHTQVJ[CPFURNCUJGUKPVQCOKUVCUKVTGCEJGUUQNKFQDLGEVU#UKVUGVVNGU FQYPKPVQCNCTIGTRQQNKVTKRRNGUFQYPKPVQTGNCVKXGECNOCPFDGIKPUTGÀGEVKPIQDLGEVUCTQWPFKV1PVJGYC[QWV QHVJGRQQNUC[FQYPCUJCNNQYUVTGCOKVEQODKPGUCNKVVNGQHDQVJSWCNKVKGUYKVJCXGT[ÀWKFUOGCT[MKPFQHGHHGEV .GV¶UVCMGCNKVVNGVQWTQHGCEJQHVJGUGVJTGGCTGCUCPFVJGMKPFQHOQFK¿GFDTWUJGUVJCVOCMGRCKPVKPIVJGOGCUKGT

#5OGCT[4QWPF1KNYKVJVJG(GCVWTG DWORGFWRVQOCFGVJGTWUJKPI YCVGT#5OGCT[$TKUVNG5RTC[UGVVQ 1RCEKV[YKVJVJG%QNQT8CTKCDKNKV[ 4)$QHCPF,KVVGTQHYCUWUGFVQ NKIJVN[DTGCMWRVJGGFIGU#5OGCT[ (NCV1KNDTWUJOQFK¿GFVQ1RCEKV[ ,KVVGTQHCPF%QNQT8CTKCDKNKV[QH4 )CPF$VQOCFGVJGURNCUJGU1WT OQFK¿GF4QWPF$NGPFGTDTWUJ WUGFQP VJGENQWFUDNGPFGFCNNQHVJGGNGOGPVU VQIGVJGT6JGYCVGTYCUDNQEMGFKPYKVJ C&KIKVCN#KTDTWUJUGVVQCP1RCEKV[QH CPFUK\GFVQYKVJC,KVVGTQHCPF %QNQT8CTKCDKNKV[4)CPF$VQ

ON THE SURFACE #5QHV$NGPFGT5VWORYKVJVJG,KVVGTPWFIGFWRVQ DNGPFGFVJGNCTIGTECNOGTDQF[QHYCVGTXGT[YGNNCPF OKZGFJKPVUQHUWTTQWPFKPIEQNQWTKPVQVJGUNKIJVN[ TGÀGEVKXGUWTHCEGQHVJGIGPVN[OQXKPIYCVGT

RIPPLING WATER 6JGTKRRNGUNGCFKPI HTQOVJGYCVGTHCNN YGTGRCKPVGFYKVJC (KPG(GCVJGTKPI1KN DTWUJOQFK¿GFVQ 5K\GYKVJ,KVVGTCV CPF%QNQT8CTKCDKNKV[ UGVCVCETQUUVJG DQCTF6JGUCOG DTWUJYCUWUGFVQ CFFUQOGJKIJNKIJVU CTQWPFVJGGFIGUQH VJGENKHHHCEG

WATER TEXTURE FINALISE DETAILS &GVCKNUKPVJGUVTGCOYGTGRCKPVGFYKVJC8CTKCDNG4QWPF1KNDTWUJ UGVVQ1RCEKV[5K\GFVQCPFYKVJC%QNQT8CTKCDKNKV[QH4)$CV +VYCUCUPCRVQRCKPVKPVJGYCVGTDWKNFKPIWRCTQWPFVJGTQEMUCPF YQTMGFGSWCNN[YGNNHQTVJGXCTKQWUGFFKGUOCMKPICXGT[NKSWKFGHHGEV 1WTOQFK¿GF4QWPF$NGPFGTDTWUJ¿PCNKUGFVJGFGVCKNUCUPGGFGF

#8CTKCDNG5RCVVGT#KTDTWUJ 5K\G(NQY(GCVWTG CNNOQFK¿GFKPVJG/GPWDCTYKVJ1RCEKV[ CPF,KVVGTYCUWUGFQPC1RCEKV[QXGTNC[NC[GT VQETGCVGVJGURCVVGTGFGHHGEVVJCVXCTKGUVJGUWTHCEG VGZVWTGKPVJGYCVGT5KORN[UGNGEVKPINKIJVUCPFFCTMU HTQONQECNCTGCUCPFUQHVN[RCKPVKPICPFGTCUKPIYKVJC 1RCEKV['TCUGTYCUVJGVGEJPKSWGGORNQ[GF

Digital Painting

41

Feature

Custom brushes

$TWUJKPFGZ Adapt these standard Painter brushes or combine them with others for fantastic landscape effects /CP[QH2CKPVGT¶U DTWUJGUECPDG CFCRVGFQTEQODKPGF YKVJQVJGTUVQETGCVG VJGNCPFUECRGGHHGEVU [QWYCPV#JWIG TCPIGQHDTWUJGUCTG UWKVCDNGHQTRCKPVKPI UM[GCTVJVTGGUCPF HQNKCIG5QOGVKOGUVJG QPN[VYGCMU[QWPGGF CTGCNKVVNGDKVQH,KVVGT QTCP1RCEKV[EJCPIG CPF[QWECPTGCNN[RNC[ CTQWPFYKVJVJGOCTMU [QWECPOCMG*GTG¶U QWTKPFGZQHUQOG OQTGQHQWTHCXQWTKVG NCPFUECRGDTWUJGU

Category:#ET[NKEU Brush:%CRVWTGF$TKUVNG Useful for:.GCXGURGVCNU

Category:#KTDTWUJGU Brush:2GRRGT5RTC[ Useful for:&KTVUCPF

Category:4GCN$TKUVNG Brush:4GCN(CP5JQTV Useful for:.GCXGUCPF

CPFFGNKECVGVGZVWTGU

RGDDNGUCPFRQNNGP

RGVCNUQHÀQYGTU

Category:6KPVKPI Brush: 5CNV[ Useful for: .KVVNGRGDDNGU

Category:(GNV2GPU Brush:&KTV[/CTMGT Useful for:)TCUUETQRU

Brush:$TQCF9CVGT$TWUJ Useful for:(QIOKUV

KEGCPFUPQY

CPFTGGFU

ENQWFUCPFUOQMG

Category:4GCN$TKUVNG Brush:4GCN(NCV1RCSWG Useful for:)TCUUCPF

Category:5OCTV5VTQMG Brush:5RQPIG&GPUG Useful for:5VQPG

Category:(GNV2GPU Brush:#TV/CTMGT Useful for: .GCXGUCPF

ITQWPFEQXGT

RCXGOGPVCPFRQVVGT[

FKUVCPVVTGGU

Category:&KIKVCN

42

Digital Painting

9CVGTEQNQT


Digital Painting

9KPPKPIEQODKPCVKQPU Our top five brush combinations for landscape painting 2CKPVGTQHHGTUWPUWTRCUUGFQRRQTVWPKVKGUHQTOKZKPIOGFKCCNNQYKPI[QWVQEQODKPGDTWUJCPFRCKPVV[RGUVJCV[QW¶FDGWPCDNG VQQVJGTYKUG$NGPFGTUCNYC[UOKZYGNNYKVJQVJGTDTWUJV[RGUDWVVJGTGCTGOCP[OQTGRQUUKDKNKVKGUCXCKNCDNG*GTGYGUJQY [QWUQOGQHVJGDGUVEQODKPCVKQPUYG¶XGHQWPFª

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Digital Painting

43

Tutorial Create a stunning landscape

%TGCVGCUVWPPKPI NCPFUECRG Discover how easy it is to clone a photo and create a beautiful landscape with painterly texture Tutorial info Artist

Alberto Guillen Time needed

Three hours Skill level

Beginner On the CD

Start file

44

Digital Painting

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Digital Painting Tutorial Create a stunning landscape Digital Painting

45


%NQPKPIYQTMHNQY Transform a photograph into a beautiful painting

Overlapping brushstrokes Apply overlapping brushstrokes from different directions to get pleasing visual effects. Varying the brush size also adds to expressive markings, which allows surrounding paint to mix, creating striking outcomes. Experimenting with brushstrokes is a fun way to develop your own painting style.

01 Setting the stage

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02 Creating a clone is easy

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Create a tinted 04 canvas

03 The Colors palette

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Discover the Oils brushes sketching 05 Reference

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46

Digital Painting

Learning the character of our tools The Oils Smeary Flat brush is the workhorse for this painting. It has the power to move paint in a very expressive way. It also has a lovely blending quality. We will enjoy using it, and it may become one of our favourites. The Oils Fine Camel 10 brush is going to be our best friend, because it will come to our rescue many times during this tutorial. It has the awesome ability to render extremely detailed quality, and depending how it’s stroked it will add expressive markings. The Oils Smeary Round brush has the ability to mix paint with beautiful results. It’s a brush that will let you apply strokes with great delight, producing the most expressive marks on your canvas. Once you experience its qualities, you’ll rely on it more. It is well worth your time to learn how these brushes perform, and it’s a lot of fun. They will deliver rewarding results in your painting.



Tracking your brushes Practise strokes 07 that mix paint

06 Underpainting

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Create a stunning landscape

For this tutorial we are only using three brushes. Painter provides a Tracking palette to keep the brushes we are working with close at hand. This becomes very helpful when working with more brushes. To get access to the Tracking palette go to Window>Show Tracker. Then you will be able to stack it conveniently under your Color palette.

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09 Introducing the Smeary Round brush

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Rotating your canvas

10 Shaping your image

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11 Blending brushstrokes

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Painter’s toolbox offers a way to rotate the canvas that may prove handy for a particular project. In the toolbox go to the Grabber tool, place your cursor in the small black triangle, click it, and a new icon will appear. Click this icon, and the cursor will turn into a different-looking hand enabling rotation. Look at the Property bar; it’ll give the exact angle of rotation. You can then switch to the Grabber tool to move the canvas side to side or up and down.

Digital Painting

47


6JGHKPCNUVTGVEJ Anticipating Painter’s expressive brushes results Working the middle 13 ground

Learning shortcuts Painter is such a powerful program, and we can navigate through its many command steps more easily by using shortcuts. The easiest way to learn them and apply them is to take a visit to the Menu bar tabs and you’ll find them listed on the right side of each command category. Memorise the ones you use the most.

12 Working the background

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a layer 15 Creating

14 Painting the foreground

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16 Final touches

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48

Digital Painting

17 Adding texture

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18 Saving your painting

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Tutorial Complete guide to oil brushes

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Preparing the canvas

Create a collage that will be used as a guide

01 Put everything together

02 Erase the bits

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Digital Painting

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03 Colour adjustment

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Tutorial


3 hours Skill level

Beginner

Complete guide to oil brushes

On the CD

Photo pack

Digital Painting

51


2CKPVVJGFKHHGTGPVGNGOGPVU Use the oil brushes in layers to give shape to the landscape

The brush feature When you feel that a brush is particularly slow when used in a large size, try changing the Feature level to a larger number. The Feature of a brush (located in the Size Dab tab) is synonymous with hair density – it simulates a render-based dab. This control is so important that it is included on the Brush Property bar. Many times the sluggishness of a brush is related to the current setting of a Feature Size, so the higher the number is the less hairy the brush will be.

06 Paint the sky

04 Clone elements

05 Set the mood

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07 The distant mountains

08 Keep on with the mountains

09 The pine trees

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10 The foliage

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Digital Painting

11 The lake

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Digital Painting #FFVJGFGVCKNU Tutorial

Texturise the mountains, sky, trees and water to achieve a finished look

Adding details

15

Add foliage 6JGTGCTGOCP[YC[UQHRCKPVKPIHQNKCIG9GWUGF

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Add texture to the mountains

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14 Reshape the pine trees

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16 Define the water

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17 Sky and fog

18 Final touches

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Digital Painting

53

Complete guide to oil brushes

13

12

Prepare for details &TQRCNNVJG

When adding details to an almost-finished painting you may want to look for high Opacity brushes with hard edges and no texture. Although the Detail Oil was created for this purpose, you can choose from a wider range and change the size to a smaller one if you wish. Other brushes that can be used for details are the Fine Camel and brushes from the Opaque series.


The essential oils tools

Everything you need for great results

Every oil brush is so unique that it is hard to come up with the most important ones. However, since the subject matter was a landscape, we are going to focus on the brushes that made the fog in the distance, the cotton texture of the clouds, the ripples of the tranquil water, the far distant trunks, the rocky texture of the mountains and the abundant foliage – all of which are unique elements that add up to the realism of the painting. Whether they’re round or flat, applied dry or with blending properties, or with no texture or impasto texture, Corel Painter Oil brushes are so versatile that they can re-create almost every aspect that depicts a dreamy landscape – just like their traditional counterparts can.

Round Camelhair

Details Oils brush

Painter’s Oils brushes

As the name explains, this opaque brush works brilliantly for adding little details like distant leaves, and it’s usually used in a size smaller than 15 pixels. It offers very heavy colour in its default settings, so it’s good for defining outlines and depicting strong, visible detail.

Flat Oils

Tapered Oil

Bristle Oil

Fine Feathering

As explained before, the Round Camelhair has two behaviours depending on the pressure applied with the stylus. With high pressure the brush is at its largest size, whereas applied with low pressure it becomes a fine brush perfect for smudging with the contiguous colours – just like painting on a wet surface. It’s perfect for both clouds and hair.

Thick Wet Camel

Detail Oil

Fine Camel

This brush, like the rest of the Thick series, creates an impasto look. An impasto look is a thick layer of paint on the canvas, which is perfect for making that tridimensional look given by the strands of a brush. Use it to work up texture and to leave visible ‘paint’ marks to add to the painterly look of an image.

Flat Oils brush The Flat Oils brush is perfect for short strokes. It works fantastically for rocks and other heavy surfaces, and if used with vertical strokes it can create sharp edges – just like a flat brush. Use it in short choppy strokes to create texture or longer, dragging strokes to create thick flat lines.

Tapered Round Oils Thick Wet Oil

Opaque Flat

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Digital Painting

Tapered Oil

Smeary flat

These opaque brushes possess a barely noticeable impasto feature, giving an oily look to the painting. They are perfect for adding details with rich texture, making them great for details such as windblown leaves and cloth.

Bristle Oils The Bristle Oils are very versatile. Their most distinct features are their brush strands and lack of texture when applied to the canvas. They’re good for painting light textures such as grass, fur and many kinds of foliage.

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JASON CLARK

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Tutorial Paint a cityscape from photos

2CKPVCEKV[UECRG HTQORJQVQU 56

Digital Painting


Digital Painting Tutorial Paint a cityscape from photos

We demonstrate how you can use photographic references to create perfect perspective and urban atmosphere in Painter


Dawn Austin Time needed

16 hours Skill level

Intermediate On the CD

Creative pack

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Digital Painting

57


%TGCVGCEQORQUKVKQP Build up an image and start to paint Assemble the 01 reference shots +PCPKOCIGGFKVQT YGUVCTVRKGEKPI VQIGVJGTVJGRJQVQ TGHGTGPEGU9GNC[ FQYPVJGOCKPETWZ QHVJGKOCIG¿TUV VJGPDWKNFCTQWPF KV+V¶UCNYC[UJGNRHWN VQJCXGOQUVQHVJG KOCIGU[QWOKIJV WUGUWTTQWPFKPIVJG ECPXCU6JKUYC[ [QWECPSWKEMN[ UGGYJCV¶UPGGFGF CPFVJGYQTMÀQY KUP¶VFKUVWTDGF D[JCXKPIVQTQQV CTQWPFHQTVJGO

03 Introduce the figure

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Digital Painting

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04 Composition

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Immerse yourself in imagery Have all your reference imagery around your canvas when you montage your images together. This speeds up the work process and aids creative thinking. You can quickly make choices about what your image needs. Often certain things in photos spark ideas – it’s a great way to work. Of course, you need to close all files you won’t use, or the workspace will get cluttered.

02 Fill the gaps

05 Filters

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the image 07 Tint

06 Set the tonal value

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Vary your pen pressure

08

Paint the face $GIKP

09 The windows of the soul

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Paint a cityscape from photos

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Having a sensitive, deft hand has stood many an artist in good stead. If you’re able to do this, most of the time you won’t even need to change brushes or opacity – you can do it all with the flick of your wrist. How do you get such a hand? The answer is practice! Vary the pressure as you draw. Make it easier by keeping your spare hand on the Greater Than/Less Than keys of your tablet and vary the size of the brush while you continually draw.

the colour 11 Travel

10 The right hairstyle

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An easy way to paint gossamer fabric

12 Painting clouds

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13 Add details to the clothes

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Block in a dark base colour first. Use the Digital airbrush with the main cloth colour selected. Working on a new layer, paint over the top using a low opacity so the darkness shows through. You can adjust the opacity if needed, and it’s important to vary your pen pressure.

Digital Painting

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(KPCNKUGVJGFGVCKNU Pull your painting together with detailing

14 Foliage the hassle-free way

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15 Add character to buildings

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16 The lanterns

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Great results 17 with F-X

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18 Tweak the overall image

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19 Paint neon!

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Digital Painting

Glow your way to nifty lighting

20 Finalise the contrast

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The F-X>Glow brush is a great way to add dramatic lighting. It looks especially fabulous when used alongside a building or behind a subject for a moody, mysterious backlit look. Also, try using the Tinting>Salty brush for a sparkly effect. But remember to use it sparingly, as too much can look tacky!

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AMANDA CLUBB

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Tutorial Paint night scenes


Simon Buckroyd Time needed

Six hours Skill level

Advanced PVJKUVWVQTKCNYG¶NNDGRCKPVKPI CPKIJVUEGPGCPFYKNNDG FGOQPUVTCVKPIUQOGQHVJGMG[ GNGOGPVUVJCVJGNRDTKPICPKIJVUEGPG VQNKHG5VCTVKPIYKVJCOQPQEJTQOCVKE UVTGGVUEGPGNKVQPN[D[VJGNKIJVQHVJG OQQPYG¶NNUNQYN[KPVTQFWEGUQOGQH VJGGNGOGPVUVJCVOCMGCPKIJVUEGPGUQ FTCOCVKECPFGZEKVKPI6JTQWIJVJGWUG QHEQNQWTUJCFQYOWNVKRNGNKIJVUQWTEGU CPFTGÀGEVKXGUWTHCEGUYG¶NNGPFWRYKVJC ¿PKUJGFPKEGN[NKVPKIJVUEGPG %QNQWTUIGPGTCNN[URGCMKPICTG UCKFVQDGGKVJGTYCTOQTEQQNKP VGORGTCVWTGYKVJTGFFKUJQTCPIGEQNQWTU DGKPIVJGYCTOGUVCPFDNWGITGGPDGKPI VJGEQQNGUV6JTQWIJVJGGHHGEVKXGWUGQH VJGUGYCTOCPFEQQNEQNQWTUYG¶NNUJQY JQYFTCOCVKEEQPVTCUVECPDGCFFGF VQCPKIJVUEGPG9G¶NNCNUQNQQMCVJQY UJCFQYUDGJCXGCPFJQYVJG[ITCFWCNN[ EJCPIGVJGHWTVJGTVJG[CTGHTQOVJGQDLGEV ECUVKPIVJGUJCFQY5JCFQYUCTGQHVGP FGRKEVGFCUFCTMITG[QTDNCEMYJKEJ ECPNGCXGRCKPVKPIUÀCVCPFDQTKPI$[ KPVTQFWEKPICNKVVNGEQNQWTVQVJGUJCFQYU [QW¶NNUGGJQY[QWECPIKXG[QWTUEGPGU OQTGNKHGCPFFGRVJ +PCFFKVKQPVQVJGPCVWTCNOQQPNKIJV VJCVKPKVKCNN[NKIJVUQWTUEGPGYG¶NNCFF OWNVKRNGCTVK¿EKCNNKIJVUQWTEGU;QW¶NN NGCTPVQETGCVGQNF8KEVQTKCPUVTGGVNCORU YKVJVJGVTCFKVKQPCNQTCPIGINQYURQVNKIJVU VQJKIJNKIJVDWKNFKPIUCPFCPGCU[YC[VQ UKOWNCVGPGQPUKIPU 4GÀGEVKXGUWTHCEGUCNUQCFFCF[PCOKE GNGOGPVVQCP[UEGPG5WTHCEGUECPDQWPEG NKIJVQPVQUWTTQWPFKPIQDLGEVUOCMKPI YGVUVTGGVUCPFINCUUCEVNKMGOKTTQTUVJCV TGÀGEVVJGNKIJVUQHVJGKTGPXKTQPOGPV 9G¶NNUJQY[QWJQYVQFQVJKU 1PEGVJGUGRTKPEKRNGUCTGWPFGTUVQQF [QWECPCRRN[VJGOVQ[QWTQYPUEGPGU CPFUGGVJGSWCNKV[QH[QWTRCKPVKPIU KORTQXGCPFDGEQOGHCTOQTGKPVGTGUVKPI

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Digital Painting

2CKPVFTCOCVKE PKIJVUEGPGU Harness the rich potential for night-time drama with clever use of lighting, shadow and colour


Digital Painting Tutorial Paint night scenes Digital Painting

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5GVWRVJGUEGPG Start blocking in from a rough sketch

Shadows Colour and detail become lost in shadow. Saturation or intensity is reduced in shadow, as colour is dulled by its complementary colour. Try making shadows more transparent, as opposed to solid black coloured shapes.

01 Sketch

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02 Block in the structures

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04 Add a light

03 Background buildings

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06 Keep adding

07 What time is it?

05 A little morelight

Light source Light from the night sky is diffused and soft. However, if there is any moonlight it will be hard. When there are several sources of light – as in a street scene at night – each light affects everything differently, and every object has as many shadows as the number of lights that hit it.

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Digital Painting

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Ground colour

08 Glass houses

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11 Create glass

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09 More shapes

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10 Bring it together

12 Step back

13 Little windows

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Paint night scenes

One thing to remember about the night sky when painting a night scene is that, until any artificial light is introduced, the landscape element of the painting should always be darker than the sky.

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Preparing the canvas

Red and yellow make blue? Not necessarily! Many people, when thinking about the colours they should use in their night skies, will lean towards near-black or dark blue. But if you want to convey a certain mood or effect, you could do so by adding more colour to your night sky. Effects both natural and man-made allow you to paint your night skies in a variety of colours – which instantly makes your night scenes more dramatic. Natural occurrences such as stormy weather and cloud reflections can change the colour of a night sky – as can the man-made effects of artificial light. In most populated areas of the world, the use of artificial light emitted from buildings, factories, street lamps and signage creates light pollution, illuminating the night sky. In this image, colours picked from the sky and background structures appear almost black, but they are in fact blues and greens. Colours from the middle part of the image (the lit, reflective buildings) emit much brighter, saturated tones. Foreground colours are mostly complementary warm hues.

Digital Painting

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1PVQVJGFGVCKNU Start working up details of light and shade

Reflections To create effective reflections, copy the part of the image you want to have reflected on a new layer. Then flip it, either horizontally or vertically, and lower the opacity. Manually manipulate the layer into place.

14

Pyramid 6JGHQWTUVGRUUJQYPJGTG

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17 More neon

15

Stars 6JGCFFKVKQPQHUVCTUECP

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16 Gargoyle

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18 Tudor textures

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Points of light To create small points of light, such as windows and stars, you can use whatever brush works. Airbrushes are great for stars, whereas simple pattern pen brushes are good for creating repetitive shapes such as windows on a large building. When painting stars and small windows, make sure to vary both the colour and brightness in order to make them more interesting.

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19 Cobblestone texture (QTVJG EKTENGQHUVQPGCVVJG DCUGQHVJGUVCVWG CRCVVGTPYCUWUGF +PQTFGTVQOCMGVJG RCVVGTP¿VPKEGN[ KPRGTURGEVKXG 2CKPVGT¶U&KUVQTVVQQN YCUWUGF7VKNKUKPI VJKUVQQNCNNQYGF HQTVJGRCVVGTPVQDG UMGYGFKPVQUJCRG

textures 20 Paper

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Digital Painting

21

Street lamp %TGCVKPICVTCFKVKQPCN

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Paint night scenes

The signage in the painting is an example of how to suggest detail. The first one or two signs have some detail, so our brains are tricked into thinking that all of them have that level of detail, when in fact the further they go back in the scene the less detail they have.

22 Let’s reflect

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Tutorial

Suggest details

23 Shine a light

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Mixed light sources Multiple lights within a scene When there are several sources of light (as in a street scene at night), each light affects everything differently, and objects have as many shadows as the number of lights hitting them. The shadow darkens in value when more than one shadow overlaps another. As a general rule of thumb, warm lamplight will often create cool, bluish shadows, whereas cool light (like that of a fluorescent lamp) may create much warmer shadows. You can’t go wrong by using this rule. Shadows get spread out and become blurry over distance, and this is called diffraction. The further a cast shadow is from the object that’s creating it, the lighter it gets and the softer or less defined its edges become.

24 Tidy up

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Silhouetted shapes

25 Finishing up

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When using silhouetted shapes in the foreground and background, remember that any objects which are backlit will become silhouettes. Make sure that there is sufficient light behind the placement of your silhouette in order for it to stand out and not get lost in the background.

Digital Painting

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Feature: Complete guide to concept art

HIGHWAYMAN

Pirate or highwayman character with a reptilian or dragonlike mount

R APE RIDWEar type character

ivil unt American Cnt gorilla as a mo ia g a h wit

SWAMP DWELLER

A scruffy farmhand character with a giant toad creature as a mount

Complete guide to. . .

%QPEGRVCTV

Three concept artists share the secrets of their trade – discover how they generate ideas and how a concept character is created JGRQRWNCTKV[QHFKIKVCNCTVDQQMUJCU QRGPGFVJGNKFQPVJGEQPEGRVCTVKPFWUVT[ KPTGEGPV[GCTU9JKNGOQUVRGQRNGCTGUVKNN WPCYCTGQHKVCNQVQHFKIKVCNCTVKUVUJCXG UGGPKVUJQYECUGF/CP[QHWUJCXGHCNNGPHQT KVUWPKSWGN[TQWIJCPFTGCF[UV[NGHWNNQHNQQUG GZRTGUUKXGDTWUJYQTMURGGFKN[TGPFGTGFVQMGGRWR YKVJVJGÀQYQHKFGCU %QPEGRVCTVKUVUCTGVJGXCPIWCTFQHVJGETGCVKXG KPFWUVT[±VJG[¶TGQHVGPVJG¿TUVRGQRNGVQUVCTV EQPEGRVWCNKUKPICPKFGCYJGVJGTKVOC[DGVJGFGUKIP HQTCPGYECTVJGGPXKTQPOGPVUHQTCDNQEMDWUVGT OQXKGQTRGTJCRUVJGNGCFEJCTCEVGTUHQTCDGUVUGNNKPI XKFGQICOG*QYGXGTOQUVQHYJCVEQPEGRVCTVKUVU

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Digital Painting

CEVWCNN[FQJCUTGOCKPGFCO[UVGT[±WPVKNPQY9G¶XG KPVGTXKGYGFVJTGGEQPEGRVCTVKUVUHTQOVJG68¿NOCPF XKFGQICOGUKPFWUVTKGUCPFQXGTVJGEQWTUGQHVJGPGZV HGYRCIGUVJG[¶NNGZRNCKPGZCEVN[YJCVKVKUVJG[FQ (TGF)CODKPQETGCVGUEJCTCEVGTUCPFGPXKTQPOGPVU HQT%)CPKOCVKQPCPFICOGUCUFQDQVJ&CTTGP;GQY CPF2CWN%CTVYTKIJV'CEJQPGQHVJGUGCTVKUVUJCUVJGKT QYPWPKSWGKPUKIJVUKPVQVJGUQOGVKOGUO[UVGTKQWU KPFWUVT[VJCVVJG[YQTMKPCPFVJG[UJCTGVJGUGYKVJ [QWKPVJKUHGCVWTG ³%CNNOGKIPQTCPVCPFPCvXGÚC[U&CTTGP;GQY EQOOGPVKPIQPJKUKPVTQFWEVKQPVQEQPEGRVCTV ³DWVKVPGXGTQEEWTTGFVQOGVJCVVJGTGYGTGRGQRNG DGJKPFVJGFGUKIPUQHVJKPIUUWEJCUVJG/KNNGPPKWO

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f o s t n i o p Key concept art t Paul Cartwrigh


Digital Painting

what demonstratideesogame a piece of vt needs to concept are viewer tell th

Character type

turn to pg 74

Good or evil? The nature of a character can being conveyed by us e, the correct posion facial express le and clothing sty

Finer details

Add interest to characters with details and accessories Stitching, pouches, emblems . and tattoos all contribute to make a character unique

Weapons

Warrior type characters should have weapons that reflect their culture and personality. Researching different weapons throughout history can fuel the imagination

Backgrountlyd coloured background

A sub with a slight texture and some cast shadow can give the image depth without distracting from the characters

Textures

Basic texturing can quickly give the impression of different materials without you having to spend too much time painting in every little detail

Digital Painting

69

Steek


A monochrome character concept

V J I K T Y V T C % N W 2C for a range of companies Paul Cartwright has produced concepts from fashion houses to videogames

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Biks eforr a biker Plan character

Moto

ept of A worked-up conc r in te ac ar ch r the bike y motorcross liver

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Digital Painting


Digital Painting

Werewolf

A werewolf desig showing the crea n key features ture’s

Monkeyman

Concept design for a monkeyman character, which d shows clothing anas tattoos as well his simian nature

Digital Painting

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Darren Yeow creates conc showcases some of his owept landscapes and characters for videogames. Here n designs and his variants he on classic characters *QYFKF[QWIGVUVCTVGF KPEQPEGRVCTV!

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Mountain Strollcommission painting This was a speed any Silhouette mp co from the indie ick fun and I still Studios. It was qu enjoy looking at it

Gladiator

A design for a gladiator for games company I worked for the first

Alien

I loved the movie Aliens when I was growing up, and I’ve created many renditions of the famous Giger-designed creature, this being the latest

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Water Garden

Speed sketch like the colour done in Painter. I and vibrant fe of the image ev el years, which isen after a few saying a lot!

Dr Ftmeal

Character concept for the film Star Beast

Escape Sun

e Album cover for thfor e, us Ho a er band Op from the album Escape the Sun

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TV and movies including The Tale Fred has designed concepts and environments for also a renowned sci-fi artist of Despereaux and Jimmy Neutron: Boy Genius. He’s

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5GETGVUQHUWEEGUU

the concept for this Ape Paul Cartwright talks us through how he created e Rider character using our eight-point brief as a guid Create a character type and their mount for a fantasy role-playing videogame. The game world is a blend of fantasy, sci-fi and historical elements (18th/19th Century Britain/Europe/US). The character’s overall look must stay true to this environment. The character should be a class from the ‘good’ in-game faction. This should

01

be shown in the use of colour, armour/ clothing and the overall look. The character class should be an action/ weapons-using warrior type. This should be shown in the pose and/or weapons. The character should be high level; their armour and mount should be of advanced levels of gameplay. Their mount should be unusual instead

of the classic horse or mythical beast. It should be capable of fighting with the player, not just a mode of transport. The concept should give an overall idea of how the character will look during ingame action and cut-scenes. Please create male and female versions of the character, which demonstrate that both will have the same gameplay.

Rough sketches

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02

04

Good vs evil 6QOCMGKVENGCT

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Digital Painting

Character pose 1PEG+¶XGICVJGTGF

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05

74

THE BRIEF

Values $GHQTG

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03

Detailed sketch +KPETGCUGVJG

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Digital Painting BRUSH SIZE AND COLOUR SWITCHING

06

Base colour +ETGCVGCPGYNC[GTQXGTO[ITG[UECNG NC[GTCPFCHVGTUGVVKPIKVUOQFGVQ/WNVKRN[+DNQEMKPO[ DCUGEQNQWTU1PCUGRCTCVGNC[GT+FCDKPO[DCUKERCNGVVG0QY+ ECPSWKEMN[UGNGEVEQNQWTUYKVJVJG&TQRRGTVQQND[JQNFKPI 1RV#NVCPFENKEMKPIQPVJGEQNQWT;QWECPCNUQWUGVJG/KZGT RCNGVVGHQTVJKURWTRQUG

08

Shadows and highlights 7UKPI/WNVKRN[CPFQXGTNC[

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11

Female character 6JGDTKGHCUMUHQTCHGOCNGXGTUKQPQHVJGNGCF

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07

Background 6JGYJKVGDCEMITQWPFKUCDKVVQQJCTUJHQT

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09

Texture and branding +PQYCFF

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12

When painting characters you will need to change your brush size and colour often, and using keyboard shortcuts for this can greatly speed up the process. Just hold Ctrl+Alt (PC)/Cmd+Opt (Mac) and click and drag your mouse or pen. Holding Opt/Alt will change your brush to the Dropper tool so you can pick colours directly from your document.

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Alterations and detail +PQYVCMG

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Colour adjustment and FX +EQWNF

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Digital Painting

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Tutorial The secrets of successful matte painting

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Digital Painting Tutorial info

Tutorial

Artist

Andreas Rocha Time needed


The secrets of successful matte painting


Resources

6JGUGETGVUQHUWEEGUUHWN OCVVGRCKPVKPI We demonstrate top tips and tricks for producing a landscape so realistic you’d believe it was a photo – welcome to the world of matte painting CVVGRCKPVKPIKUCNOQUVNKMGJCXKPI VJGRQYGTVQETGCVGPGYYQTNFU CPFUGGKVJCRRGPDGHQTGQWTXGT[ QYPG[GU6JGTGKUUQOGVJKPIUQ TGYCTFKPICDQWVVCMKPICUKORNG UMGVEJTGRTGUGPVKPICPKFGCCPFVTCPUHQTOKPIKV KPVQUQOGVJKPIVJCVEQWNFDGTGCN &WTKPIVJGYJQNGOCVVGRCKPVKPIRTQEGUUCUVJG KOCIGDGEQOGUOQTGTGCNKUVKEYGKOCIKPGUVQTKGU QHVJKPIUVJCVOKIJVJCXGJCRRGPGFVJGTGNKMG ITGCVDCVVNGUVJCVYGTGHQWIJVQPVJQUGRNCKPUQT NQPIVTCXGNUVJCVECOGVQCPGPFKPDKIRCNCEGU

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+PVJGHQNNQYKPIRCIGUYGYKNNGZRNCKPJQYYG UVCTVVJKUµLQWTPG[¶YKVJCUKORNGUMGVEJCPFJQY VJKUKFGCKUVTCPUHQTOGFKPVQTGCNKV[9G¶NNVT[VQ GZRNCKPVJGQXGTCNNRTQEGUUCPFHQEWUQPUQOG OCKPVGEJPKSWGUVJCVYGWUGTGRGCVGFN[6JGUGCPF VJGDTWUJGUYGWUGCTGPQVCWPKXGTUCNUQNWVKQP CPFUJQWNFDGWUGFCUJKPVUVQGZRNQTG[QWTQYP VGEJPKSWGUKPUGCTEJQHQPGUVJCVCTGOQUVPCVWTCN VQ[QW6JGRTQEGFWTGUYGWUGCTGCNUQKPVGTOKZGF CPFYGTCTGN[WUGVJGOGZENWUKXGN[+V¶UNKMGJCXKPI VJGOCKPKPITGFKGPVUVQCTGEKRG±DWVKV¶UWR[QWVQ ¿PFVJGDGUVYC[VQµEQQM¶VJGO

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+PKVKCNUMGVEJ Laying down a strong foundation is key to success

Collapsing and dropping layers It’s very important to distinguish these two ways of joining layers. Almost 90 per cent of the time you will want to collapse layers. It’s important to get used to this, as dropping the layer will merge it with the canvas and it can be troublesome (and sometimes impossible) to get it back to the previous state. You will probably have to revert to a previous stage for that. So always check if you are collapsing layers, and be sure to save incrementally and often. A lot of free disk space is a must, so you can leave the ‘cleaning up’ for when the painting is done.

01 New document

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Laying down 02 values

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03 Main colour pass

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05

Sketch detailing0QYVJCVVJGHQWPFCVKQPQHXCNWGUCPF

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Digital Painting

04 Further introduction of colou

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06 Photoshoot

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Digital Painting

08 Introducing the

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09 Pasting photos

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11 Evaluate brightness

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Take care in evaluating the contrast of the photo you are blending with what’s underneath. This can be quite tricky, as you will only be able to do this when they are next to each other. Sometimes it’s surprising how low you have to take the contrast of a photo to make it merge with the existing painting. If you do this successfully you’ll obtain consistency throughout the painting, and more importantly, depth. Depending on the amount of atmosphere between the object and the viewer’s eyes, the object will have more or less contrast. Objects further away have less contrast since they are behind thicker layers of atmosphere than nearer objects. Also, misty days or areas (like swamps) will have less contrast than clear days or areas. Never forget this, as depth is one of matte paintings’ key aspects.


07 File preparation

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Tutorial

Contrast control

sky$WKNFKPIC

10 Working the edges

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12 Smaller adjustments

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13 Painting elements

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%QORNGVGVJGUEGPG Add some key elements, including man-made structures

Detail in high/ low contrast areas Our eyes tend to adapt to the lighting situations. If it’s very bright our pupils close, letting in less light. If it’s very dark they open, letting in more light. You can simulate this in the painting without the presence of actual light. In large bright areas, smaller dark areas look flat because the pupil is closing, not letting in enough light to discern detail in dark areas. In large dark areas, bright areas look flat because the pupil is letting in more light, ‘burning’ detail in light areas. You can also use this to your advantage as we did in the darker foreground area. If this area were fully detailed it would look dull and boring, but since there’s a bright sunset in front, we can reduce its presence by minimising its contrast/detail.

14 Ground

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16

Don’t be afraid5QOGVKOGU[QWJCXGVQDGDQNFCPFOCMG

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15 Introducing rocks in foreground

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17 Landscape

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Adding light to the 19 tree

18 Going back

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Digital Painting

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20 Grass

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Digital Painting

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22

Man-made structures6QURKEGWR

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23 Final corrections

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With a large matte painting it’s vital to keep an eye on texture and film grain from pasted photos. You have to be careful about texture; it must be evaluated at 100% Zoom. A large display helps, but you also need patience. This Zoom level helps you spot brushstrokes that can destroy realism if they’re obvious; you can also see film grain from photos. Skies are prone to this, but can be ‘wiped clean’ with Blender brushes.


21 Extra rocks in the foreground

Tutorial

100% Zoom

Follow the rules Using these simple techniques will make all the difference

ATMOSPHERE .KIJVJKVVKPIQWTG[GU FKTGEVN[RTQFWEGU CVOQURJGTGYJKEJKUCITGCV YC[VQGPJCPEGFGRVJKPC RCKPVKPI4GOGODGTVJCVVJG OQTGFKUVCPVCPQDLGEVKUVJG OQTGKVUEQNQWTDNGPFUYKVJ QPGHTQOVJGCVOQURJGTGKP VJKUECUGDTKIJVQTCPIG

COMPOSITION /CVVGRCKPVKPIUPQVQPN[ OKOKETGCNKV[DWVCNUQHQNNQY TWNGUQHIQQFEQORQUKVKQP 6JG4WNGQH6JKTFUJGNRURNCEG VJGECP[QPCPFVJGVTGG#NUQ VT[VQNGCFVJGXKGYGT¶UG[GU CETQUUVJGRCKPVKPI

PAINTED AREAS /CVVGRCKPVKPIECPDGXGT[HQTIKXKPIYJGPKV EQOGUVQJCPFRCKPVGFCTGCUCUNQPICUVJGUG CTGCUJCXGEQJGTGPVNKIJVKPICPFEQNQWTU (WTVJGTOQTGVCMKPICYC[WPPGEGUUCT[ FGVCKND[RCKPVKPIKPUQOGCTGCUECPCNUQ OCMGVJGRCKPVKPIOQTGKPVGTGUVKPI

LIGHT INTERACTION 9JGPKPXGPVKPICYQTNFOCMG UWTGVJCV[QWKPFKECVGTGCNKUOD[ UJQYKPIVJGKPVGTRNC[DGVYGGPNKIJV CPFQDLGEV#NUQDGOKPFHWNQHVJG UWTHCEGSWCNKVKGUQHVJGQDLGEVDGKPI JKV6JGUOQQVJUVQPGTGÀGEVUOQTG NKIJVVJCPVJGTWIIGFVTGGDCTM

LOW CONTRAST AREA #TGCUKPUJCFQYVGPFVQNQUGEQPVTCUVKPVJG RTGUGPEGQHDTKIJVNKIJVU6JKUYQTMUVQQWT CFXCPVCIGCUVJKUHQTGITQWPFYKNNPQVFGVTCEV HTQOVJGOCKPHQECNRQKPVUQHVJGKOCIG

Digital Painting

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Tutorial Paint a sci-fi scene

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Digital Painting


Digital Painting Tutorial Paint a sci-fi scene

2CKPVC UEKHKUEGPG

Create your own universe with this intergalactic tutorial G¶TGIQKPIVQFGOQPUVTCVGUQOGUKORNGVTKEMU CPFVGEJPKSWGUKPVJKUVWVQTKCNHQTETGCVKPI CDCUKEUEK¿UEGPG#NVJQWIJVJKUKUCUEK¿ VJGOGFRCKPVKPIVJGVGEJPKSWGUWUGFECPDG CRRNKGFVQCP[MKPFQH2CKPVGTKOCIG9JGPYGVJKPMQHUEK¿ YGVJKPMQHEQNQWTHWNRNCPGVUCPFGPXKTQPOGPVUHWVWTKUVKE EKVKGUHWNNQHVCNNDWKNFKPIUCPFWPWUWCNUVTWEVWTGUCPFOQUV QHCNNEQQNNQQMKPIURCEGUJKRU #UKUVJGYC[YKVJGXGT[VJKPIGURGEKCNN[FKIKVCNRCKPVKPI VJGTGKUOQTGVJCPQPGYC[VQEQORNGVGCIKXGPVCUM#PF UQVJGTGUWNVUUJQYPJGTGECPDGCEJKGXGFKPCPWODGT QHFKHHGTGPVYC[U±PQVLWUVVJGOGVJQFUYGEQXGT1PVJG HQNNQYKPIRCIGUYG¶NNUJQYJQYYGYGPVHTQOUVCTVKPIC


Simon Buckroyd Time needed

3 hours Skill level


Final image

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Digital Painting

83


4QWIJKPIKV Rough in the various elements to work out your basic composition

Glow FX The Glow FX tool is one of the most versatile brushes in Painter. This brush, when used at a large size, can add a blast of colour to backgrounds and create dramatic sunsets and lighting. When used at a smaller size it can be used for all kinds of different effects, from shiny metal to bright neon lights.

02 On the horizon

01

Start out5VCTVD[ETGCVKPICPGY

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04 More buildings

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03 Perspective

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05 Spaceport

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Acrylic Captured Bristle brush The Acrylic Captured Bristle brush is what we use whenever we need atmosphere, fluffy clouds, contrails, smoke, or any number of different effects. We suggest playing with the Jitter setting on this brush. Turn it up and watch the brush come to life.

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Digital Painting

06 Add a planet

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07 The ship

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Basic composition

Paint a sci-fi scene

08 Colour background

09 Colour buildings

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10 Colour ship

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Use the rule of thirds to help your composition

One of the handiest guidelines to aid in composition is known as the rule of thirds. By dividing an image into thirds, first vertically then horizontally, we end up with four intersecting points. We could call these points of a painting the ‘points of interest’. By placing an object or

subject on one of the four points of interest it tends to help in the creation of a more harmonious composition. In our example, the ship falls on one of the points (point), as does the open bay of the spaceport (counter point). By having them fall on opposite points of the grid, a sense

of balance is achieved. The vanishing point is on a point of interest too, and the horizon line runs along the lower third line. And don’t forget, you could always try out Painter’s built-in rule of thirds by using the Layout Grid. Just go to Window>Show Layout Grid.

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$TKPIKVVQIGVJGT Bring all of the elements together

12 Planet colour 11 Tilt

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14 Make windows

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15 Build the ship

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Even more 18 windows

17 More windows

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13 Chip away

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16 More ship

#HVGTWRRKPIVJG TGUQNWVKQPYGCTGCDNGVQIQKPCPFFQ UQOG¿PGTFGVCKNU2CKPVKPIVJGUJKR¶UDQF[ KUOQUVN[COCVVGTQH¿IWTKPIYJGTGVJGNKIJV KUEQOKPIHTQOUQVJCV[QWMPQYYJGTGVQ RWV[QWTUJCFQYUCPFJKIJNKIJVU6JKUUVCIG YCUQPEGCICKPFQPGYKVJ%JCNMHQTCRRN[KPI EQNQWT5ETCVEJDQCTF2GPHQTVJG¿PGTFGVCKNU CPF)NQYVQQNHQTVJGJKIJNKIJVU


Digital Painting

6QETGCVGUQOGCVOQURJGTGCPFCUGPUGQH FKUVCPEGVJGVQQNVQWUGKUVJG#ET[NKEU%CRVWTGF$TKUVNGUGV VQCNQYQRCEKV[CPFC,KVVGTQH6JKUKUITGCVHQTETGCVKPICNKVVNG CVOQURJGTGENQWFUEQPVTCKNUCPFUOQMG,WUVNKIJVN[FCDKVCTQWPFVQ IGVEQQNGHHGEVU

21 Seeing stars

6JGVQRQHVJGUM[CTGC KUYJGTGKVKUFCTMGUVUQYGNKVVGTKV YKVJUVCTU#NVGTPCVKPIDGVYGGPCRGPCPF CPCKTDTWUJYGFCDNKVVNGUVCTUKPVQVJGUM[ EJCPIKPIVJGUK\GCPFEQNQWTTCPFQON[CU YGIQ

20 Neon

6JG)NQY(:VQQNUJQYUKVUXGTUCVKNKV[QPEGCICKPJGTG $[RKEMKPICUCVWTCVGFEQNQWTCPFRCKPVKPIYKVJVJG)NQY(: VQQN[QWECPGOWNCVGPGQPUKIPUYKVJVJGITGCVGUVQHGCUG,WUVRKEMC JGCXKN[UCVWTCVGFEQNQWTCPFUGVVJG5VTGPIVJVQCDQWV

22 Populate

#VVJKURQKPVYGPGGF VQRQRWNCVGVJGGPXKTQPOGPVYKVJ UQOGOQTGURCEGETCHVCPFXGJKENGU0QVJKPI VQQFGVCKNGFVJQWIJCNNYGPGGFCTGUQOG UWIIGUVKQPUQHQVJGTXGJKENGU7UGCNKVVNG XCTKGV[VQMGGRVJKPIUKPVGTGUVKPI

A really easy and quick way to create hundreds of window faces on buildings and skyscrapers is to use the Eraser tool. Create a coloured box or rectangle (which will act as the glass) over the base colour of the building to be windowed. Then use the Eraser tool to erase out in straight lines, vertically and/or horizontally from the glass layer. Now you have glass windows!

Paint a sci-fi scene

19 Atmospherics

Tutorial

Windows

23 Flame on

*GTGYGCFFGFCDQQUVGT ÀCOGCPFVTCKNHQTVJGHQTGITQWPF UJKR6JKUYCUFQPGYKVJVJG)NQY(: VQQN6JGUCOGGHHGEV CNVJQWIJQPCOWEJ UOCNNGTUECNGYCUWUGFHQTVJGNKVVNGUJKRUKP VJGRTGXKQWUUVGR

Atmosphere

24

Final tweaks0QYHQTCEQWRNGQHOKPQTVYGCMUDGHQTGYG

YTCRVJKPIUWR9GUNKIJVN[UQHVGPVJGRNCPGVGFIGUCUVJG[ UGGOGFCNKVVNGUJCTRCPFVJGEQNQWTQPVJGHQTGITQWPFUJKRYCU FGGRGPGFCPFCUOCNNGTUJKRYCUCFFGFVQVJGTKIJVJCPFUKFG

25 Flip it

#NVJQWIJVJKUUVGRCRRGCTUCVVJGGPFQHVJGYQTMUJQR KVKUUQOGVJKPIVJCVYGJCXGFQPGVJTQWIJQWVVJGKOCIG 9JGPYGÀKRCPKOCIGÀCYUVJCVYGYGTGQVJGTYKUGDNKPFVQ UWFFGPN[LWORQWVCPFUGGOOWEJOQTGRTQPQWPEGF&QKPIVJKU KPVGTOKVVGPVN[ECPJGNRVQMGGRVJKPIUKPEJGEM

To create the illusion of depth and distance, make use of Atmospheric Perspective. The greater the distance between viewer and object, the less the contrast will be. In addition, the object becomes less saturated, and slowly becomes closer in colour to the background the farther away the object gets.

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Tutorial Create a sci-fi character

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Digital Painting Tutorial Create a sci-fi character

Create a

UEKHKEJCTCEVGT

Find out how to give your character a truly out-of-this-world look without alienating your audience Artist

Wen-Xi Chen Time needed

6 hours Skill level

Advanced On the CD

Start file

PGQHVJGDKIFKH¿EWNVKGUYKVJETGCVKPIPQPJWOCP EJCTCEVGTUKUVJGSWGUVKQPQHJQYVQOCMGVJGOUGGO RNCWUKDNG6JKUKUGURGEKCNN[FKH¿EWNVHQTJWOCPQKF ETGCVWTGUCUYG¶TGUQCEEWUVQOGFVQUGGKPIVJGJWOCP HCEGVJCVQWTDTCKPUKPUVCPVN[FKUEGTPYJCVKUµTKIJV¶CPFµYTQPI¶ YJGPYGUGGCRCKPVKPI5QJQYFQ[QWCXQKFVJKURKVHCNNYJGP RCKPVKPICJWOCPQKFCNKGPEJCTCEVGT!*QYFQ[QWETGCVGCEJCTCEVGT VJCVNQQMUGPQWIJNKMGCJWOCPHQTVJGXKGYGTVQEQPPGEVVQVJGO GCUKN[[GVPQPJWOCPGPQWIJVQSWCNKH[CUCPCNKGP!6JGMG[NKGUKP VCMKPICUQOGYJCVUEKGPVK¿ECRRTQCEJVQVJGRCKPVKPIª9JQUCKF UEKGPEGCPFCTVFQP¶VOKZ! (KTUVN[UMKPVQPGUCTGVJGTGUWNVQHRKIOGPVCVKQPCPFVJGDNQQF VJCVÀQYUWPFGTPGCVJKV*WOCPUMKPVQPGUTCPIGHTQOXGT[FCTM DTQYPVQXGT[NKIJVRKPMFGRGPFKPIQPVJGCOQWPVQHGWOGNCPKP

FCTMDTQYPCPFRJGQOGNCPKP TGF6JGRKPMEQNQWTCTKUGUFWGVQ DNQQF+PIGPGTCNQWTUMKPVQPGUCTGYKVJKPVJGYCTOEQNQWTUTCPIG #PCNKGPTCEGOC[JCXGDNWGRKIOGPVVJWUIKXKPIVJGODNWGUMKP DWVKHVJG[JCXGTGFDNQQFVJGPUQOGCTGCUNKMGVJGEJGGMUGCTU PQUGNKRUGVEYKNNUVKNNÀWUJCTGFEQNQWT 5GEQPFN[ UKORNGRU[EJQNQI[YGQHVGPCUUQEKCVGWIN[ NQQMKPICNKGPUVJCVJCXGJWIGVGGVJCPFUOCNN QTPQPGZKUVGPVG[GU YKVJµGXKN¶V[RK¿GFD[*4)KIGT¶UOCUVGTHWNFGUKIPHQTVJG#NKGP ¿NOU±YJKNGOQTGµJWOCP¶EWVGQTRTGVV[CNKGPUCTGTGICTFGFCU DGKPIIQQF 9G¶NNUJQY[QWCOQPIQVJGTVJKPIUJQYVQRCKPVOCTMKPIUQP VJGUMKPJQYVQRCKPVQVJGTYQTNFN[G[GUD[GZCOKPKPIETGCVWTGU ENQUGTVQJQOGCPFYKNNRQKPV[QWKPVJGFKTGEVKQPQHUQOGUGTKQWUN[ QFFNQQMKPIÀQTCCPFHCWPCVQKPURKTG[QW

ªNKHVQHH The basics of the skin tone and more

Building up 03 tones

01

Sketch %TGCVGCDNCPM¿NGCPFCFFC

PGYVTCPURCTGPVNC[GT1PVJKUNC[GT UVCTVYKVJCHCKTN[TQWIJUMGVEJQHVJGDCUKE EJCTCEVGTWUKPIVJG2GPEKNVQQN

02 Ground colour

1PVJGNC[GT WPFGTPGCVJVJGUMGVEJ¿NNKPVJG GPVKTGECPXCUYKVJCRCNGDNWGWUKPIVJG 2CKPV$WEMGV6JKUOCMGUWRVJGDCUKE UMKPEQNQWT

&GEKFG QPVJGKPVGPUKV[ CPFFKTGEVKQPQH VJGRTKOCT[NKIJV UQWTEG1PEGVJKU KUFGEKFGFWUGC FCTMGTDNWGVQUJCFG KPVJGUJCFQYGF CTGCU9G¶TG WUKPIVJG#ET[NKEU %CRVWTGF$TKUVNG DTWUJVQSWKEMN[ IKXGUQOGFGRVJVQ VJGKOCIG

Digital Painting

89


$NWUJKPIDGCWV[ Blue on blue can look dull, so add some pinks for life

cheeks 04 Flushed

05 Lips

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06

0QY VJCVYG¶TG FQPGYKVJVJGUMKP DCUKEUKV¶UVKOGVQ OQXGCDQXGVJG UMGVEJNC[GT%TGCVG CPGYNC[GTQXGTVJG UMGVEJCPFRCKPV KPRKPMUQXGTVJG UMGVEJNKPGUCTQWPF VJGG[GUCPFNKRU

Defining the features )QQXGTVJGG[GUKPCFCTMOCTQQP

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5MKPVQPGU CPFVGZVWTGU Texture overlay Trying to paint all the texture in skin can be a time-consuming task. Why not look around on the internet for some textures you can throw over your picture in Overlay mode to add instant vitality? Alternatively, you can take your own photos: your own skin, foliage, the pavement… it’s all fair game.

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Maybe only skin deep, but incredibly important Painter’s functions let you create textures with ease. Use Paper Textures in the toolbar for simple, quick alien skin textures. Use a brush that picks up on the paper grain, like Sponges, to bring out the patterns. The F-X brushes also have useful tools. The Furry brush creates instant fur, and you can adjust the length by changing the brush size. Take advantage of textures and stock photos on the internet to create your own patterns. Sites include www.3dplace.net, www. cgtextures.com, http://mayang.com/textures and www.textureking.com. Use the Pattern Pens and Cloners to utilise captured patterns. If your character has green blood, all the skin areas that normally flush red will be green instead!

07 More saturated pinks

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08 Highlights

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9C[UVQRCKPV CNKGPG[GU Windows of the soul

09 Good hair day

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Create a sci-fi character

The shape, colour, structure and even quantity of an alien character’s eyes can tell the viewer a lot about its personality, creating a narrative in your image.

10 More hair

1RGPVJG$TWUJ %TGCVQTYKPFQYHQTVJG#ET[NKEU %CRVWTGF$TKUVNGCPFNQYGTVJG5RCEKPI VQHQTRCKPVKPIKPVJGNKIJVGTCTGCUQH JCKT6JGUOCNNGTURCEKPIIKXGUVJGJCKTVJG CRRGCTCPEGQHUVTCPFU

Lizard eyes 4GRVKNKCPG[GUJCXGDGGP WUGFKPUEK¿CPFHCPVCU[GZVGPUKXGN[ (TQOVJG'[GQH5CWTQPKPVJG.QTFQH VJG4KPIUVQ#NKGP5KNKPVJG5RGEKGU OQXKGUTGRVKNKCPG[GUTGRTGUGPVGXKN EWPPKPICPFTWVJNGUUPGUU6JGG[GU CTGEJCTCEVGTKUGFD[UNKVKTKUGUNKMG ECVU¶G[GUDWVDWNIGQWVOWEJ OQTGRTQOKPGPVN[

11 Low lights

7UKPICFCTMGTEQNQWT

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12 Lighter still

9G¶XGFGEKFGFVQNKIJVGPVJGJCKTCDKVOQTG CPFUQJCXGIQPGQXGTUQOGQHVJGFCTMGTCTGCUYKVJCYJKVG #ET[NKEUDTWUJ+V¶UCIQQFKFGCVQKPKVKCNN[VT[QWVEJCPIGUQPPGY NC[GTUKPECUG[QWYCPVVQIQDCEMVQVJGQTKIKPCN;QWOC[YCPVVQ KPETGCUGVJGPWODGTQH7PFQU[QWECPOCMGKP2TGHGTGPEGU 7PFQ

Small eyes 5OCNNTQWPFG[GUWUWCNN[ DNCEMCTGUQOGVKOGUECNNGFDGCF[ G[GU6JG[JCXGDGGPCUUQEKCVGFYKVJ DGKPIWPVTWUVYQTVJ[UPGCM[CPF ECNEWNCVKPI5OCNNTQWPFG[GUECP JQYGXGTCNUQDGTCVJGTCFQTCDNG GURGEKCNN[YJGPOCVEJGFYKVJVJG TKIJVGZRTGUUKQPU

13 Pink hair!

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14

Glowing eyes 1WTCNKGPIKTNJGTGKU

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Red eyes 6JGUKORNGUVCNKGPG[G EJCTCEVGTKUVKEKULWUVVQEJCPIGVJG G[GEQNQWTVQUQOGVJKPIWPPCVWTCN *GTGYGJCXGEJCPIGFVJGEJCTCEVGT¶U IQNFGPG[GUVQCDTKIJVTGFD[ETGCVKPI CNC[GTQXGTVJGQTKIKPCNCPFVJGP VWTPKPIVJGDNGPFOQFGVQ%QNQTK\G

Digital Painting

91


6JGKPVTKECVGFGVCKNU With the groundwork laid down, it’s time to start on the details

Expression If your alien creature has features that are recognisable as a mouth, eyes or nose, then it’s possible to give them expressions to animate the entire picture. We associate ugly aliens with being bad, but try giving your ugly alien a huge friendly smile to juxtapose the conflicting ideas and give your audience a surprise!

15 Realistic eyes

0GZVFTCYNKVVNGNKPGUTCFKCVKPIHTQOVJG RWRKNUVQVJGGFIGUQHVJGKTKUVQIGVVJGVGZVWTGQHVJGKTKU9G JCXGCNUQFCTMGPGFVJGGFIGUQHVJGKTKUHQTCINQUU[GHHGEV

17

16 Realistic lips

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Ears 'CTU

CTGQPG QHVJQUGHGCVWTGU VJCVUEK¿CPF HCPVCU[CTVKUVU JCXGTGCNHTGGFQO YKVJ6JG[YQP¶V FTCOCVKECNN[EJCPIG VJGEJCTCEVGT¶U CRRGCTCPEGDWV ECPCFFLWUVVJG TKIJVCOQWPVQH QVJGTYQTNFN[PGUU

5WIIGUVKPICPCNKGPYQTNF First impressions count! Even on another planet…

19 Background

1PCPGYNC[GT YGJCXGRCKPVGFCYCTOUWPUGV ENQWFUECRG7UGCP'TCUGTKPQTFGTVQGTCUG CTGCUVJCVQXGTNCRYKVJVJGEJCTCEVGT

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Digital Painting

Clothing can tell an audience a ` lot about a civilization: armourplated clothes will suggest a war-like race – while soft, flowing fabrics can indicate a more peaceful existence. Our alien lady is wearing loose material, which, along with her smile, tells us this is a non-threatening race, and the environment in which they live is probably warm or hot. Uniforms are a common feature in sci-fi, as are weapons, robots and levitating transporters. For

example, the Star Wars films showcase a wide variety of outfits that tell you instantly about the characters – whether they are Jedi, Storm Trooper or Queen. You can take inspiration from our own civilizations. If you are painting a desert race (think of Frank Herbert’s Dune), then why not look at what people living in and around deserts on Earth usually wear? If you’re painting a water-dwelling species, consult photographs of fish and other sea creatures for ideas.

ning the skin 18 Refi

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20 Ambient lighting

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22 The fun bit

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23

Create a sci-fi character

markings 21 Facial

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Clothing 9GJCXGIQPGHQTCPQTCPIG[RKPMHQTVJGENQVJKPI

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24 Other quirks

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Customise your keys Planets in the 26 sky

25 Shoulder pattern

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5EK¿CTVKUVU CTGTCVJGTHQPFQH YQTNFUYKVJOQTG VJCPQPGOQQP QTUWPKPVJGUM[ 6QETGCVGCOQQP QTCRNCPGVUGNGEV CEKTENGQPCPGY NC[GTCPFVCMGVJG %JCTEQCN#TVKUV 2CUVGN%JCNM CPFFTCYCNQPIVJG QWVGTGFIGVJCV HCEGUVJGUWP

Every artist who uses a particular software program for long enough starts to develop particular tools and functions that they are fond of. To access your favourite features more quickly and speed up your workflow, navigate to Preferences> Customize keys in order to set some hotkeys for frequently used commands.

Digital Painting

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Tutorial Paint Steampunk

2CKPV5VGCORWPM Create a Steampunk fantasy piece that incorporates elements from the Victorian era and references from machinery for a steam-powered sci-fi look with period charm Tutorial info Artist

Sandra Chang Adair Time needed


Advanced On the CD

Start file

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EQPEGKXGFKPCPFNGHVWP¿PKUJGFFWTKPIJKUNKHGVKOGKU DWKNVCPFJGTCNFUCPGYCIGQHVGEJPQNQI[CEGPVWT[GCTNKGT 6QETGCVGC5VGCORWPMRCKPVKPIKUVQWPFGTUVCPFYJCV EJCTCEVGTKUGUVJKUIGPTGUKPEGVJGTG¶UPQUV[NKUVKECRRTQCEJ 'NGOGPVUKPENWFGOCEJKPGT[YKVJGZRQUGFIGCTUEQIU

ICWIGUOGVCNÀCPIGUCPFENQEMYQTM+HCPQDLGEVKUEQXGTGF KV¶UWUWCNN[YKVJUJGGVUQHKTQPDTQP\GQTDTCUUJCOOGTGF VQIGVJGTYKVJTKXGVUCPFUETGYU)NCUUNGCVJGTCPFUJGNNCEMGF YQQFYKVJOCUUKXGYQQFGPUWRRQTVUCTGEQOOQPPCVWTCN OCVGTKCNUWUGFCU5VGCORWPMUEGPCTKQUCTGUGVDGHQTGVJG KPXGPVKQPQHRNCUVKEUCPF¿DTGINCUUEQORQUKVGU 6JGTG¶UCPQTPCVGUV[NKPIVQVJGFGUKIP6JGGPXKTQPOGPVECP DGUOQM[UVGCOEQXGTGFQTFKPI[NKIJVKPIKUUWRRNKGFYKVJ ÀCOGUICUNKIJVUQTNKIJVDWNDU6JGDWKNFKPIUTGÀGEV8KEVQTKCP CTEJKVGEVWTGCOKZQH0GQENCUUKEKUO4GPCKUUCPEG)QVJKECPF 4QOCPGUSWGTGXKXCNUV[NGU 6JGEJCTCEVGTUCFQRV8KEVQTKCP'FYCTFKCPUV[NGFHCUJKQP 9QOGPNQQMCUKHVJG[¶XGYCNMGFQWVQHC%JCTNGU&CPC)KDUQP FTCYKPICFQTPGFYKVJJKIJEQNNCTGFIQYPURGVVKEQCVU EQTUGVUCPFDWUVNGU/GPURQTVPCTTQYUJQWNFGTGFUWKVUXGUVU VQRJCVUCPFURCVU#EEGUUQTKGUKPENWFGRQEMGVVKOGRKGEGU RCTCUQNUCPFUQOGVKOGUIQIINGU 5VTKEVVJ%GPVWT[OQTCNKV[RGTOGCVGUVJGCEVKQPUQHVJG RGQRNGKPC5VGCORWPM¿EVKQP#PFCUGPUGQHYQPFGTGZKUVU CDQWVVJGHWVWTGKPUEKGPEGGPIKPGGTKPICPFGZRNQTCVKQP9G¶NN UJQY[QWJQYVQETGCVGKVKP[QWTQYP5VGCORWPMHCPVCU[

Victorian dress and ideas of the future Exposed machinery, pipes and levers $TQP\GEQNQWTGFOCEJKPGT[RCTVUNGXGTU DQNVUCPFTKXGVUCNNNGPFVJGOUGNXGUVQVJG DGNKGXCDKNKV[QHCPCIGRTKQTVQOQFGTP VGEJPQNQI[*GTGYG¶XGKPENWFGFRCTVUVJCV DGNQPIKPCPQNFHCUJKQPGFUVGCOGPIKPG CPFVJGUOQMGUVCEMUYGTGDQTTQYGFHTQO CUVGCORQYGTGFVTCKP+PVTQFWEKPIQVJGT EQNQWTUUWEJCUVJGTGFRCKPVQPVJGVCPM CFFUOQTGXCTKGV[VQVJGEQORQUKVKQP

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Digital Painting

Decorative details in glass and metal 6JGOGVCNNKERKRGUHTCOKPIVJGYKPFQYQHVJGEQPVTQNTQQOCTG CTTCPIGFVQGODGNNKUJVJGKTQPECVGTRKNNCT6JGTKXGVUCNQPIVJGOGVCN UJGGVKPIHQTOCPQVJGTQTPCOGPVCNGNGOGPV%QNQWTGFXGTOKNNKQP INCUUDCNNUCPFVJGINCUUYKPFQYCFFOQTGEQPVTCUVVQVJGOCVGTKCNU 6JGFGUKIPQH5VGCORWPMOCEJKPGT[JCUVQCRRGCTCGUVJGVKECNN[ RNGCUKPICUYGNNCUHWPEVKQPCN0QVKEGVJGECRNGVQHVJG/CF*CVVGT CPFJKURGTKQFQWV¿VCPFVJGQVJGTECUVQHEJCTCEVGTU

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Digital Painting Tutorial Paint Steampunk Digital Painting

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%QORQUKVKQPCPFEQNQWT Add basic colours and block in the main elements

01 Thumbnails

Scan in your final 02 drawing

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03 Block in colours

The importance of reference Reference is an indispensable tool, and access to the internet makes it easier than ever. Many stock photography websites sell royaltyfree images. To name a few: www. jupiterunlimited. com, www. shutterstock.com, www.istockphoto. com. Search for machine engine parts, gears and steam engines, and see what wonderful things you’ll discover. When you are not sure what something looks like, use reference!

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04 Establish light source

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05 Create your darks

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out forms 06 Round

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07 Switch to opaque brushes and add smoke

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Paint Steampunk

in the castle 08 Block

09 Sketch in the machinery

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Block in the Mad Hatter 11 and friends

10 Roughly colour the machinery

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Metallic reflections 13 of the hookah

12 Round off the body of the caterpillar

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Paint clouds and smoke Observe cumulus shapes and smoke in reality or in photographs. Clouds appear weighted on the bottom and are usually lit around the edges. Use the Soft Airbrush and the Soft Blender Stump. However, don’t blend too much or you’ll have an overly amorphous shape.

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4GHKPGFGVCKNUKPVJGOCEJKPGT[CPFEJCTCEVGTU Use photographic reference to improve details in your painting ne the machinery 14 Refi

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15 Create perfect wheels using Oval Selection

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Paint the jaw of 17 the mechanical

16 Copy/paste mechanical arms

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18 Finish the buildings

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Flip your artwork! Sometimes you focus so much on a part of a painting that you lose sight of the overall composition. Zoom out and stand back. Is there good contrast? Are the lights and darks balancing one another? Go back and adjust. It also helps to flip the image horizontally. Westerners read from left to right, so an image may look okay, but reverse it and errors in proportion may pop out!

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Alice’s hair 20 Paint

19 Work on Alice’s face

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Paint Steampunk

21

Petticoats and lace #RJQVQQHC

22 Finish off the Mad Hatter

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23 Paint the rabbit and the mouse

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and title 25 Book

24 Paint dogs and turtle

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5VGCORQYGTGF Painting textures on the machinery What makes depicting metal unique is the sharp contrast between lights and darks. Reflections play an important part, as well as bright white highlights and a saturated middle colour. Paint the general form first. Add an area where the colour of the metal would be most saturated. Add the bright white highlight. Do not blend this in too much. Along the edges of your object, paint parallel lines that follow the contour. This is the reflection of a neighbouring object. Do not overdo this technique. In the shadowed

area, you can add some reflected colour. The saturation of this colour will not be as deep as the originating object. Painting glass is similar. Usually the darkest area will be along the bottom, and the reflected light opposite the shadow line is strong. White highlights follow the contour. Use saturated colours in the background. And always remember that despite traditional advice to never use pure black or white, these colours are absolutely essential for creating realistic highlights and shadows on metal.

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Tutorial Anime creations

The Japanese art of anime dates back to the early 20th Century and has gained in popularity East and West ever since, thanks to cartoons for both kids and grown-ups. Here’s how it’s done Tutorial info Artist

Reinaldo Quintero Time needed



Start file

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Digital Painting

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Digital Painting Tutorial Anime creations Digital Painting

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)QCPKOG Get started with this style of Japanese animation Character and 01 background

Create your own style

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Do your own research into the artists you like most. Look at the key features that define their style, study how they draw and paint the eyes, nose, mouth and hair, and even facial expressions. Don’t rush things, as this might lead to frustration. Take time to practise and improve, ask for feedback as much as possible and be ready to receive criticism.

drawing 02 The

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tools 04 Painter

03 The line art

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#PKOGXGTUWUOCPIC Spot the difference In general, most people assume that manga and anime are the same thing and that they come only from Japan. But there are various aspects that differentiate them clearly. Manga is used in Japanese comics and is drawn from top to bottom, right to left. It’s done entirely in black and white, using multiple screen tones to create basic tonal effects and shading. It’s printed on recycled and cheap paper, due to the amount of work involved and cost of producing it on a weekly and monthly basis. Anime art is a more detailed and colourful medium, full of movement and action. Because the

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characters are animated, the use of backgrounds is essential. These are always painted beautifully and in a realistic way to contrast with the characters, which are painted using a limited range of colours. Nowadays the anime/manga phenomenon has extended around the world, giving artists the chance to explore these mediums and have their own views about what anime and manga truly represent.

“Anime art is more detailed”

05 Setting your brushes

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Digital Painting

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In the world of anime the hair colour of your character influences a lot of its personality and attitude. White and grey are usually used for villains, as they are often related to evil and death in Japan. Blue is used for shy, sweet, smart and funny characters, pink and purple for cheerfully cute and childish characters, orange for wild and adventurous characters, and green for down-toearth and goodhearted characters.

08 Working the background

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Paint the hovering 11 castle

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Anime creations

06 Organising layers

Colour equals personality

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Tutorial

in colours 07 Block

10 Choosing the right colours 09 Adding volume

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the shadows 12 Filling

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4GFGHKPGVJGDCEMITQWPFCPFEJCTCEVGTU Polish your anime composition

Kawaii creatures There is no doubt that the creatures have to be cute and lively. Try to base your design on your favourite animals. Keep them simple: they could be cute little blobs with funny ears and small eyes, or they can be fully clothed to give them more personality and a friendlier look.

13

Paint the moon 2JQVQUHTQOFKHHGTGPVRNCPGVUECPDG

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14 Paint the clouds

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your artwork 16 Clean

15 Block in Neko-chan

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17 Background details

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Borrowed colours Having in mind which colours to use for your characters before starting is a good idea. There are colours that combine very well using an analogous colour harmony. Red hair could have tones of yellow and purple to make it more attractive and colourful, and it’s even better if you add borrowed colours from its surroundings to denote shine.

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18 Atmospheric effects

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19 Paint the face

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Digital Painting

Give your characters personality

Anime creations

One of the aspects that makes anime and manga art unique is the wide range of facial expressions. Some are standard, but others rely on exaggeration and are fun to draw.

Tutorial

%TGCVKPICPKOG HCEKCNHGCVWTGU

20 Add details

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21 Paint the rabbit and Momo-chan

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Flatten layers 23 and adjust

22 Highlights

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24 Special effects

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Smiling This expression is typical when we want to portray cute characters. A relaxed mouth is small and less open; smiles should be wide and show lip definition. Depending on the style of drawing, eyes and eyebrows will be in a neutral position.

Surprise Even though this is the same character, we can see big changes in the size of her eyes. The smaller the irises, the more shocked the expression will be; the eyebrows are raised and also the shape of the eyelash. Note how she’s leaning back, indicating the action has just happened.

Exaggerated smile This is far simpler

25

New colour tones 1PEGVJGKNNWUVTCVKQPKUHWNNQHURCTMNKPI

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in terms of lines and colouring. The mouth is wide open and exaggerated; the face is more rounded, adding a cute, childish look; the eyebrows are raised but simplified. Don’t be afraid to add elements around characters to convey a convincing expression.

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Tutorial Create an underwater scene

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Digital Painting Artist Tutorial info

Anne Pogoda

Tutorial

Time needed


Advanced On the CD

Create an underwater scene

Start file

%TGCVGCP WPFGTYCVGT UEGPG Learn how to paint a wonderful underwater scene with a mermaid and a swarm of tropical fish!

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.GCTPJQYVQRCKPVHKUJ Real fish will inspire your fantasy character

Realism versus fantasy Don’t worry about being slavishly realistic in your first underwater scene. Some kinds of fish are downright ugly, while some of the prettier kinds live in shoals and ecosystems so vast it would be impossible to paint everything that’s in there. Instead, choose a couple of favourites to experiment with – tropical fish are colourful and varied.

01

Outlines for yellow fish 9GYKNNWUGVJTGGFKHHGTGPV

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02 Add more volume

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blob technique 04 The

03 Painting the scales

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the scurfs 06 Paint

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a RealBristle to create texture 05 Use

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Outlines that aren’t 07 outlines

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08 A lot of shimmer

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10 The turtle

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Bright outlines 09 set accent

12 Add detail 11 Be creative

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%TGCVKPIEQTCN Learn how to produce wonderful coral effects easily

Designing a mermaid

Many people feel at a loss when faced with painting coral and other things that grow underwater. Coral isn’t something we see too often, since it’s part of a world we don’t live in, but we can observe its basic shape and structure. Pick a Bristle brush and paint treelike shapes that look like coral when seen from a distance. We can treat them like colourful rocks which have fuzzy extensions here and there that are enhanced with bright little dots to make them shine and seem organic. Once the basic shape is applied with a darker colour, many little bright strokes can add a lot of detail to that shape. To give the dots and strands some texture, fuzzy brushes like the FX Furry brush work best. Airbrushes can then be used for highlights, which are supposed to differ a bit from the overall form to suggest that some tiny creatures are floating in the water.

To paint a good mermaid that differs from the red-haired Disney standard, look at different kinds of fish. Lionfish and Japanese fighting fish can be very helpful. They offer great inspiration for how a tail could be designed, and show that it doesn’t always have to be in a greenish or greyish colour – which makes it look quite boring. Look at bioluminescent creatures such as jellyfish too.

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%TGCVG[QWTEQORQUKVKQP Now you can paint fish, try a fantasy underwater scene

Find inspiration for the fish To find good inspiration for the fish it’s useful to search using keywords such as ‘tropical’ or ‘exotic fish’. This way it’s much easier to find colourful, interesting examples of all kinds of fish which aren’t ordinary goldfish or clownfish.

13 A sketch for the mermaid

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14 Colour blocking

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The mermaid’s 15 tail

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16 Afanluminous

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Coral and algae Coral and algae can grow on almost any solid structure in the water. There could be some left-over ancient ruins, or something that got wrecked in the sea. This doesn’t always have to be a ship. Alternative interesting structures could be aeroplanes or other vehicles that are overgrown with algae and coral.

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The mermaid’s 17 top

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18 Give the tail more detail

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20

Finalise the tail 6JGVCKNPGGFUVQDGFCTMGPGFCPF

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21 The face

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To show that a scene is underwater, several easy effects can be used

Brushes for the detail work

When painting underwater scenes it’s very important to not get lost. Underwater worlds can be highly colourful because there are a lot of interesting things going on in the scenery, with all kinds of fish and floral elements. Therefore, we

can cheat a lot and spare ourselves some work by utilising certain brushes, colours and light effects. Adding the colour of the water with a 300px 5% Opacity Airbrush, is an easy way to make the elements look unified with their environment.

2CKPVKPIUJCRGU Brushes for basic shapes and sketches Here we have the first selection of brushes. It shows the Acrylics Bristle from the Acrylics palette, the Real Tapered Bristle from the RealBristle Brushes and the 2B Pencil from the Pencils collection. All three are very useful when used in combination. With the Pencil, things can be easily sketched out, and fine elements like the mermaid’s dark blue seaweed top can be accentuated with lovely thin outlines and highlights. The Real Tapered Bristle blends well.

Acrylics Bristle

Real Tapered Bristle

2B Pencil


19 Give the top more shape

This selection shows two brushes which are a bit more special when we talk about underwater scenes. The Real Fan Short from the RealBristle Brushes palette is a pretty fine brush that can be used to add fins to mermaid tails or add little accents to the scales of the fish. The Fine Tip Soft Air from the Airbrushes palette was used to blend the mermaid’s skin. It’s not a good idea to use this one for the fish, because it will make them seem too blurred and look like plastic. The Airbrushes also do a perfect job of creating blurry or highlighted water effects. Use these sparingly in the background so that you don’t blur details.

Real Fan Short

Fine Tip Soft Air

7UKPINKIJVGHHGEVKXGN[ Painting with light is a good way to lead the viewer’s eye This example shows how darkening certain areas can draw the eye of the viewer from one point to another, and so help to focus the eye. It’s called painting with light. When the coral effects in the foreground are darkened, it will draw the eye further into the image. Creating more contrast around the mermaid and fish also helps the viewer to find important elements quickly. The turtle is at a high contrast here to make it a point of interest. Painting some soft white dots on top of everything on a new layer and pushing them back with the Eraser wherever they are too bright, also helps to create the effect of moving water being hit by light. For this composition, yellow areas shouldn’t be in places that aren’t of any interest, because they draw the eye too much and so will quickly drag the viewer’s attention away from what is really important.

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Digital Painting


Digital Painting

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Changing paper colour Set your painting’s mood One of the main things that is most frustrating in painting both digitally and traditionally is starting with a blank white canvas. Starting with a toned paper surface can help to set the mood of your painting, and also get the colour in the direction you want it to proceed.

01 Starting out blank

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02 Adding colour

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03 Just a little too light

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Digital Painting

Start with a value study When you are doing a black-and-white value study of an image, you need to decide where you want your lights and darks. You are just working with value at this point and it will make it easier to add colour to later. Use the Digital Watercolor>New Simple Water brush, at an Opacity of 25 per cent. After the value study is done, perform the Dry Digital Watercolor function.

Use the whole spectrum

Cool and unify

After a value study is completed, use this time to decide what details need to pop more. Where do you want your audience to look, what are the important details and what is less significant? All the little details and nuisances, this is where you have to be direct and you can muck around and have fun.

After a value study is completed, use the New Simple Water brush and lay in all your colour. When the colour is where you like it, use the Dry Digital Watercolor command. Then apply another cool tone with Digital Watercolor over that. Start to pull detail out by changing the value on the Color Wheel. This will unify the shadows and the picture. You can even be more direct and just add the cool tone to all the shadows and a warm tone to the light side.

01 Squint your eyes

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02 Darkening areas

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04 Changing it again

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05 Pulling out detail

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01 Using your photos

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02 Enhance the colours

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03 Start to colour

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04 Colour swatches

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Digital Painting Canvas mixing These pages will show you the ways to mix colours in the Color Sets palette, the Color Mixer and colour palettes. Another way is by mixing the colour directly on the canvas. It is a lot faster to make just a mark at a low opacity and then select the colour. Simply select the colour you like, press Cmd/Ctrl+Z and then erase that mark.

mixing 01 Paint

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Select and 02 create

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0&+ $1%" ,),/&5 "/ Using the Color Mixer can be a helpful tool. In this picture, we wanted to take the colour of her dress and see how the light falls onto it. What you need to do is sample the basic colour of her dress and paint that colour into the Mixer palette. Then sample the colour of the lights and mix that colour on the Mixer palette with the other colour of her dress that was applied first. As the two colours mix, you can sample from any of the colours that are blended together.

Using the Color Sets The Color Sets have two exciting features to help finding a colour: By Name and Closest To Current Color. This is nice because if you want to find a certain colour that you want to use, like Alizarin crimson, you can type it in under By Name, click Begin and OK, then the Color Wheel will go exactly to that colour.

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The mystery of colour depth is t help to add details and Finding out little things tha engage to ps hel ative process, and y will a great addition to the cre the ce, pie r you at ng t glanci your viewer. Instead of jus l wil y dy your piece. The look at it in-depth and stu you did it, and how on ns stio ask you que od and blo th you may tell them ‘Wi have you t tha say y ma sweat’, you ding hol m fro cramps in your hand , ybe ma but ht, tig so your stylus m. the tell ht just maybe, you mig

Create a highlight with colour Shiny objects have hard highlights. There are easy tools to help make the highlights on chrome, lights and cars work for you. First, you need to find where your light is coming from, and what colour the object is that the light is falling on. This will determine the colour of your highlight.

highlights 01 Making

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Connecting shadows

Another aspect to creating a visually appealing image is a good use of lights and darks and the connecting of shadows. American illustrator Frank Schoonover would use lights and darks to direct the viewer’s eye. Using lights against darks and shadows against sunlit areas make for an engaging image. Having knowledge of composition is helpful to make aspects work in the final piece, like when you use some other programs to add text and design work.

Using shadows is a good way to help the viewer look where you want them to look. Just the opposite applies also; you can use shadows to make the viewer look at something more important. Use colour in your shadows also. In Edward Hopper’s Room in Brooklyn, there is a small corner of the windowsill that is in shadow, and it is a rich, vibrant blue.

Digital Painting

01 Connecting shadows

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Let them help you

02 Unifying shadows

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Tutorial Pen and wash studies

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The pen really is mightier than the sword! We demonstrate how to recreate a classic pen and wash study in Corel Painter

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Digital Painting Artist

Tutorial

Tim Shelbourne Time needed

6 hours Skill level

Intermediate

Pen and wash studies

On the CD

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$WKNFKPICHTCOGYQTM Every pen drawing starts with a sketch. Use ours or create your own!

Play safe with layers A lot of work goes into a pen drawing, and you can spend a long time adding more detail. If you want to add some more pen work to your drawing, it’s best to add a new layer first, and then add your new line work to that layer. If things don’t work out, simply erase or delete the layer and start again.

03 Choose a pen

01 Guiding sketch

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04 First marks

02 Sketch with line

#UVJGUWRRNKGFKOCIGFGOQPUVTCVGUKV¶U YQTVJETGCVKPISWKVGCFGVCKNGFUMGVEJ7UGNKPGQPN[TCVJGT VJCPIGPGTCNCTGCUQHUJCFKPI+V¶UKORQTVCPVVQTGOGODGTVJCVRGP CPFKPMKUCFGEKFGFN[NKPGCTOGFKWOCPFCUUWEJKVYKNNJGNRVQETGCVG CNKPGDCUGFUMGVEJVQUGTXGCUCIWKFGHQT[QWTRGPYQTM

(TQOVJG%QNQT9JGGNEJQQUGCXGT[FCTM YCTOITG[HQT[QWTHQTGITQWPFEQNQWT(QTVJKUUVCIGQHVJG FTCYKPI[QWPGGFVQDGWUKPI[QWTRGPCVCUOCNNUK\GQHLWUVHQWTQT ¿XGRKZGNU6JKUKURQUUKDN[QPGQHVJGOQUVKORQTVCPVUVCIGUQHVJG FTCYKPI7UKPI[QWTUMGVEJCUCIWKFGCPFTGHGTTKPITGIWNCTN[VQVJG KOCIGDGIKPVQQWVNKPGVJGOCKPGNGOGPVUKPVJGUEGPG

05 Fluid outlines

6T[VQYQTMSWKVG SWKEMN[JGTGDGECWUG[QW¶NNIGVHCT UOQQVJGTUVTCKIJVGTCPFOQTGÀQYKPINKPG YQTMKH[QWWUGVJGRGPSWKEMN[TCVJGTVJCP VT[KPIVQFTCYÀWKFNKPGUUNQYN[#VVJKUUVCIG EQPEGPVTCVGQPVJGOCKPQWVNKPGU

A little practice If it’s your first time with pen drawing, why not start with a little bit of practice? As you can see here, it’s usual to limber up with a few thumbnail sketches before you begin work on the main drawing. Try it – it really helps to free up your hand!

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06 Lost and found

&QP¶VYQTT[VQQOWEJCDQWVETGCVKPI EQPVKPWQWUNKPGUJGTG2GPFTCYKPIUCEVWCNN[DGPG¿V HTQOµNQUVCPFHQWPF¶NKPGUYJKEJJCXGUOCNNDTGCMUKPVJGO+V¶U CNUQIQQFVQTGKPHQTEGOQTGRTQOKPGPVQWVNKPGUD[FTCYKPIVYQNKPGU QPGENQUGN[HQNNQYKPIVJGQVJGTYJKEJIKXGUCPKEGUMGVEJ[HGGNVQ VJGRKGEG

07 Confident shorthand

;QW¶NNPGXGTQWVNKPGGXGT[UKPINGRCTV QHVJGUEGPGYKVJRKPRQKPVCEEWTCE[CPFTGCNN[UJQWNFP¶VVT[ +V¶UIQQFVQFGXGNQRCMKPFQHUJQTVJCPFHQTEGTVCKPCTGCUCPFQDLGEVU UWEJCUVJGJWPFTGFUQHYKPFQYUKPVJKUUEGPG#UVJGUETGGPUJQV CDQXGUJQYUVJGYKPFQYUECPDGGHHGEVKXGN[KPFKECVGFYKVJLWUVCHGY EQP¿FGPVNKPGU


Digital Painting

There are vital techniques you need to know when using a pen. Here’s the lowdown on shading and detail

08

Skeletal framework/CMGUWTG

VQFTCYQDLGEVUVJGOUGNXGUCVVJKU UVCIGCPFPQVQWVNKPGVJGUJCFQYU6JKPM QHVJKUUVCIGQHVJGFTCYKPICUETGCVKPIC UMGNGVQPHTCOGYQTMVQCFFOQTGNKPGYQTM CPFUJCFKPIQPVQRQHVJCVYJKEJ[QW¶XG DWKNVWRCNTGCF[

09 Repeating details

/CP[CTGCU YKVJKPVJGUEGPGFGOCPFRCVKGPEG UWEJCUVJGTGRGCVKPICTEJGUCPFVJG UCOGCRRNKGUVQVJGIQPFQNCUCPFVJGNKPGUQH WRTKIJVQCTU#ICKPVJKUFQGUP¶VOGCP [QWJCXGVQECTGHWNN[QWVNKPGGXGT[QPG± [QWECPUWIIGUVFGVCKNYKVJLWUVCHGYYGNN RNCEGFNKPGU

in the darks 10 Dash

0QY¶UVJGVKOGVQ CFFCPGYNC[GT *GTGYG¶TGIQKPIVQ TGKPHQTEGVJGXGT[ FCTMGUVCTGCUKPVJG UEGPGYJKEJYKNN JGNR[QWPCXKICVG VJTQWIJCFFKPI OKFVQPGUNCVGT 9QTMKPIQPVJG PGYNC[GTKPETGCUG VJG2GP5K\GVQ DGVYGGPCPF RKZGNU0QYUVCTVVQ UJCFGKP VJGFCTMGUVCTGCU KPVJGKOCIGWUKPI UJQTVFKTGEVKQPCN UVTQMGURNCEGFXGT[ ENQUGN[VQIGVJGT


9GECP¶VETGCVGCTGCUQHEQPVKPWQWUUJCFKPIYKVJCRGPCUYGECP YKVJUC[CRGPEKNUQYGPGGFVQWUGNKPGKPCXGT[GZRTGUUKXGYC[ VQETGCVGFKHHGTGPVMKPFUQHUJCFKPICPFFGVCKN*GTGYG¶NNNQQMCV XCTKQWUUMGVEJKPIUVTCVGIKGU

Tutorial

*QYVQUJCFGRTQRGTN[

Shading and hatching (QTIGPGTCNUJCFKPI GURGEKCNN[QPÀCV UWTHCEGUWUGXGTVKECN UVTQMGURNCEGFENQUG VQIGVJGT6JGENQUGT VQIGVJGT[QWRNCEGVJG UVTQMGUCPFVJGYKFGT VJG[CTGVJGFCTMGT VJGTGUWNVKPIUJCFG YKNNCRRGCTVQDG (QTFCTMCTGCUCPFVQ ETGCVGOQTGVGZVWTG RNCEGOQTGUVTQMGU QXGTVJKUUJCFKPICV FKHHGTGPVCPINGU

Follow the contours 2GPNKPGUECPDGXGT[ GZRTGUUKXGGURGEKCNN[ YJGPKVEQOGUVQ DQVJETGCVKPIVQPGU CPFFGUETKDKPIVJG EQPVQWTUQHCUWTHCEG +V¶UKORQTVCPVJGTGVQ XCT[VJGNKPGYKFVJ CPFKP2CKPVGT[QWECP FQVJKUD[CRRN[KPI OQTGRTGUUWTGVQ [QWTUV[NWUCUYGNN CUVKNVKPIKV+V¶UIQQF VQFGXGNQRCMKPFQH EQPVKPWQWUµPGTXQWU¶ UETKDDNGHQTVJKUMKPF QHGHHGEV

The appearance of detail

11 Careful shading

4GHGTVQVJGDQZQWV QRRQUKVGTGICTFKPIVJGMKPFUQH JCVEJKPI[QWECPWUG6JGKORQTVCPVRQKPVKU VJCV[QWTUVTQMGUCTGRNCEGFENQUGN[VQIGVJGT CPFGXGPQXGTNCRGCEJQVJGTKPVJGFCTMGUV CTGCUKPQTFGTVQETGCVGVJGTGSWKTGFFGRVJQH VQPGKPVJGUGUJCFQYU

12 Simplified shadows

6JGUJCFQYU YKVJKPVJGYKPFQYUCTGKORQTVCPV CUVJG[IKXGVJGURCEGUVJGKTUJCRGYJKEJ YG¶NNTGKPHQTEGNCVGT4GOGODGTOCP[QHVJG UJCFQYCTGCUCTGXGT[EQORNKECVGFUJCRGU CPFKV¶UDGUVVQKPFKECVGVJGFGVCKNJGTGYKVJ LWUVCHGYOCTMUCPFUVTQMGU6JKUCRRNKGU XGT[OWEJVQVJGFCTMUJCRGUYKVJKPVJG CTEJYC[UQPVJGNGHVJCPFDWKNFKPI

+PCRGPFTCYKPIKV¶UHCT DGVVGTVQIKXGVJGKORTGUUKQP QHFGVCKNVJCPVQVT[CPF FTCYGXGT[UKPINGGNGOGPV KPCFGVCKNGFUEGPGGZCEVN[ 6JKUKUYJGTG[QWECP FGXGNQRCMKPFQHXKUWCN UJQTVJCPFVJCVFKUVKNUVJG XGT[GUUGPEGQHFGVCKNGF CTGCU7UG[QWTRGPCVC XGT[UOCNNUK\GRC[KPI RCTVKEWNCTCVVGPVKQPVQVJG EQPVTCUVDGVYGGPNKIJVCPF FCTMCTGCUYJKEJVGPF VQFGUETKDGVJGFGVCKNU VJGOUGNXGU

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$WKNFKPIQPVJGHQWPFCVKQPU Bolster the foundations with careful shading, detail and colour washes

Stylus tilt

definition 14 Add

Using the Real Variable Width Pen in Painter 11, you can take advantage of Stylus Tilt to make your pen lines much more expressive. Vary both the tilt of your stylus and the pressure that you apply as you draw to create fluid, lively strokes.

13 Tiny textures

1PEG[QW¶XGGUVCDNKUJGFCNNVJGFCTMGUV UJCFQYUCFFCPGYNC[GT0QYKV¶UVKOGVQUVCTVCFFKPI UQOGFGVCKNU(QTVJKU[QWPGGFVQTGFWEG[QWTRGPVQCXGT[UOCNN UK\GCTQWPFRKZGNU
4GHGTENQUGN[VQ[QWT RTGXKQWUNKPGUCPF UVCTVVQENCTKH[ VJGYKPFQYU 4GOGODGT[QW¶TG NQQMKPIVQ CFFFG¿PKPINKPGU JGTGVQTGUQNXG FGVCKNUUWEJCUVJG YKPFQYHTCOGUCPF UKNNU7UGECTGHWN JQTK\QPVCNCPF XGTVKECNJCVEJNKPGU VQKPFKECVGVJG UJCFGFCPFFCTMGT EQNQWTGFCTGCUKPVJG YKPFQYU

textures 15 Brickwork

6GZVWTGKPVJG DTKEMYQTMKU KORQTVCPVQPVJGUG DWKNFKPIUCPF[QW ECPETGCVGVJKUYKVJ RCVEJGUQHSWKVG UKORNGJQTK\QPVCN CPFXGTVKECN UVTQMGU4GHGTVQ VJGUKFGRCPGNQP VJGRTGXKQWURCIG HQTIWKFCPEGQP VJGUG;QWECP CNUQKPFKECVGVJG UJCFGFCTGCUQHVJG DWKNFKPIUD[WUKPI TGRGCVKPIJQTK\QPVCN UVTQMGURNCEGFSWKVG ENQUGN[VQIGVJGT

16 Loose shading

9GYCPVVJGFGVCKNVQHCFGQHHVQYCTFVJG NGHVJCPFUKFGQHVJGFTCYKPIUQVJGQPN[UJCFKPIJGTGUJQWNF DGETGCVGFYKVJXGT[¿PGNKPGUURCEGFYKFGN[CRCTVHQTSWKVGCNQQUG UMGVEJ[GHHGEVYJKEJKPFKECVGUUQOGHCKTN[NKIJVVQPGUCPFIKXGUVJG DWKNFKPICNKVVNGVGZVWTG

%QPVTQNNKPIRGPCPFYCUJ How to avoid accidents – or deliberately create a ‘happy accident’ The great thing about digital pen and wash is the fact that it’s actually much more controllable than its traditional real-world equivalent. This is simply because we can separate the inked pen line layers from the watercolour layers. In fact, as soon as you start adding the colour washes in the project above, you’ll be working on an entirely independent Watercolor layer, completely separate from the layers that contain your pen lines.

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However, sometimes the ‘happy accidents’ that can happen with traditional pen and wash techniques, such as ink running into your colour washes, can be really effective and actually add to the finished painting rather than detract from it. Thankfully, we can also replicate these accidents digitally in Painter. When you’ve finished your drawing, drop all the layers and use the Water Rake from the Blenders variants to gently create these areas of ink bleed.

17 Watercolor brush

#VVJKUUVCIG KV¶UCIQQFKFGCVQUVCTVCFFKPIUQOG UWDVNGEQNQWTYCUJGUVQTGCNN[RWNNVJGYJQNG FTCYKPIVQIGVJGT#FFC9CVGTEQNQTNC[GT CPFEJQQUGVJG9CVGTEQNQT8CTKCPVUECVGIQT[ 9GPGGFTGCNN[IGPVNGNQQUGEQNQWTJGTGUQ EJQQUGVJG4WPP[9GV$TKUVNGXCTKCPV5GVVJG 1RCEKV[HQTVJGDTWUJVQLWUV'PUWTGVJCV VJG%QNQTURCNGVVGKUFKURNC[GF


Digital Painting

18 Subtle colour

5VCTVYKVJVJGEGPVTCNITQWRQHDWKNFKPIU WUKPIVJGDTWUJCVCUOCNNUK\G;QWPGGFVQRCKPVYKVJUWDVNG VGTTCEQVVCCPFQEJTGEQNQWTUVQVKPVVJGDTKEMYQTM+V¶UKORQTVCPVVQ TGOGODGTVJCV[QW¶TGPQVVT[KPIVQETGCVGC¿PKUJGFRCKPVKPIDWV UKORN[VKPVKPIYKVJUWDVNGEQNQWTYCUJGUVQKPFKECVGNQECNEQNQWT

20 Subtle shades

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Even once your drawing is completed, you can adjust the tone of your ink lines. To do this Shift-click all of your pen layers and go to Layers>Collapse Layers. Now go to Effects>Tonal Control>Equalize. Drag on the Brightness slider to make the ink lines lighter or darker.

Tutorial

Ink tone

19 Hints of shadow

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21 Water and sky

;QWECPCFFEQNQWTVQDQVJVJGUM[CPFYCVGT YKVJVJGDTWUJCVCOWEJNCTIGTUK\G#ICKPWUGLWUVCHGY UKORNGUVTQMGUVQKPVTQFWEGCNKVVNGEQNQWT#HGYUWDVNGVQWEJGUQH VJGEQNQWTUWUGFKPVJGDWKNFKPIYQTMYGNNKPVJGYCVGTVQIKXGVJG KORTGUUKQPQHTGÀGEVKQPU9JGP[QW¶TGFQPGYKVJCFFKPIEQNQWT TKIJVENKEMVJG9CVGTEQNQTNC[GTCPFEJQQUG%QOOKV

22 Make waves!

4GXGTVVQ[QWTRGP XCTKCPVCPFCFFUQOGUOCNN¿PKUJKPI FGVCKNUVQVJGEGPVTCNCTGCQHVJGFTCYKPI 5QOGPKEGNQQUGEWTXGFUVTQMGUYQTMYGNN KPVJGYCVGTVQIKXGVJGUWTHCEGCNKVVNG OQXGOGPV+PRNCEGUGURGEKCNN[DGPGCVJVJG IQPFQNCUWUGVJGRGPCVSWKVGCNCTIGUK\GKP QTFGTVQCFFOQTGFG¿PKVGUVTQMGU

off 24 Finishing

23 Breaking up

+HUQOGCTGCUQHVJGKPMYQTMJCXGDGEQOG VQQ¿NNGFWR[QWECPCNYC[UWUGVJGRGPYKVJYJKVGCU [QWTHQTGITQWPFEQNQWTVQDTGCMVJGUGCTGCUWRCNKVVNGIKXKPIVJG KORTGUUKQPQHYJKVGRCRGTUJQYKPIVJTQWIJVJGRGPUVTQMGUCICKP

2GP FTCYKPIUCTGUWEJ VJCV[QWECPECTT[ QPCFFKPIFGVCKN CPFTG¿PKPICTGCU VQ[QWTJGCTV¶U EQPVGPVDWVKV¶U IGPGTCNN[DGUVPQV VQQXGTYQTMVJGO VQQOWEJ9JGP [QW¶TGJCRR[ÀCVVGP VJGKOCIGYKVJ .C[GTU &TQR#NN ;QWECPPQYCFF UQOGVQWEJGUQHKPM DNGGFKHFGUKTGFUGG DQZQWVCDQXGHQT VKRUQPVJKU

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Tutorial Clone and paint a vintage portrait

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Digital Painting Tutorial Clone and paint a vintage portrait

Clone and paint

CXKPVCIGRQTVTCKV Learn to work from a photo to create a vintage-style pin-up. Greg Banning shows us how Tutorial info Artist

Greg Banning Time needed

8 hours Skill level


Line art

RQTVTCKVKPVJGUV[NGQHVJGENCUUKERKPWRCTVKUV)KN 'NXITGPECPDGXGT[UVTKMKPICPFFKHHGTGPVHTQOQWT EQOOQPRJQVQTGHGTGPEGFRCKPVKPIU #NVJQWIJYGFQWUGRJQVQTGHGTGPEGHQTVJKU VWVQTKCNYG¶NNDGCFFKPIQWTQYPURKPVQYJCVYG¶TGYQTMKPI YKVJ'NXITGPCPFOCP[QVJGTCTVKUVUQHJKUVKOGJCFVJGWUG QHRTQHGUUKQPCNRJQVQITCRJGTUNKIJVKPICPFRTQRUHQTVJGKT TGUQWTEKPIQHCRCTVKEWNCTCUUKIPOGPV9G¶NNDGYQTMKPI YKVJOCVGTKCNYGJCXGTGCFKN[CXCKNCDNG5QYKVJVJGWUGQHC TGHGTGPEGRJQVQVJG%NQPKPIHWPEVKQPCPFUQOGFTCYKPIUMKNNU YG¶NNVT[VQTGRNKECVGVJGNQQMQHCXKPVCIGRKPWR .QQMKPIENQUGN[CV'NXITGP¶UYQTM[QWECPUGGÀWKFKV[KP JKUDTWUJUVTQMGUCPFFTCYKPI6JKUECPDGCEJKGXGFKP2CKPVGT WUKPICXCTKGV[QH1KNDTWUJGU%JCNMDTWUJGUCPFGXGPUQOG #KTDTWUJGU;QWECPFQKVVJGJCTFYC[±YJKEJRCTVQHVJKU VWVQTKCNYKNNUJQY[QW±QT[QWECPOCMGKVGCUKGTWUKPIVJG UCOGDTWUJGUYKVJVJG7UG%NQPG%QNQTUGVVKPI (QTVJKUVWVQTKCNYG¶NNPGGFCTGHGTGPEGRJQVQITCRJCPFYG¶TG NQQMKPICVOCVGTKCNHTQOVJGYQTMUQH)KN'NXITGPCPF#NDGTVQ 8CTICU6QJGNRYKVJQWTFTCYKPIVGEJPKSWGYGOC[YCPVVQ

TGHGTGPEGVJGYQTMQH#PFTGY.QQOKU*KUEJCTEQCNFTCYKPIU CTGCOC\KPI1WTTGHGTGPEGRJQVQYCUHTQOK5VQEMRJQVQEQO DWV[QWECPWUGCP[RJQVQHQTVJKU #UHQTQWTYQTMURCEGCPFOCVGTKCNKP2CKPVGTVJGTGCTGCHGY VJKPIUYGECPJCXGTGCF[&WTKPIVJGFTCYKPIYGOC[YCPVVQ EJCPIGVJG2CRGT5ECNGUQQRGPWRVJG2CRGTRCNGVVG9G¶NNWUG VJG$CUKE2CRGTVQUVCTVCPFVJG6JKEM*CPFOCFGRCRGTNCVGT QP1WTDTWUJGUYKNNDGVJG%QXGT2GPEKNCOQFK¿GF%QNQTGF 2GPEKN5QHV#KTDTWUJC5OGCT[4QWPF4QWPF%COGNJCKT CPFC8CTKCDNG4QWPF1KNDTWUJ9G¶NNWUGVJG,WUV#FF9CVGT DNGPFGTCPF'TCUGTCUYGNN 9JGPYG¶TGYQTMKPIYGNQYGTVJG$TWUJ1RCEKV[HTQO CP[VJKPIDGVYGGPCPF6JCVIQGUHQTVJG)TCKPCU YGNN1PVJG2CRGTRCNGVVGYGJCXGVJG5ECNG FGRGPFKPIQP VJGFKOGPUKQPUQHVJGCTVCTQWPF6JKUNQQMUTGCNN[PKEG FWTKPIVJGVQPCNUVCIG 5RGCMKPIQHVJGVQPCNUVCIGVJKUKUYJGTGYGTGCNN[WUGVJG QPN[OQFK¿GFDTWUJQWT%QNQTGF2GPEKN5GVVJG1RCEKV[VQ )TCKPVQCPF&CD6[RGVQ%KTEWNCT9JCVYGNKMGVJG OQUVKUUGVVKPIKVVQ)TCKP[(NCV%QXGT

01 Layer reference

1RGP[QWT TGHGTGPEGRJQVQCPFNC[GTKVQPVQ [QWTECPXCU&WRNKECVGVJGNC[GTIQVQ 'HHGEVU 6QPCN%QPVTQNCPFNQYGTVJG 5CVWTCVKQPVQ9G¶NNWUGVJGDNCEMCPFYJKVG NC[GTHQTFTCYKPICNQPIYKVJVJGEQNQWTNC[GT HQTENQPKPI9G¶NNPGGFVJGUGVYQXGTUKQPUVQ NCVGTEQR[FGVCKNCPFVJGDCEMITQWPFHQTDQVJ VJGVQPCNCPF¿PCNXGTUKQP

02 Clone two versions

)QVQ(KNG %NQPGCPFETGCVGVYQ UGRCTCVGENQPGUQH[QWTDNCEMCPFYJKVGCPFEQNQWTTGHGTGPEG KOCIGU6QFQVJKUENQPGQPGYKVJVJGNC[GTUJQYPCPFQPGYKVJKV JKFFGP ENQUGVJG'[GKEQPQPVJGNC[GTKPVJG.C[GTURCNGVVG0COG QPGµ%NQPGFA$9A5QWTEG¶CPFVJGQVJGTµ%NQPGFA%QNQWTA5QWTEG¶ 5CXGVJGNC[GTGFECPXCU

03 Create line art

%JCPIGVJG EQORQUKVKPIOQFGQHVJGDNCEMCPF YJKVGNC[GTVQ/WNVKRN[CPFFGETGCUG KVU1RCEKV[VQ5GNGEVCFTCYKPIVQQN± YGNKMGCOQFK¿GF%QNQTGF2GPEKNUGVVQ 1RCEKV[)TCKP&CD6[RG%KTEWNCT 6TCEGVJGDNCEMCPFYJKVGKOCIGNKIJVN[QPVQ VJGECPXCU

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%QORNGVGVJGFTCYKPI Finish off the illustration before cloning it with the photo

Saving and Iterative Save We constantly save our work. As we were working on this tutorial there was a power failure, and we would have lost a couple of hours of work if it weren’t for Cmd/Ctrl+S. Iterative Save gives the freedom to save the work at a stage where we can move along to a different step. This way, if we take it in the wrong direction, we can go back to an earlier save and try again.

04 Refine line art

6QIGVOQTGQH CXKPVCIGHGGNYG¶NNTG¿PGQWT NKPGCTV9G¶NNGPJCPEGVJGG[GUEJGGMU OQWVJCPFDTGCUVU)QVQ'HHGEVU 6QPCN %QPVTQN $TKIJVPGUUCPF%QPVTCUVKPETGCUG $TKIJVPGUUQPVJGECPXCUNC[GT&TCYVJG TG¿PGFNKPGCTVQPCPGYNC[GTCDQXGKV

05 Adding tone

%TGCVGCFGHCWNVNC[GT CRRN[VJGFCTMUCPFVJGPNC[KPC OKFFNGITQWPFYKVJXCTKQWUCOQWPVUQH RTGUUWTG#ICKPYGWUGQWT%QNQTGF2GPEKN CPFOC[WUGVJG%QXGT2GPEKNCUYGNNCUVJG 5QHV#KTDTWUJ

08 Create an underpainting

9GECPPQYUCXGQWTFTCYKPICU µ2KPWRA6QPCN¶%TGCVGCPGYNC[GTYKVJCEQORQUKVGOGVJQF QH%QNQTK\G0QYETGCVGCTGFFKUJPCVWTCNKORTKOCVWTCITQWPFD[ ¿NNKPIVJGNC[GTYKVJVJG2CKPV$WEMGV&TQRVJGNC[GT%TGCVGCPGY NC[GTYKVJCEQORQUKVGOGVJQFQH/WNVKRN[(KNNVJGNC[GTYKVJCOKF UGRKCVQPGCPFUCXGCUC25&¿NG

the base colour 10 Adding

Sharpening the image

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Digital Painting

9GEQWNFUVQR JGTGYKVJVJGEQORNGVGFFTCYKPI QHVJGRKPWRVJQWIJYGTGEQOOGPF EQORNGVKPIVJGYJQNGFTCYKPIDGHQTGENQPKPI KVKPVQVJGRJQVQ6JKUYC[YGECPUGGKHQWT VQPCNKUYQTMKPIYKVJVJGDCEMITQWPF

Finishing off the 07 tonal composition 1RGPµ%NQPGFA $9A5QWTEG¶1P QWTFTCYKPIQHVJG RKPWRCFFCNC[GT CPFEJCPIGVJG EQORQUKVGOQFG VQ/WNVKRN[0QY UGNGEVVJG5QHV %NQPKPIVQQN7UGKV VQNKIJVN[NC[KPVJG DCEMITQWPFHTQO %NQPGFA$9A 5QWTEG9G¶NN CNUQCFFVJGÀQYGT CPFURQVUQPJGT FTGUU'TCUGQWV CP[QXGTNCR

Sometimes the final illustration can become too soft. To correct this, duplicate your canvas by selecting, floating and duplicating the layer. Drop one back to the canvas. Go to Effects> Focus>Sharpen. Set Amount anywhere between 2.50 and 3.00, Aperture Gaussian. Erase out to keep some areas soft.

06 Add background

09 Turn on the lights

1RGPµ2KPWRA6QPCN¶VJGPIQVQ(KNG %NQPG5QWTEG0QYQPVJGµ7PFGTRCKPVKPI¶ETGCVGCPGY NC[GT±1XGTNC[OQFG9KVJVJG5QHV%NQPGTDTWUJDGIKPVQCFFVJG NKIJVCTGCU+H[QWIQVQQHCTWUGVJG'TCUGTVQQNVQHGCVJGTVJGKPVGPUKV[ DCEM;QWECPCNUQNQYGTVJGQRCEKV[QHVJGNC[GT(NCVVGPCPFUCXGCU µ%QNQWTA2KP7R¶

1PVQRQHµ%QNQWTA 2KP7R¶ETGCVGCPGY NC[GT±/WNVKRN[ 7UKPIVJG%QNQT 2GPEKNDGIKPVQFTCY KPVJGEQNQWTQHVJG NKIJVCTGCU;QWECP EJQQUG[QWTQYPQT VJCVQHVJGRJQVQ9G WUGFCNNVJGEQNQWTU HTQOVJGTGHGTGPEG RJQVQGZEGRVHQT VJGUMKPJCKTCPF ÀQYGT#RRN[VJG EQNQWTNKIJVN[GXGP GTCUKPIQWVVQVJG ECPXCUNC[GTVQUJQY JKIJNKIJVU(NCVVGP VJGNC[GT


Digital Painting correction 12 Colour

Popping the 14 highlights

13 Blending

#ICKPFWRNKECVG[QWTECPXCU0QYD[WUKPIVJG ,WUV#FF9CVGTDNGPFGTUOQQVJQXGTVJGTQWIJNKPGUQHVJG FTCYKPIVQOCMGKVNQQMRCKPVGTN[&TQRVJGNC[GTCPFVJGPETGCVGC PGYNC[GT±&GHCWNVOQFG#KTDTWUJVQUQHVGPVJGCTGCUUQOGOQTG 0QYÀCVVGPVJGNC[GT

Clone and paint a vintage portrait

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Selecting Clone Color with an Oil brush such as a Variable Round can add painterly strokes. Then if you use a Soft Cloner set to a low opacity, you can bring back the detail. Using it on a default layer and erasing out can help your painting to look loose.

Tutorial

11 Adding local colour

Clone Color and the Soft Cloner

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Cloning in the 17 background

15

Adding punch to the darks 1P

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16 Preparing the canvas

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Digital Painting

129


(KPKUJKPIQHH A final bit of enhancing and colour correcting

18

Cloning in the drawing 1RGP

19 Enhancing and clarifying

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4GVTQGUUGPVKCNU

The brushes that we use in this project are all basically fine at their default settings, but lower the Opacity and Grain values, so that we can slowly build up the drawing. For the drawing we make use of the modified Color Pencil, the Cover

The tools you need for this painting

%NQPKPI Painterly strokes

Cloning is a good way to add painterly strokes to the illustration. For example, after finalising the illustration we wanted to come back in and add more brushstrokes. Softening the hair is a good start. We used a clone source of our final piece with a Variable Oil brush on a default layer. We lightly followed the contour of the hair, then came back in with either a Soft Cloner or an Eraser to blend back to the canvas. When cloning a large area, increase your brush size. Decrease and lower the opacity as you begin to add detail.

130

20 Finalising

Digital Painting

“Now the painting’s blocked in, we can add sharpness to the details” Pencil and Airbrush with a Basic Paper. Set the Paper Scale to 120%. For cloning, set the Smeary Round, Round Camelhair and the Variable Round Oil brushes to Clone Color on the Colour palette.

%QNQWTRCNGVVG

/QFKHKGF%QNQT2GPEKN

Stay true to your source

A sub-category of Grainy Flat Cover

Because we’re using the photo as a reference, we’re basically using it as our palette. However, we are trying to stay true to the look of a Gil Elvgren pin-up. We’re taking into consideration our reference of his work. Keep her skin tone warm, accented with nice soft pinks. The background stays true to our reference. Again, try to keep the colours soft. You can desaturate the colour slightly to give her more of a vintage look. This is, of course, a personal preference.

For rendering a great tonal drawing we use a modified Color Pencil brush. Set Opacity to 20%, Grain to 20%, Dab Type to Circular. What makes the difference is setting the Subcategory to Grainy Flat Cover. To replicate a real textural, tactile feel, combine it with Basic Paper

from the Paper Selector. We move the Paper Scale around when we work. Try 50% for small detail areas, and 120% for larger areas. We find it fun to draw this way and easy to build up tone when the opacity is set low. If you need to add true blacks, just use the Cover Pencil or Airbrush.

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6+6.' 9'$5+6' ,1$6+6.'

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Tutorial Use a limited colour palette

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Time needed

Two to three hours

Tutorial

Brad Sutton

Skill level

Intermediate

Use a limited colour palette

On the CD

Sketch

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Primary colours

A mixture of two

Going neutral

Red and yellow make blue? Not necessarily!

Mixing colour will help to add life to you painting

How to avoid mixing muddy and dull colours

The primary colours (red, yellow and blue) are the staple for mixing colour. You can create any secondary or tertiary colour with these three combinations. The Old Masters would mix equal parts of the three – this way they would get a neutral dark colour that worked well for shadows since it has the primary colours in it.

The secondary colours (purple, green and orange) are a mixture of two of the primary colours. So if you mix blue and red you will get purple (see the example above). This can also be done simply in the Mixer, which is found under the Color palette. Secondary colours are also utilised in the tertiary colours.

A tertiary colour is created by mixing a primary and secondary colour. If the primary and secondary colours are opposite each other on the Color Wheel then the mix of the two should come out brown, or even a sort of neutral colour. If you try and mix a brown using loads of colours, you will end up with a dull and muddy result.

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6JG4QCTKPI6YGPVKGU Re-create a poster from a past era

Salvaging colours You can use the same colour for an illustration that makes use of limited colour. The beigebrown that is in the coat on the man is also used in the street and in the clouds. This is useful when economy of colour is being employed. Make wise decisions on what colours to use where.

01 Sketch time

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03 Block in tones

02 Make some changes

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05 Colour swatches

06 Blocking in

lines 04 Cleanup

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Shadows Using one colour in multiple areas can draw the viewer’s attention and be useful in a limited colour illustration – like the use of blue for the shadows, buildings, sky and clouds. The use of the same colour, and values of that colour, can be an interesting exercise for the artist.

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colours 07 Customise

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Digital Painting

Same colour, 09 multiple areas

08 Add more colours

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For the highlights we still used the brown-beige at its lowest value. It’s not quite white, but it still has colour in it. We also used it for the highlights on the lady’s dress. This method is useful because it is good to use colour in the shadows and in the highlights.

Tutorial

Highlights

up some things 11 Lighten

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10 Add texture to the road

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Directional colour

12

Colour the road7UGVJGUCOGEQNQWTVJCVKUKPVJGENQWFUCPF

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13 Darken buildings

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Directional colour helps your eye move throughout the image. The red in the lady’s dress, the man’s tie, and the fire hydrant will bounce you across the image. Even the blue in the shadows juxtaposed against a complementary colour moves the eye.

Digital Painting

135


/GCVCPFRQVCVQGU Now that all the beginning stages are done we can get into the fun part of the illustration

Limited detail Using limited colour for an artist can be a challenge; everything needs to be planned out. But this will help for a more unified and appealing image. Using just blue and beige-brown to do the skin can be hard, so an under-painting will be useful to help establish the values.

Darken other 15 elements

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14 Darken some more

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17 Add another shadow 16

Darken shadows0QYFCTMGPUQOGQHVJGUJCFQYUVJCVCTG

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19

Detail with colour Using colour to suggest detail is exciting. It gets your brain to think in a different way than in might have in the past, and it’s actually fairly easy – you just need to know the colours you want. Complementary colours are good since they complement each other!

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Digital Painting

Blend and paint0QY

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18 Pump contrast

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time 20 Figure

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22 Building’s details

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21

Driving time6KOGVQVWPGWRVJGECTCPFIGVJGTFGVCKNGF

23 Finalise

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Coloured palette Around the Color Wheel we go. Well, a limited Color Wheel… RECYCLING 6JGUCOGEQNQWTUJCXG DGGPWUGFGZVGPUKXGN[ VJTQWIJQWVVJKURCRGT 1PGHQTKPUVCPEGKU VJGEQCVCPFVJGENQWF EQNQWTU6JG[DQVJWUG VJGUCOGEQNQWTU[GV UQOGQHVJGOCTGCV FKHHGTGPVXCNWGU

IMPACTING COLOURS %QNQWTCVCP[XCNWG ECPDGCUVTQPIGNGOGPV KPVJGRKEVWTG'XGP NKOKVGFEQNQWTCUUGGP KPVJGFTGUUCPFECTKU CPKORQTVCPVWUG QHEQNQWT

BLOCKS OF COLOUR $NQEMUQHDCUKEEQNQWT YGTGWUGFKPVJGOCP¶U ICTD4GFKPVJGVKG DNWGKPVJGUJCFQYUCPF DGKIGDTQYPHQTCNNQH VJGJKIJNKIJVU

LIGHTS AND SHADOWS .KIJVUCPFUJCFQYU CTGKORQTVCPVKPC RKGEGNKMGVJKUDGECWUG [QWFQP¶VJCXGVJG HWNNEQNQWTURGEVTWO 2NCEKPIVJGVYQCICKPUV GCEJQVJGTOCMGUHQTC IQQFEQPVTCUV

ENGAGE THE VIEWER 7UKPIEQNQWTVQOCMG VJGXKGYGT¶UG[GVTCXGN KUCIQQFYC[VQMGGR VJGXKGYGTKPXQNXGFKP [QWTCTVYQTMCPFKV CNUQMGGRUVJGXKGYGT GPICIGFYKVJ[QWTYQTM

Digital Painting

137

Tutorial How to use Liquid Inks

How to use .KSWKF+PMU Discover how to use the unique functions of the Liquid Ink brushes and layer types to create perfect poster art

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Digital Painting


Digital Painting

Artist

Luis Diaz

Tutorial

Tutorial info

Time needed

6-8 hours Intermediate On the CD

Start file PVJKUVWVQTKCN[QW¶NNNGCTPCDQWV.KSWKF +PMUCPFVJGKTUVTGPIVJU.KSWKF+PMU JCXGWPKSWGEJCTCEVGTKUVKEUVJCVOCMG VJGOWUGHWNHQTETGCVKPITGCNN[QTKIKPCN UVTQMGUCPFVGZVWTGU6JG[CNUQRCKPVQPVJGKT QYP.KSWKF+PMNC[GT6JKUKUUKOKNCTVQVJG 9CVGTEQNQTNC[GTGZEGRVVJCVKVJCUCITG[ FTQRNGVKPVJGVQRTKIJVQHVJGNC[GTKPUVGCF QHCDNWGQPGCPFKUQRVKOKUGFHQT.KSWKF+PM DTWUJGU#UUQQPCU[QWNC[CUVTQMGFQYP 2CKPVGTYKNNETGCVGC.KSWKF+PMNC[GTHQT[QW .KSWKF+PMYQTMUKPUKOKNCTYC[UVQ VTCFKVKQPCNVQQNUUWEJCUCKTDTWUJGURGPCPF KPMCPFÀWKFCET[NKEUDWVQHHGTUOWEJOWEJ OQTG6JGOQUVGZEKVKPIEJCTCEVGTKUVKEKUVJG 4GUKUVGHHGEV 4GUKUVJCUCWPKSWGYC[QHVCMKPICYC[ VJGCRRNKGFRCKPVD[TGOQXKPIOQTGHTQO VJGGFIGUCPFNKIJVN[CRRNKGFCTGCU¿TUVVJGP UNQYN[VCMKPICYC[VJGTGOCKPKPIJGCXKGT CTGCUCU[QWMGGRTWPPKPIQXGTVJGO+V¶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

Digital Painting

How to use Liquid Inks

Skill level

139


%QNQWTCPFNKIJVKPIUEGPCTKQ Choose a colour scheme that inspires you

Filling larger areas If we raise the Feature in the Liquid Ink controls, we can quickly fill in large areas with some brushes. Try doing this when you have big areas like the sky and sea. It helps, because some of the Liquid Inks, depending on the size of the document and brush, may take a while to fill in those areas, and the Bucket tool changes the Liquid Ink properties.

01 Dissecting colour

)GVCIGPGTCNUGPUGQHVJGMKPFQH EQNQWTUEJGOG[QWYCPVVQWUG.KSWKF+PMUCTGECRCDNG QHTGRTQFWEKPIENGCTRWTGVQPGUCPF4GUKUVCNNQYU[QWVQDWKNF WRNC[GTUQHVCEVKNGEQNQWTUQHQTDGUVTGUWNVUYGPGGFVQRNCP ECTGHWNN[DGHQTGJCPF

02 Finding a colour scheme

+PUQOGECUGUYGOKIJVGXGP ITCDCRJQVQITCRJQTVYQYKVJEQNQWTUYGNKMGCPFFKUVQTVVJG KOCIGU;QWECPWUG#RRN[/CTDNKPIKP'HHGEVU'UQVGTKECVQVCMGCYC[ CP[TGEQIPKUCDNGUJCRGUHTQOCRJQVQITCRJ;QWOC[CNUQYCPVVQ JGKIJVGPVJGOWRYKVJ'HHGEVU 6QPCN%QPVTQNU #FLWUV%QNQTU

in 04 Fillshapes

03 Cover up the white

+V¶UKORQTVCPVVQEQXGTWRVJGECPXCU YKVJCIGPGTCNEQNQWTVJCVYKNNDGKPVJGRCKPVKPICNQVUQ[QW FQP¶VHGGN[QWJCXGVJGOQPWOGPVCNVCUMQHEQXGTKPIGXGT[YJKVGCTGC %TGCVGC/WNVKRN[NC[GTCPF¿NNKVYKVJCDTQYPEQNQWTVJGPNQYGTVJG QRCEKV[VQUQOGVJKPIWPFGTVJGOKFTCPIG

+V¶UCIQQFKFGCVQ ¿NNKPFKHHGTGPV QDLGEVUKPUGRCTCVG .KSWKF+PMNC[GTU .CTIGUJCRGUUWEJ CUVJGUM[VJGTQDQV CPFVJGOGTOCKF ECPDGEQNQWTGF KPUGXGTCNIGPGTCN EQNQWTUCUYKVJ VJGQVJGTQDLGEVUKP VJGRKEVWTG

The Color Sets palette One helpful tool to use is the Color Sets palette to upload the colours of an image or mixer pad that inspires you. To do so, just open up your Color Sets palette and click the right arrow at the top to open the dialog box, then select New Color Set From Image or New Color Set From Mixer Pad. This will grab all those colours and set them up in the Color Sets palette.

140

Digital Painting

05

Working the sky 9GWUG&GRVJ$TKUVNGCV1RCEKV[

HQTIGPGTCNENQWFUJCRKPI9GNGHVURCEGDGJKPFVJGTQDQVVQ VT[VQIGVVJGHQEWUQHVJGRKGEGVQKPVGTUGEVKPVJCVCTGC5QOGRGQRNG RNCPQWVGNCDQTCVGOGCUWTKPIFGXKEGUVQEQORQUGVJGKTKOCIGUDWV UKORN[WUKPI[QWTG[GUKUVJGDGUVOGCUWTKPIU[UVGOYJGPKVEQOGUVQ OCMKPI[QWTKOCIGRQRQWVCPFDGYGNNDCNCPEGF

06 Opacity settings

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Digital Painting and select 08 Drop

09 Resizing the image

9GTGUK\G VJGKOCIGVQVYKEGCUNCTIGCU YG¶TGUVCTVKPIVQHQEWUQPOQTGFGVCKNKPVJG RCKPVKPI9KVJOQTG.KSWKF+PMNC[GTUKVOC[ VCMGNQPIGTVJCPKH[QWJCFQPN[CHGY9G ICXGVJGENQWFUCITCRJKEDTWUJNQQMYJKEJ EQOGUGCUKN[YKVJVJG.KSWKFDTWUJGU;QW ECPCNUQGZRGTKOGPVYKVJQVJGTDTWUJGUCV VJKURQKPVVQCEJKGXGVJGNQQM[QWYCPV

10 Sand texture

9KVJVJGEQODKPCVKQP QHVJG5GTTCVGF-PKHG C4GUKUVDTWUJ CPFUQOGCKTDTWUJDTWUJGUHTQOVJG.KSWKF +PMDTWUJGUYGETGCVGFUQOGVGZVWTGUVQ OCMGKVCRRGCTOQTGNKMGUCPF9GVYGCMGF VJG5GTTCVGF-PKHGKPVJG.KSWKF+PMU$TWUJ %QPVTQNURCNGVVGCPFYGEJCPIGFKVU+PM6[RG VQ+PM2NWU%QNQT6JKUECPOCMGCP[4GUKUV DTWUJKPVQCTGIWNCT.KSWKF+PMUDTWUJ


9GYCPVGFVQETGCVGCXGT[UV[NKUGF DCEMITQWPFVJCV¶UXGT[CPKOCVGFYKVJTCKPDQYGUSWG ENQWFU9GRKEMGF&GRVJ$TKUVNGCPFCFLWUVGFVJG(GCVWTGVQ 8QNWOGVQ5OQQVJPGUUVQCPF1RCEKV[VQYKVJ XCT[KPIDTWUJUK\GU6JKUICXGWUUVTQMGUVJCVUOQQVJQWVVJG VTCPUKVKQPUHTQOQPGEQNQWTVQCPQVJGT

Tutorial

07 Shaping the clouds

0QY VJCVYG¶XGRCKPVGF OQUVQHVJGUQNKF CTGCUYGYCPVVQ FTQRCPFUGNGEVGCEJ UQIQVJTQWIJGCEJ NC[GTCPFFTQRCPF UGNGEVVJGO#FF GCEJUGNGEVKQPCUC UGRCTCVGEJCPPGN UQ[QW¶NNJCXGVJGO YJGP[QWYCPVVQ¿NN NCTIGCTGCUYKVJQWV IGVVKPIVJGEQNQWTQP QVJGTCTGCU9GFQP¶V JCXGVQDGUQECTGHWN QPVKIJVCTGCUYJKEJ ECPDGCDQVJGT#HVGT VJCVYGUJQWNFJCXG LWUVVJGECPXCUCTGC CPFPQNC[GTU

11 Softening Liquid Inks

+HUQOGQHVJGGFIGUCTGVQQUJCTR YGECPWUGC5QHVGP'FIGUCPF%QNQTDTWUJ6JKUCEVUNKMG CDNWTTKPIVQQNVQUQHVGPVJGGFIGUQHCRRNKGFRCKPVDWVDGECTGHWN YJGPCRRN[KPIDGECWUGYKVJUQOGDTWUJGUKVOKIJVUJCTRGPGFIGU 9GETGCVGGZVTCNC[GTUYJGPYGGZRGTKOGPVYKVJFKHHGTGPVVGZVWTGU ETGCVGFD[.KSWKF+PMU1PEGYGIGVVJGNQQMYGYCPVYGFGNGVGVJG NC[GTUYGCTGP¶VIQKPIVQWUG

Drop layers

13 Outlining the form

12 Water patterns

9GWUGC5OQQVJ4CMGDTWUJCPFCRRN[ YCX[UJCRGUVQETGCVGYCXGU8CT[VJGQRCEKV[CPFCUYGIGV OQTGCPFOQTGUVTQMGUUVCTVNQYGTKPIKVVQ6JKUYKNNMGGRVJG OCTMUHTQOQXGTNCRRKPIVQQOWEJUQVJG[ECPOKZYGNN

+PPCTTCVKXGYQTMUUQOGVKOGUVJG QWVNKPKPIQHVJGHQTO PQVVQQOWEJECPOCMGWUYQTMNGUUCV JCXKPIVQTGPFGTGXGT[VJKPICPFKV¶UCHCUVGTYC[VQFG¿PGVJGHQTO *GTGYGWUGFVJG(KPG2QKPV.KSWKF+PMVQCEJKGXGVJGQWVNKPKPIYG YCPVGF4GOGODGTVQWUGCFCTMGTUJCFGQHVJGEQNQWTQHVJGHQTOU $NCEMQWVNKPGUECPMKNNCRCKPVKPI±NGCXGVJGDNCEMQWVNKPKPIHQTRGP CPFKPMYQTM

When you’re working on multiple layers and are happy with results, drop all the layers. In most painting projects it’s not necessary to have a ton of layers opened – it can slow down the machine a lot. Also, using Iterative Save will save duplicates with a sequential number attached, giving you a progressive history of the file. Leave one with all the layers and drop all on the current one.

Digital Painting

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9QTMKPIQPVJGHKIWTGU It’s time to move on to the main narrative elements

Selecting and deleting in Liquid Inks Sometimes in larger files, selecting an area and then deleting it in a Liquid layer may take longer than normal. To save time, try using the Eraser or Liquid Ink Eraser. From our experience, the Liquid Ink Eraser works better than the regular Eraser.

14 Use highlights to outline

6JKPMCDQWVYJGTGVJGNKIJVKU JKVVKPIVJGHQTOUKP[QWTRCKPVKPIGURGEKCNN[YJGP[QW¶TG YQTMKPIYKVJTGÀGEVKXGVGZVWTGUNKMGOGVCNCPF¿UJUECNGU.KIJV UJKP[EQNQWTUCTGOWEJOQTGGHHGEVKXGCVQWVNKPKPIVJGOYKVJCµTKO NKIJV¶GHHGEVYJKEJNQQMUPCVWTCNCPF&

15 Robot TLC

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rust 16 Adding

6JGTG¶U PQVCPQVJGT2CKPVGT OGFKWOVJCVECP IKXG[QWUQOCP[ ITCRJKEUVTQMGUVQ ETGCVGTWUVQTCP[ TQWIJVGZVWTGVJG YC[.KSWKF+PMU ECP9GUVKNNWUG VJGUCOGDTWUJDWV CFFCPQVJGTNC[GT CPFUVCTVCRRN[KPI OQTGUVTQMGUVJCV FQP¶VQXGTNCRGCEJ QVJGT#NUQVT[UQOG 5GTTCVGF-PKHGVQ VCMGCYC[RCKPV

17 Finishing the robot

%TGCVGC.KSWKF+PMNC[GTCPFEJCPIG VJG.C[GT#VVTKDWVGUVQ%QNQTVJGPEQNQWTVJGFKHHGTGPVRCTVUVQ CEEGPVWCVGEGTVCKPRCTVUKPVJGTQDQV¶UDQF[(KPGVWPGCNNVJGFGVCKNU CPFVJGP¿NNKPCNNVJGCTGCUVJCVOKUUGFEQNQWT

.KSWKF+PM DTWUJGU Spot the difference One of the first things you should do when you start any project is take about 15 to 30 minutes to play with all the brushes. This familiarises you with certain brushes, because most projects will have something different in them – whether it’s the subject matter, the lighting or the colour. There are new things to find each time you doodle with Liquid Inks, which can easily result in your having a new favourite brush.

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Digital Painting

18 Building repairs

9GYCPVGFVQCFF OQTGFCTMUVQVJGRCKPVKPIUQYG ITCDDGFVJGUGNGEVKQPHTQOVJGEJCPPGNYG NCDGNNGFµ$WKNFKPIU¶YGPVVQ'HHGEVU 6QPCN %QPVTQN #FLWUV%QNQTUCPFRTQEGGFGFVQ DTKPIFQYPVJGXCNWG6JGPYGCFFGFUQOG JKIJNKIJVUCNKVVNGFGVCKNCPFENGCPGFKVWR UQOG;QWECPCNUQCFFUQOGFCTMPGUUYKVJ CPCKTDTWUJ


Digital Painting

(QTVJGDGCEJKPJCDKVCPVUYGPGGF VQWUGUQOG$TKUVNGCPF5QHVGPDTWUJGU6JGEQODKPCVKQP OCMGUVJGMKPFQHUJKP[VGZVWTGYGYCPVQPVJGRKPMETGCVWTGU#NUQ ¿PGVWPGUQOGQHVJGUCPFYKVJOQTGCKTDTWUJCPFITCRJKEDTWUJGU 9GWUGFVJG8GNQEKV[CKTDTWUJHQT¿PGFGVCKNUCPF&T[$TKUVNGHQTVJG .KHGIWCTF5VCVKQP

Do not confuse the two. Resist is like laying down some invisible acid on your canvas which, when you run some paint on it, will appear to skip the area where the Resist mark was placed. Erasers take out completely what you have laid down, including the Resist mark.


19 Using Soften brushes

9GYCPVVQ OCMGVJGOGTOCKF µRQR¶YKVJUQOG UJKP[¿UJUMKPUQ YGCFFCPGY.KSWKF +PMNC[GTCPFCFLWUV VJG.C[GT#VVTKDWVG VQ1XGTNC[7UGC DTKIJV[GNNQYITCD VJG&GRVJ$TKUVNG DTWUJCPFTCKUGVJG (GCVWTGVQCDQWV 5OQQVJPGUUVQ 8QNWOGVQ CPFMGGR 1RCEKV[CV 5RTC[VJGDTWUJQP VJGNQYGTRQTVKQPQH JGTDQF[IGPVN[

Eraser vs Resist

Tutorial

20

Splash

Taking away with 21 more Resist

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23 Unexpected change

22 Sad beauty

9QTMQPVJGHCEG D[WUKPIVJG(KPG2QKPVDTWUJHQT VJGUJCTRGFIGUUWEJCUVJGG[GUOQWVJCPF NKRU6JGPWUGC5OQQVJ%COGNHQTVJGHQTO CPFUJCFQYUCPFEQPVKPWGYKVJVJGTGUVQH VJGDQF[

9GJCXGVQDG QRGPVQUQOGVJKPIWPGZRGEVGFVJCV ECPOCMGVJGCTVYQTMDGVVGT#HVGTNQQMKPI QXGTVJGEQORQUKVKQPYGPGGFGFVQOCMGVJG VTQWDNGFEQWRNGITCDOQTGCVVGPVKQPUQYG FTQRRGFCNNCPFWUGFVJG'NNKRVKECN/CTSWGG VQEWVQWVJGTJGCFKPVJG¿UJDQYN9GWUGF (TGG6TCPUHQTOCPFUK\GFKVVQOCMGKVOQTG F[PCOKE6JGPYGOQXGFCRKGEGQHVJG DCEMITQWPFUEGPGUNKIJVN[VQVJGNGHVYJKEJ JCFDGEQOGQDUVTWEVGFD[JGTPGYJGCF

Working in lower res tweaks 25 Final

24

Treasured belongings 9GPQY

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(KPCNN[YGNQQMCV VJGQXGTCNNRKGEG CPF¿ZCP[CTGCU VJCVUGGOQWVQH RNCEGVJGPCFFC HGYOQTGFGVCKNUKP UQOGCTGCU9JGP YG¶TGFQPGYGCTG NGHVYKVJCRKEVWTGQH CPQFFFC[CV VJGDGCEJ

We like to create posters and prints from artwork, so our finals tend to be really big. Liquid Inks are saturated with many features that can cause some slower reacting brushes. We like to work at half the size we plan to do the final on. We don’t work any details, just solid shapes. We then upsize the art and start working with smaller, finer brushes.

Digital Painting

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Tutorial How Create tometallic use Liquid effects Inks

Create

OGVCNNKEGHHGEVU Kirsi Salonen introduces her way of creating striking lights and dramatic metal effects with Corel Painter Artist

Kirsi Salonen Time needed Tutorial 8 hours info Skill level

Advanced On the CD

Sketch

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$GEQPUKUVGPVHTQOVJGUVCTV Before you create anything, you'd better know what it’s about

03 Preliminary background 7UG

01 Visualise the result

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Digital Painting

02 Fill large areas with pencil

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Digital Painting

Digital Painting

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Tutorial Create metallic effects

6QPGCPFEQNQWT Block in strong tones to create a dramatic base

Check some 05 references

a scene 04 Make

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Finish the drawing 06 phase

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07 Choose your colour scheme

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Choose your 08 shadow tone

Rotate the canvas freely When painting with Palette Knives it’s very convenient to be able to turn the image around as you work it through. By pressing Alt and the spacebar simultaneously, you can rotate the image as you wish.

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Give variety 09 to surfaces

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Digital Painting

10 Multiple colour adjustments

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12

11 Really start to paint

0QYUVCTVVJGCEVWCN¿IWTGRCKPVKPID[ CFFKPICPGYNC[GTCPFRKEMKPIWRVJG5OGCT[$TKUVNG5RTC[

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Colour the wings 2CKPVDQVJ

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Create metallic effects

We are often encouraged not to use pure black or white in paintings, but with metal they’re sometimes necessary. Shadows on both gold and silver will go a deep black when there is no light, while all metals display white highlights at their lightest points. Use borrowed colour from surrounding objects to complete the effect of realistic reflections.

Tutorial

Black and white

13 Construct the metallic wings

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14 Warp the wings

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Digital Painting

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Tutorial Create metallic effects

9JGPOGVCNOGGVUNKIJV Highlights and glowing edges add magic to almost everything

Colour variations using gradients We use gradients a lot to complete the painting. Make selections of the desired areas to create subtle colour shifts. Since they’re masks, you can easily erase them. For metallic shine it’s especially handy to add high contrasts and brightness to multiple areas so the result is consistent.

Metallic shine 15 with Dodge

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16 Paint the sky and backlight

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Construct metals 17 and light

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18 Metallic-looking dragons

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cloth and details 19 Paint

Vary colours with masks This is good at the refining stage to see that your painting is harmonious. After reducing colours or special colour channels, just create a mask of the upper image and make stronger shades and colour variations over it, then once you’ve erased the parts you don’t need, flatten the image.

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Important colour 20 adjustments

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Digital Painting

Refine the metallic 21 objects

22 Refine everything bit by bit

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Create metallic effects

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The final challenge is the magical glow behind the head and shiny wings against the sky. Create a new layer and add a transparent gradient in Overlay mode, then shift the layer mode to Soft Light and modify Color Balance. Erase the excessive parts. With strong backlight it looks good when the image edges are dark, as it gives the piece dimension and power.

Tutorial

Background highlights

the hair 23 Create

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24 Finish the wings

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Final highlights 26 and texture

25 Finish the clothes and patterns

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Digital Painting

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Feature The cloner’s guide to composition

The cloner’s guide to EQORQUKVKQP The rules of composition are just as applicable to cloning photos as they are to traditional painting. We explain how you can use them to create winning images

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Digital Painting

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The basics of EQORQUKVKQP Use these rules to create great start photos and paintings JGTGCTGCOWNVKVWFGQHTWNGUCPF IWKFGNKPGUCDQWVEQORQUKVKQPCPFVJG[¶TG HTQOOCP[FKHHGTGPVRGTKQFUKPVKOG9G UVKNNWUGCNQVQHVJGFTCYKPITWNGUNCKF FQYPKPVJG4GPCKUUCPEGPGCTN[[GCTUCIQCPF OCP[QHVJGUGTGIWNCVKQPUYGTGDCUGFQP)TGGMCPF 4QOCPRTKPEKRNGUVJCVCTGEGPVWTKGUQNFGT 5QOGQHVJGTWNGUQHEQORQUKVKQPECPEJCPIG QXGTVKOGCPFCNNQHVJGOECPDGKPVGTRTGVGFYKVJ CEGTVCKPCOQWPVQHÀWKFKV[CUVJG[¶TGWRFCVGFVQ GODTCEGPGYOGFKWOU±HTQOPGYMKPFUQHRCKPV UWEJCUQKNUYCVGTEQNQWTCPFNCVGTCET[NKEUVQVJG

$CUKEUJCRGU Use shape for a unified, cohesive look 4GRGCVKPIDCUKEUJCRGUVJTQWIJQWV[QWT RCKPVKPIYKNNJGNRWPKH[CNNVJGGNGOGPVUQHVJG RCKPVKPIKPVQCEQJGUKXGRKGEGQHCTV5QOGQHVJG TGRGCVGFUJCRGUKPVJKURCKPVKPICTGVJGDGPF KPVJGCTOCPFVJGMPGGUKPDQVJVJGNKVVNGIKTN CPFVJGDGCT#NUQVJGTGEVCPIWNCTUJCRGQHVJG HTCOGQPVJGDCUMGVKUOKOKEMKPIVJGUJCRGQH VJGVGCEWRCPFGXGPVJGVQPIWGQPVJGNKVVNGIKTN 6JGUSWCTGKUCPQVJGTUJCRGVJCVKUTGRGCVGFKP VJKURCKPVKPI±¿TUVKPVJGUSWCTGFUJCRGUVJCV CTGOCMKPIWRVJGRNGCVUKPVJGUMKTVCPFVJGP CICKPKPVJGEJGEMGFRCVVGTPQPVJGKPUKFGQHVJG DCUMGV5QOGVKOGUVJGUGUJCRGULWUVJCRRGP YJGP[QWCTGRCKPVKPIDWVKH[QW¶TGCYCTGQHVJKU TWNGQHEQORQUKVKQP[QWECPDGIKPVQRCKPVVJGO KPQPRWTRQUG

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Digital Painting

FKIKVCNRCKPVKPIYGRTCEVKUGVQFC[(QTVJCVTGCUQP YG¶TGIQKPIVQHQEWUQPUKZMG[RTKPEKRNGUVJCVYJKNG PQVUGVKPUVQPGJCXGTGOCKPGFHCKTN[EQPUVCPVKP 9GUVGTPCTVQXGTVJGRCUV[GCTU 9G¶NNNQQMCVVJG4WNGQH6JKTFUYJKEJJGNRU[QW GUVCDNKUJHQECNRQKPVUCPFEQWPVGTRQKPVU9G¶NNIQQP VQNQQMCVRGTURGEVKXGYJKEJJGNRUCEJKGXGTGCNKUVKE FGRVJCPFFKTGEVKQPCNOQXGOGPVYJKEJGPCDNGU [QWVQNGCFVJGXKGYGT¶UG[GCTQWPF[QWTKOCIG 9G¶XGFGOQPUVTCVGFVJGUG¿TUVVJTGGRTKPEKRNGUKP TGNCVKQPVQUVCTVRJQVQUUQ[QWECPUGGJQYVJG[ JGNR[QWUPCRQTUGNGEVCRJQVQTGCF[HQTENQPKPI

In this painting, there are many diagonal lines creating triangular shapes. Your eye looks for shapes that are alike

9G¶NNVJGPNQQMCVRCKPVKPIDCUGFRTKPEKRNGU$CUKE UJCRGUIKXG[QWTKOCIGCHQTOCNUVTWEVWTGOCMKPIKV JCTOQPKQWUCPFRNGCUKPIVQVJGG[GCPFCPEJQTKPI KVKPVJGURCEGKPUKFGVJGGFIGUQHVJGKOCIG .KIJVKPICPFKVUEQNQWTFKTGEVKQPCPFUVTGPIVJECP QHHGTCOC\KPIVTCPUHQTOCVKQPCNRQYGTEJCPIKPIVJG OQQFQHCPKOCIGCVVJGÀKEMQHCUYKVEJ %QNQWTCPFVQPGKUVJG¿PCNIWKFKPITWNGYG¶NN NQQMCVCPFVJGQPGVJCV¶UDGGPTGUGCTEJGFCPF VTCPUHQTOGFVJGOQUVKPTGEGPVCTVJKUVQT[VJCPMU VQVJGYQTMQHRKQPGGTKPIEQNQWTVJGQTKUVUNKMG &GNCETQKZCPFVJG+ORTGUUKQPKUVU

pth Creating a sense of de TRCKPVKPIKUVQDG


In this photograph the fence line is creating the sense of depth

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Digital Painting &KTGEVKQPCNOQXGOGPV Show movement to direct the eye and add life &KTGEVKQPCNOQXGOGPVKU CYQPFGTHWNYC[VQCFF NKHGVQ[QWTRCKPVKPIU6JKU OQXGOGPVOC[DGETGCVGF WUKPICEVWCNNKPGUQTKORNKGF NKPGU'XGPVJGFKTGEVKQPVJCV CUWDLGEVQTUWDLGEVUOC[ DGNQQMKPIKPECPETGCVGCP KORNKGFNKPGVJCVYKNNFKTGEV VJGG[G+PVJKURJQVQITCRJ VJGFKTGEVKQPKPYJKEJDQVJ IKTNUCTGNQQMKPIETGCVGU

6JG4WNGQH6JKTFU Where to put your focal point 6JG4WNGQH6JKTFUKUCWUGHWNEQPEGRV VQJGNR[QWKPEQORQUKPI[QWTCTVYQTM HQTCPKEGEQORQUKVKQP6JKUEQPEGRV WUGUCITKFQHNKPGUFKXKFGFWRKPVQVJKTFU DQVJXGTVKECNN[CPFJQTK\QPVCNN[2CKPVGT JCUVJKUITKFCNNTGCF[HQT[QWKPVJG VQQNDQZUQ[QWYKNN¿PF[QWTUGNHWUKPI VJKUHGCVWTGSWKVGQHVGP9KVJCRCKPVKPI QTRJQVQITCRJQRGPKP2CKPVGTIQVQ %CPXCU %QORQUKVKQPU 5JQY.C[QWV )TKF;QWYKNNUGGCPQPRTKPVCDNGITKF CRRGCTQXGT[QWTRCKPVKPIFKXKFKPI [QWTKOCIGKPVQVJKTFUXGTVKECNN[CPF JQTK\QPVCNN[(QTCPKEGEQORQUKVKQP VT[VQRQUKVKQP[QWTUWDLGEVQTHQECNRQKPV QPQTPGCTCP[QHVJGHQWTRQKPVUYJGTG VJGUGNKPGUKPVGTUGEV6JKUYKNN CNUQIKXG[QWCIQQFKFGCQHYJGTGVQETQR CRJQVQITCRJDGHQTG[QWDGIKPVQRCKPV QTYJGTGVQETQRCRCKPVKPIQPEG[QW JCXG¿PKUJGF+PVJKURJQVQITCRJVJG OCKPUWDLGEV¶UHCEGKUKPVJGNQYGT NGHVKPVGTUGEVKQP

Your eye will naturally follow the movement of line and take you through the painting and back again

In this photograph the subject’s face is in the upper left intersection. This position also allows space for her to look into

Colour theory and tonal value Use colour to add drama or softness

Orange and blue are the complementary colours used in this painting

FKTGEVKQPCNOQXGOGPV VQYCTFUVJGRWRR[6JG CTOUCPFJCPFUCTGETGCVKPI CEVWCNNKPGUVJCVCNUQNGCF [QWVQVJGRWRR[6JGTGKUC DGCWVKHWNUGPUGQHOQXGOGPV CPFFKTGEVKQPVQYCTFUVJG HQECNRQKPV;QWTG[GDGIKPU YKVJVJGCTOQHQPGIKTNIQGU CTQWPFVQVJGKTHCEGUCPF DCEMFQYPVJGCTOQHVJG QVJGTIKTNCPFVQVJGRWRR[ ;QWTG[GFQGUPQV IGV¶UVWEM¶CVCP[ RQKPVFWTKPIVJG OQXGOGPV6JG JCKTQPGCEJIKTN CNUQJCUCDGCWVKHWN FKTGEVKQPCN OQXGOGPV UWDVN[FKTGEVKPI [QWTG[GVQNQQMCV VJGRWRR[

%QNQWTUVJCVCTGQRRQUKVGGCEJQVJGTQPVJGEQNQWT YJGGNCTGEQPUKFGTGFEQORNGOGPVCT[6JGUGEQNQW TU YKNNJCXGCFTCOCVKEGHHGEVYJGPVJG[CTGRNCEGF PGZVVQGCEJQVJGT;QWECPWUGVJKUMPQYNGFIG VQCFFKORCEVVQ[QWTRCKPVKPIU#NVGTPCVKXGN[C OQPQEJTQOCVKEEQNQWTUEJGOGKUYJGP[QWDCUKECNN [ WUGVJGUCOGEQNQWTDWVKPFKHHGTGPVUJCFGUCPFVQPG U VQOCMGWR[QWTRCKPVKPI6JKUKUYJGP[QW¶NNDG TGN[KPIQPCXCTKCVKQPQHVQPCNXCNWGUVQETGCVGKORCE V 6JKPMCDQWVYJCV[QWCTGVT[KPIVQUC[YKVJ[QWT CTVYQTM¿TUV±VJKUYKNNJGNRFKTGEV[QWVQVJGEQNQWTU VJCVYQWNFDGUVCEJKGXGVJKUNQQM'XGPVJQWIJ UMKPVQPGKUPQVWUWCNN[EQPUKFGTGFQTCPIGVJGDNWG DCEMITQWPFKUECWUKPIVJGUMKPVQPGKPVJGRCKPVKPI VQCRRGCTOQTGVJCVYC[UKPEGQTCPIGCPFDNWGCTG EQORNGOGPVCT[EQNQWTU#UCTGUWNVVJKUJCUOWEJ OQTGFTCOCCPFKPVGPUKV[YJKEJIQGURGTHGEVN[YKVJ VJGOQQFQHVJGUWDLGEV

and sets a mood Lighting helps to create form KP[QWTRCKPVKPIYKNNJGNRVQ

#UVTQPIFKTGEVKQPVQVJGNKIJV GPUKQPCNHGGN.KIJVVJCV¶U ETGCVGFGRVJCPFIKXGCVJTGGFKO QTVJGQVJGTKUEQPUKFGTGF UKFG QPG QO EQOKPIOQTGUVTQPIN[HT OUCETQUU[QWTUWDLGEVHTQO FKTGEVKQPCNNKIJV9JGPNKIJVUMK NKIJVCTGCU+V¶UVJGRNC[ CPF FQY VJGUKFGVJKUETGCVGUUJC VYKNNETGCVGHQTOCPF DGVYGGPVJKUUJCFQYCPFNKIJVVJC CNCPFUECRGUVKNNNKHGQT TKV¶U GVJG YJ VJTGGFKOGPUKQPCNFGRVJ CNNKIJVYKNNRTQFWEG EVKQP FKTG RGTUQP¶UHCEG6JKUNCVGCHVGTPQQP QOKPIHTQO GPE FDG VJC NKIJ VJG U+H UQHVDGCWVKHWNUJCFQY PGF6JKU FG¿ GCU NFPQVD VJGHTQPVVJGUJCFQYCTGCUYQW GFYJGP GWU NFD YQW CPF KPI KIJV CVN YQWNFDGEQPUKFGTGFÀ UGGVJCV ECP ;QW QKF VQCX UJCFQYUCTGUQOGVJKPI[QWYCPV FETGCVKPI ±CP TGNNC WOD VJG KPI JKVV CNUQ VJKUFKTGEVKQPCNNKIJVKU KPI CKPV JGR CPGPQTOQWUCOQWPVQHFGRVJKPV In this painting, the light is coming from the left side, creating a directional light pattern

Digital Painting

153


Get UVCTVGF

Take your start photos, adjust them and start cloning

TGCVGCUVQT[VGNNKPIEQORQUKVKQP WUKPIYJCV[QW¶XGNGCTPGFCDQWV VJG4WNGQH6JKTFURGTURGEVKXG FKTGEVKQPCNOQXGOGPVUJCRG NKIJVKPICPFEQNQWT (KTUVQHCNNEQOGWRYKVJCUVQT[QTCP KFGCVJCVKPURKTGU[QW.QQMKPIVJTQWIJ RJQVQUKUCITGCVYC[VQVTKIIGTCPGOQVKQP QTCUVQT[)CVJGT[QWTRJQVQUMGGRKPI KPOKPF[QW¶NNPGGFCDCEMITQWPF OKFFNGITQWPFCPFHQTGITQWPFHQT[QWT EQORQUKVKQP5VCTVYKVJ[QWTDCEMITQWPF KOCIGVJGPCFFGNGOGPVUQPGD[QPG2NCEG [QWTOCKPUWDLGEVQTHQECNRQKPVKPRQUKVKQP WUKPIVJG4WNGQH6JKTFU%TGCVGFGRVJD[ JCXKPICXCPKUJKPIRQKPVKPVJGFKUVCPEG 7UGEQNQWTCPFNKIJVKPIVQRTQFWEGCOQQF D[EJQQUKPI[QWTQYPEQNQWTUCUYGNNCU ENQPKPIEQNQWTVJCV¶UCNTGCF[VJGTG5JQY OQXGOGPVKP[QWTRCKPVKPIWUKPICEVWCNQT KORNKGFNKPGU $[WUKPI[QWTKOCIKPCVKQPCNQPIYKVJ VJGUGEQPEGRVU[QW¶NNUQQPDGYCVEJKPI [QWTUVQT[WPHQNFCPFEQOGVQNKHG

2WVVKPIKVCNNVQIGVJGT Express yourself using compositional theory

01 Let’s start at the beginning

$GIKPD[EJQQUKPIVJGDCEMITQWPF KOCIG'XGT[VJKPIGNUGYKNNDGDWKNVQPVQ VJKUDCEMITQWPFKOCIG+PVJKUGZCORNG VJGDQVVQOUGEVKQPYCUOQXGFWRUNKIJVN[VQ OCMGOQTGTQQOHQTVJGHQTGITQWPF6QFQ VJKUUGNGEVVJGUGEVKQP[QWYCPVVQOQXGWR VJGPIQVQ'FKV %QR[ DCEMWRVQ'FKV 2CUVG KP2NCEG7UKPIVJG/QXGVQQNOQXGVJG UGNGEVKQPCP[YJGTG[QWYCPVVQ

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Digital Painting

02 Select an element from another image

0GZVYG¶NNUGNGEV YJCVYKNNDGEQOGVJGOKFFNGITQWPFRQTVKQPQHVJGRCKPVKPI 7UKPIVJG5GNGEVVQQNCPF%QR[CPF2CUVGOQXGVJGRQTVKQPQHVJKU UGEQPFKOCIGQPVQ[QWTRCKPVKPI'CEJVKOG[QWCFFCRKGEGCPGY NC[GTYKNNCWVQOCVKECNN[DGETGCVGFHQT[QW;QW¶TGCDNGVQMGGRVTCEM QH[QWTNC[GTUD[QRGPKPIWRVJG.C[GTUYKPFQY

03 Erase unwanted areas

'CEJVKOG [QWCFFCPGNGOGPVHTQOCPQVJGT KOCIGQPVQ[QWTDCEMITQWPF[QWYKNNOQUV NKMGN[PGGFVQGTCUGCYC[CP[WPYCPVGFRCTVU VJCVCTGPQNQPIGTTGNGXCPV/CMGUWTG[QW JCXGVJGNC[GTEJQUGPVJCV[QWYCPVVQGTCUG HTQOCPFWUGVJG'TCUGVQQNCVVQGTCUG CYC[CP[WPYCPVGFCTGCU


Digital Painting Does it stay or does it go?

04

Choosing the subject(QTVJKU

GZCORNGYGCTGCFFKPICIKTN5JG YCUVJGKPURKTCVKQPHQTVJKUEQORQUKVG9KVJ VJGYC[UJGKUTGCEJKPIWRKPVJGCKTVJGTGCTG OCP[FKHHGTGPVRQUUKDKNKVKGUVJCVECPDGWUGF HQTJGT9JGPEJQQUKPIYJCVV[RGQHRCKPVKPI [QWCTGIQKPIVQRCKPVNQQMHQTUQOGVJKPI VJCVYKNNKPURKTG[QWVQETGCVGCUEGPG

05 Flip

;QWECPOCMGCFLWUVOGPVUVQ KOCIGU[QWEJQQUG;QWOC[HQT KPUVCPEGYCPVCRGTUQPQTQDLGEVVQDGHCEKPI VJGQRRQUKVGFKTGEVKQP;QWECPÀKRVJGKOCIG D[IQKPIVQ%CPXCU 4QVCVG%CPXCU (NKR %CPXCU*QTK\QPVCNN[/CMGUWTGVJCV[QW FQVJKUDGHQTG[QWFTCIVJGKOCIGQPVQ[QWT RCKPVKPIQVJGTYKUG[QWTYJQNGRCKPVKPIYKNN DGÀKRRGF

06 Scale down to size

#PQVJGT HGCVWTG[QWOQUVNKMGN[YKNNPGGF VQWUGKUVJG5ECNG6QWUGVJKUHGCVWTGOCMG UWTG[QWCTGQPVJGNC[GT[QWYCPVVQUECNG )QWRVQ'HHGEVU 1TKGPVCVKQP 5ECNG#DQZ YKNNDGETGCVGFCTQWPF[QWTKOCIG5KORN[ ITCDVJGEQTPGTCPFFTCIVJGKOCIGVQVJG EQTTGEVUK\GVJGPENKEM1-

During your composing process, you may be trying to decide if an element stays or goes. Go ahead and put it in there – it will create its own layer. While looking at your painting, simply turn the eye on and off on that layer to see your painting with and without that element, to help you decide if it stays or goes.

and erase 07 Position

,WUVNKMGRNC[KPI YKVJ%QNQTHQTOU YJGP[QWYGTG CMKFRQUKVKQP [QWTGNGOGPVQPVQ VJGDCEMITQWPF YJGTGXGT[QWYCPV KVVQDG-GGRKP OKPFVJG4WNGQH 6JKTFUYJGP[QW EJQQUGYJGTGVQ RNCEG[QWTHQECN RQKPV(QTVJKU GZCORNGYGRWV VJGNKVVNGIKTNKP VJGDQVVQONGHV KPVGTUGEVKQPCPF GTCUGFCYC[VJG YJKVGDCEMITQWPF

08 Use elements already there

2KEMWRGNGOGPVUCNTGCF[KP [QWTRCKPVKPIQTDCEMITQWPFKOCIG*GTGYGJCXGEJQUGP VJGVTGGQPVJGTKIJVEQRKGFKVCPFRWVKVQPVJGNGHVUKFG9GWUGFVJG 5ECNGHGCVWTGVQOCMGKVNCTIGTCPFVQ¿VVJGEQORQUKVKQPDGVVGT+VCNUQ EJCPIGUVJGNQQMQHKVUQKV¶UFKHHGTGPVHTQOVJGQVJGTVTGG

Body language

10

09 Adding the house

*GTGYGCFFGFVJGJQWUGKPHTQO[GV CPQVJGTKOCIG9GCFLWUVGFVJGUECNGCPFTGFWEGFVJG EQPVTCUV-GGRKPOKPFVJCVDGECWUGVJGJQWUGKUHWTVJGTCYC[KVYKNN JCXGUQHVGTEQPVTCUVCPFNGUUFGVCKNUKPEGKV¶UKPVJGFKUVCPEG#NUQ OCMKPIVJGVTGGQXGTNCRVJGJQWUGCNKVVNGJGNRUVQETGCVGFGRVJ

Add a friend+P

VJKUUVGRYGCFFGF CHTKGPFHQTVJG NKVVNGIKTNMGGRKPI KPOKPFJQYJKU GZRTGUUKQPCPF RQUVWTGYKNN¿VKPVQ VJGQXGTCNNRNCPHQT VJGEQORQUKVKQP #VVJKUVKOG[QW OC[YCPVVQCFLWUV VJGEQPVTCUVQT DTKIJVPGUUVQJGNR VJGCFFGFHGCVWTG ¿VKPVQVJGNKIJVKPI QHVJGRCKPVKPI9G DTKIJVGPGFKVCPF CFFGFEQPVTCUV

Pay special attention to the body language of the people you are considering putting into your composition. Their expressions, hands, feet, etc are all factors in determining whether or not they will work with other elements you’ve chosen, and whether they’ll support the mood of your story. Images of people are an excellent starting point to use as inspiration for your story.

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155


Choosing layers

4GHKPKPI[QWTEQORQUKVKQP Bring your painting to life

When choosing which layer you want to work on, just clicking on the element will automatically highlight the layer that the element is on. This is very useful when you’re working with many layers, since it saves you from having to search through all the layers to find the one you want.

12 Rotate tool

11 Adding directional movement

(QTUQOGHWPUVQT[VGNNKPI CPFFKTGEVKQPCNOQXGOGPVDWVVGTÀKGUCTGCFFGF6JKUIKXGUVJG NKVVNGIKTNUQOGVJKPIVQTGCEJHQTCPFIKXGUVJGNKVVNGDQ[UQOGVJKPIVQ NQQMCV6JKUYQTMUKPVQVJGUVQT[CPFJQYVJGUWDLGEVUCTGRQUKVKQPGF KPVJGRCKPVKPI6JGDWVVGTÀKGUNGCF[QWTG[GVQVJGIKTNCPFVJGIKTN¶U CTONGCFU[QWTG[GVQVJGDWVVGTÀKGU

13 Change colours

6JGEQNQWTKPVJGNKVVNGIKTN¶UFTGUUYCUOCFG TGFFGTVQYQTMCUVJGEQORNGOGPVCT[EQNQWTVQCNNVJGITGGP KPVJGRCKPVKPIETGCVKPICDGCWVKHWNEQNQWTUEJGOG5GNGEVVJGCTGC YJGTG[QWYCPVVQEJCPIGVJGEQNQWTVJGPIQVQ'HHGEVU #FLWUV%QNQT CPFRNC[YKVJVJG5CVWTCVKQPCPF*WGUJKHVUNKFGTUWPVKN[QWUGGVJG EQNQWTVJCVYQTMU

14

Paint in details2CKPVKPFGVCKNU

WUKPIENQPGFEQNQWTCPFEQNQWTUQH [QWTQYP2KEMWREQNQWTUVJCV[QWCNTGCF[ JCXGWUKPIVJG'[GFTQRRGTVQQN7UGEQNQWT VQWPKH[CNNVJGGNGOGPVUKPVQCEQJGUKXGRKGEG QHCTV;QWECPRCKPVYKVJ5CVWTCVKQPQPQTQHH YKVJDTWUJGUCPFYKVJUQOGDNGPFGTU

Changing what’s 16 there

Free Transform The Scale feature will size up or down, and the Flip feature will flip. But did you know you can accomplish both these steps in one motion? Using the Free Transform tool, you can scale and flip all at the same time by grabbing the corner and dragging.

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Digital Painting

;QWOC[ ¿PFVJCV[QWPQV QPN[PGGFVQUECNG WRQTFQYPDWV [QWOC[CNUQPGGF VQTQVCVGCPQDLGEV 9G¶XGFQPGVJKU YKVJVJGDWVVGTÀKGU VQOCMGVJGONQQM OQTGPCVWTCN 4QVCVGCPQDLGEVD[ UGNGEVKPIVJGEQTTGEV NC[GTVJGPIQVQ 'HHGEVU 1TKGPVCVKQP 4QVCVG)TCDVJG EQTPGTQHVJGDQZ VQOQXGKP FKHHGTGPVFKTGEVKQPU

5KPEGVJKU KU[QWTETGCVKQP [QWECPEJCPIG GNGOGPVUUWEJCU VJGNKVVNGIKTN¶UJCKT KPVJKUUCORNG9G UKORN[FGEKFGFVQ OCMGKVNQPIGT +V¶UCUOCNNEJCPIG DWVCFFUCNKVVNG OQTGÀQYVQVJG YC[UJG¶UJQNFKPI JGTJGCF,WUV UCORNGVJGJCKT EQNQWTVJCVKU VJGTGCPFRCKPVKP OQTGQHKV

15 Shadows and details

5KPEG[QW CTGWUKPIKOCIGUHTQOQVJGTRJQVQU VJG[OC[PQVCNNJCXGVJGUCOGNKIJVRCVVGTP %TGCVGVJKURCVVGTPD[CFFKPIUJCFQYUKPVQ VJGUWDLGEV¶UUMKPCPFENQVJGUYJGTGVJG[ YQWNFPCVWTCNN[HCNNDCUGFQPVJGFKTGEVKQPQH VJGNKIJV$GCYCTGQHFGVCKNUVJCVOC[QXGTNCR VJGUWDLGEVNKMGITCUUQPVJGIKTN¶UHGGV

17 The trees

7UKPI DTWUJGUYKVJ VGZVWTGNKMGVJG URQPIGUQTUQOGQH &GP¶U1KNDTWUJGU FCDRCKPVQPHQTVJG VTGGU6JG[FQP¶V PGGFVQDGGZCEVCPF TGCNN[UJQWNFP¶VDG UKPEGVJG[CTGKPVJG FKUVCPEG7UGOCP[ FKHHGTGPVUJCFGUQH ITGGPCPFWUGFGGR UJCFGUQHDNWGKPVJG UJCFQYCTGCU 2KEMWREQNQWT CICKPVJCV¶UCNTGCF[ KPVJGRCKPVKPI


Digital Painting

19 Good brush for grass 18 Sharp and soft

2CKPVVJGFGVCKNUUJCTRGTKPVJGOKFFNGQT YJGTGXGT[QWYCPVVJGHQEWU6JGFGVCKNUKPVJGÀQYGTGF DWUJCTGUJCTRGTKPFGVCKNCPFKPEQPVTCUVVQVJGITGGPDWUJGUDGJKPF KV6JKUJGNRUVQETGCVGCUGPUGQHFGRVJKP[QWTRCKPVKPI7UGEQNQWT KPVGPUKV[EQPVTCUVCPFUJCTRPGUUVQCEEQORNKUJVJKU

#P GZEGNNGPVDTWUJVQWUGHQTITCUUKUVJG +ORTGUUKQPKUVDTWUJ6JKUDTWUJJCUCITGCV TCPFQOPGUUVQVJGYC[VJGDTWUJUVTQMGUCTG NCKFFQYP6JGEQNQWTCNUQJCUCXCTKCVKQPVQ KV%JCPIGVJGEQNQWTUJCFGUVJGUCOGYC[ CU[QWYQWNFHQTVJGHQNKCIGKPVJGVTGGUHQTC PCVWTCNNQQM

20 Tonal range

%QPXGTV[QWTKOCIGVQ DNCEMCPFYJKVGVQEJGEMVJGVQPCN TCPIG$[EQPXGTVKPIKVVQDNCEMCPFYJKVG [QWYKNNUGGOWEJOQTGGCUKN[KHCP[CTGCU PGGFVQDGGKVJGTDWTPGFKPQTNKIJVGPGF /CMGCPQVGQHVJGUGCTGCUCPFVJGPTGVWTP [QWTRCKPVKPIVQKVUPCVWTCNUVCVGCPF$WTPKP QT&QFIGVJQUGCTGCUYJGTGXGTPGEGUUCT[

Learn about composition Light, shape, colour and more Using what you have learned about composition will make a huge difference in the success of your finished piece of art. These concepts also help give you a starting point and system to follow. After a while, you will be using these skills without realising it. For example, you’ll be much more aware of the direction light is coming from and how you can use colour to better express what you are trying to say in your art.

RULE OF THIRDS COMPLEMENTARY COLOURS %QORNGOGPVCT[EQNQWTUYKNNIKXG [QWTRCKPVKPICXKDTCPVNKXGN[HGGN DGECWUGRWVVKPIVJGUGEQNQWTU VQIGVJGTKPVGPUK¿GUVJGO1PVJG QVJGTJCPFWUKPICOQPQEJTQOCVKE EQNQWTUEJGOG±FKHHGTGPVUJCFGUQH QPGEQNQWT±YKNNIKXGCECNOHGGNVQ [QWTRCKPVKPI

7UGVJG4WNGQH6JKTFUVQMPQYVJGDGUV RNCEGVQRQUKVKQP[QWTUWDLGEVQTHQECN RQKPV+PVJKURCKPVKPIVJGEJKNFTGPCTG RNCEGFKPVJGNGHVDQVVQOKPVGTUGEVKQP WUKPIVJG4WNGQH6JKTFUITKF

SHOW DIRECTIONAL MOVEMENT 7UKPINKPGGKVJGTCEVWCNQTKORNKGFYKNN JGNRVQFKTGEVVJGXKGYGT¶UG[G+PVJKU RCKPVKPIVJGDWVVGTÀKGUCTGFKTGEVKPI [QWTG[GVQVJGIKTN±CPFVJGTQQHVQRKU CNUQRQKPVKPIVQVJGIKTN

DETAILS CREATE DEPTH %TGCVGCUGPUGQHFGRVJD[WUKPICXCPKUJKPI RQKPV+PVJKURCKPVKPIKV¶UVJGITCXGNTQCF OQXKPIQWVKPVQVJGNGHVJCPFUKFG

7UGOQTGEQPVTCUVCPFFGVCKNKPCTGCUQH[QWT RCKPVKPIVJCVCTGENQUGUVQTVJGHQECNRQKPV QHVJGRCKPVKPI#U[QWIQHWTVJGTKPVQVJG UEGPGVJGTGYKNNPCVWTCNN[DGNGUUEQPVTCUV CPFNGUUFGVCKNUKPEGKV¶UHWTVJGTCYC[

Digital Painting

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Tutorial Paint like Picasso

Paint like:2CDNQ2KECUUQ

The great Pablo Picasso showed us how to combine a number of different viewpoints and distil complicated forms into simple geometry. We show you how to do the same in Painter Tutorial info Artist


3 hours Skill level


Final image

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“Corel Painter X is the ideal tool to re-create this remarkable school of painting, giving us all the tools required to pay homage to the great man himself

Simple shapes

Isolating elements

Colour and depth

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Digital Painting


Digital Painting Tutorial Paint like Picasso Digital Painting

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$WKNFHCEKCNHQTOU Establish the geometric shapes for your painting

Fun with Picasso If you feel like a little Cubist fun before you get down to the real business of painting, point your browser to www.mrpicassohead. com/create.html. This is a Picasso based, pick-and-mix style Cubist exercise where you can make a face up from common components used in the great man’s portraits. You can choose each component, scale and position them, and choose various fills. Cubism doesn’t have to be serious!

01 Establish the eye shapes

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02 A simple triangle

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rotate and skew 04 Scale,

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03 Layer Adjuster The importance of study It’s a good idea before you start this project to take your time to study Picasso’s work. Simply Google search Picasso and Cubism and you’ll find a wealth of images. Take your time to study the shapes in the paintings, and look at the way he flattened out perspective within the head. It’s even worth making a couple of sketches from the paintings to help you understand better the geometric devices he often included again and again.

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05 Mix and match

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06 Add more elements

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08 Shapes in harmony

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(TQOUMGVEJVQCTV Final touches, then it’s time to paint

Paint like Picasso

07 More simple shapes

09 Simple blocks

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Multiple perspectives Simple geometric shapes

little 10 Ashading

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Eye in profile

Eye from front view Right profile nose view Jaw line and chin from profile

11 Collapse layers

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Paul Cezanne explains that, “Everything in nature takes its form from the sphere, the cone and the cylinder”. This was something that Picasso was very conscious of during his Cubist experiments. The vital point to remember when dealing with Cubist imagery is the use of many different points of perspective that are used in the depiction of a single object or scene. You may find it useful to take photographs of your subject from many different angles, and then take parts from each image to draw from. Your mind will try to introduce some perspective as you draw, so it’s easier to start with very basic shapes. It’s all about distillation; reducing complicated components to their very simplest geometric forms.

Digital Painting

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%TGCVGFGRVJCPFUQNKFKV[ Add colour and build solidity in your painting

Paint matters Unusually for a tutorial in Painter, you’ll notice that we haven’t mentioned much about specific brushes or painting techniques. That’s because in terms of Cubism, the way the paint is applied is fairly unimportant. Although Impasto plays a big role here, we don’t need to concentrate on blending colour and careful tone modelling.

12 New layer and brush

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13 Reinforce line work

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Block in the main 15 colours

14 Straight line mode

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Individual voice Creating unique artwork

16 Establish the base

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Digital Painting

The bedrock that the Cubist movement was built upon was that, regardless of subject, the painting should work in its own right as a piece of art. This depended very much on pattern, shape and colour, which is why the actual surface plane of a Cubist portrait plays such a vital role in its success. It can be difficult for a figurative artist to see in such abstract terms, but that’s exactly what Picasso was doing here. First and foremost, the shapes and colours in this portrait should please and interest the viewer’s eye. As a result of this, every now and then it’s worth flipping your painting by 180 degrees so you’re not distracted by your eye creating a conventional portrait from the shapes. Picasso was searching during these years for a release from the accepted ways of expressing the world around him. Here Get used to rotating your artwork so you are the shapes from a famous Picasso portrait, showing can see it as shapes, rather than a face. Any the decorative quality of the pure geometry. realism will ruin your Cubist quest!


Digital Painting

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18 Faces and planes

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Paint like Picasso

17 Model with colour

Take your time to experiment by using different surfaces to paint on for this project. By carefully selecting a different paper from the Papers Selector, you can make the surface of the paint look very different and introduce lots of nice textures. The Grain value for the brush itself plays a big role here too, so experiment with different settings as you work.

Tutorial

On the surface

colours 19 Contrast

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20 Bold accents

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6JGHKPGTFGVCKNU Put the finishing touches to your Picasso painting

21

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22 Adjust colours

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23 Finishing touches

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Digital Painting

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Tutorial Paint like Monet

Paint like:/QPGV

Monet is the undisputed father of Impressionism. We pay homage to the great man and the legacy of his famous series of Impressionist water lily studies VVJGOGPVKQPQHVJGYQTF µ+ORTGUUKQPKUV¶VJGOCLQTKV[QH RGQRNGYKNNRTQDCDN[VJKPMQH%NCWFG /QPGVJKURCKPVKPIUQHJKUICTFGP CV)KXGTP[CPFQHYCVGTNKNKGU/QPGVJKOUGNHKU YKFGN[TGICTFGFCUVJGHCVJGTQH+ORTGUUKQPKUO +PFGGFVJGTQQVUQHVJGVGTOµ+ORTGUUKQPKUO¶KVUGNH CTGEQOOQPN[EQPUKFGTGFVQNKGKPCITQWR QH/QPGV¶UQYPRCKPVKPIUHTQOYJKEJJG ECNNGFµ+ORTGUUKQPU¶ /QPGVYCUHCUEKPCVGFYKVJNKIJVCPFKV YCUNKIJVVJCVYCUJKURTKOCT[EQPEGTPKPJKU OQUVHCOQWURCKPVKPIU'XGPVJQWIJJKUGCTNKGT YQTMYCUSWKVGCNQVOQTGFGVCKNGFCPFRCKPVGFKP COQTGVTCFKVKQPCNUV[NGVJCPJKUNCVGTCTEJGV[RCN +ORTGUUKQPKUVRKGEGUJKUHCUEKPCVKQPYKVJ

164

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The magic of light

The dancing brush

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Digital Painting

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Tutorial

Artist


4 hours Skill level

Intermediate

Paint like Monet

On the CD

Start file

Digital Painting

165


'UVCDNKUJVJGVQPCNUEJGOG First create a sketch to guide you, then begin to establish the overall tonal values and underpainting

Monet’s colours You may like to mix the colours you use from Monet’s own palette of colours. These are available in a Painter colour set. Hit the small arrow at the top right of the Color Set’s palette. Choose Open Color Set. From the available colour sets choose Artists’ Oil Colors. Click the small arrow again and choose Display Name. Here is Monet’s palette: Titanium White, Cadmium Yellow Light, Cadmium Yellow, Viridian Green, Emerald Green, French Ultramarine, Cobalt Blue, Alizarin Crimson and Vermillion.

the tones 02 Mapping

01 Canvas and outline

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03 Supplied sketch

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Mixing colours To mix colours from the Monet palette, in the Mixer palette choose the Apply Color brush. Now click the appropriate colour from the colour set and brush a little onto the Mixer Pad. Mix in your next colour in the same way. To mix two colours placed closely together, use the Mix Color tool in the Mixer palette. To choose a colour to paint with from your mixed colours, use the Sample Color Eyedropper from the Mixer.

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04 Underpainting

#FFCPGYNC[GT CPFUGVVJGDNGPFOQFGVQ/WNVKRN[ VJG.C[GT1RCEKV[VQ%JQQUGVJG1KN 2CUVGNUECVGIQT[CPFUGNGEVVJG5QHV1KN2CUVGN XCTKCPV5GVVJG1RCEKV[HQTVJGDTWUJVQ 0QYWUGVJGDTWUJCVCTQWPFRKZGNUVQ UVCTVRCKPVKPIKPFCTMRGVTQNDNWGUCPFFCTM ITGGPUVQGUVCDNKUJVJGWPFGTRCKPVKPICPF IGPGTCNVQPGU

variations 07 Tonal

06 Establishing the lily pads

#FF CPQVJGTNC[GT0QYTGFWEGVJGUK\G QHVJGDTWUJCPFUVCTVVQTQWIJN[RCKPVKPVJG OCKPUJCRGUHQTVJGNKN[RCFU7UGOKFVQPGF DNWGITGGPUCPFCSWCUJGTGCPFOCMG UWTGVQWUGSWKVGUJQTVIGUVWTCNUVTQMGUVQ FGUETKDGVJGQXGTCNNUJCRGQHGCEJNKN[RCF &QP¶VDGIKPVQCFFFGVCKNJGTG±YG¶TGLWUV KPFKECVKPIVJGRNCEGOGPVQHVJGUGGNGOGPVU CVVJGOQOGPV

6JGDCUGEQNQWTQH VJGNKN[RCFUKPVJG FKUVCPEGPGGFUVQDG NKIJVGTVJCPVJQUG KPVJGHQTGITQWPF CPF[QW¶NNPGGFVQ TGFWEG[QWTDTWUJ UK\GCEEQTFKPIN[ 7UGCJKIJ)TCKP CPF$NGGFUGVVKPI HQTVJGDTWUJUQVJCV VJGEQNQWTCRRNKGU PKEGCPFUOQQVJN[ CPFEQPVKPWGVQWUG UJQTVUVTQMGU

05 Base colours

%JQQUGCOKFVQPG [GNNQYITGGPHQTVJGNKIJVGUVCTGCU QHVJGVTGGU6JKUUVCIGQHVJGRCKPVKPI TGCNN[PGGFP¶VDGCEEWTCVGCVCNN±YG¶TGLWUV GUVCDNKUJKPICPQXGTCNNVQPCNDCUGJGTGCPF MKNNKPIVJGYJKVGECPXCU6QCFFUQOGXCTKGV[ VQVJGEQNQWTUKPVJGUJCFQYUTGFWEGVJGUK\G QHVJGDTWUJCNKVVNGCPFCFFCHGYVQWEJGUQH XGT[YCTOTGFDTQYPUJGTGCPFVJGTG


Digital Painting

variability 08 Colour

09 Broken colour

*GTG¶UYJGTG [QWECPTGCNN[UVCTVVQUKOWNCVG /QPGV¶UµDTQMGPEQNQWT¶VGEJPKSWG6JG EQNQWTXCTKCDKNKV[HCEVQTQHVJGDTWUJYKNN JGNRYKVJVJKUDWV[QWCNUQPGGFVQTGIWNCTN[ EJQQUGOQTGFGGRITGGPUCPFOCWXGUHTQO VJGEQNQWTYJGGNVQDWKNFWRVJGGHHGEVQH TGÀGEVGFEQNQWTKPVJGYCVGT¶UUWTHCEG

Paint like Monet

4GVWTPVQVJG WPFGTRCKPVKPI NC[GTCPFCFF CPGYNC[GT+P %QNQT8CTKCDKNKV[

9KPFQY $TWUJ %QPVTQNU 5JQY %QNQT8CTKCDKNKV[ UGVVJG *XCNWGVQ CTQWPF 0QYWUKPIVJG DTWUJCVCTQWPF 1RCEKV[UVCTV VQCFFXGTVKECN UVTQMGUQHXGT[FCTM DNWGDNCEMVQVJG YCVGTWPFGTPGCVJ VJGNKN[RCFU

If you’re not confident about choosing your colours from the colour wheel or mixing them, you can always borrow the colours from Monet himself. Locate one of the water lily paintings on the internet and open it in Painter. Hit the small arrow in the top right of the Color Sets palette and then choose New Color Set From Image.

Tutorial

Gathering colours

setup 11 Brush

10 Blending with the brush

1PGQH VJGITGCVCFXCPVCIGUQHVJKUDTWUJKU VJCVKVUEQNQWTUQQPTWPUQWVCPFKH[QWMGGR UETWDDKPIYKVJKVYKVJQWVNKHVKPI[QWTUV[NWU KVYKNNDGIKPVQDNGPFRCKPV+V¶UYQTVJVCMKPI [QWTVKOGJGTGVQDWKNFWRSWKVGCEQORNGZ EQODKPCVKQPQHFKHHGTGPVEQNQWTGFUVTQMGU 7UGVJG¿PKUJGFKOCIGCUCIWKFGHQTVJKU

%NKEM QPVJGVQRNC[GTKP VJGUVCEMCPFCFF CPGYNC[GT0QY YG¶NNUVCTVVQCFF UQOGFGVCKNVQVJG VTGGUDWV¿TUV[QW PGGFVQUGVWRVJG DTWUJRTQRGTN[5GV VJG)TCKPVQCTQWPF $NGGFVQ CPF,KVVGTVQCTQWPF +PVJG%QNQT 8CTKCDKNKV[RCNGVVG UGV *VQCTQWPF CPF 8VQ CTQWPF

the trees 12 Into

7UKPIVJGDTWUJ CVCUK\GQHCTQWPF RKZGNUEJQQUGC DTKIJV[GNNQYHTQO VJGEQNQWTYJGGN CPFDGIKPVQCFF HQNKCIGVQVJGVTGGU WUKPICXGT[VKIJV PGTXQWUUETKDDNG +V¶UKORQTVCPVVQ MGGRVJGUGOCTMU SWKVGTCPFQO JGTGUWIIGUVKPI VJGHQTOUQHVJG VTGGU;QW¶NNPQVKEG VJCVVJGEQNQWT XCTKCDKNKV[IKXGU[QW VJGDTQMGPEQNQWT GHHGEVJGTG

13 Adding form

4GIWNCTN[EJQQUG QVJGTNKIJVITGGPU[GNNQYCPFIQNFU HTQOVJGEQNQWTYJGGNCU[QWYQTM[QWTYC[ CNQPIVJGVTGGUOCMKPIUWTGVQNGCXGUQOGQH VJGFCTMGTEQNQWTUHTQOVJGWPFGTRCKPVKPI NC[GTUJQYKPIVJTQWIJKPVJGUJCFQYCTGCU +V¶UKORQTVCPVVQUWIIGUVHQTOKPVJGVTGGU UWEJCUVJGNQPIYGGRKPIHQNKCIGQHVJG YKNNQYQPVJGNGHV

Digital Painting

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%TGCVGCIQQFKORTGUUKQP Give your creation that distinctive Monet look reeds 14 Distant

$[ WUKPIVJKUDTWUJ CVCXGT[UOCNN UK\G[QWECP UWIIGUVVJGTGGFU CNQPIVJGDCPM KPVJGFKUVCPEG 4GOGODGTYG YCPVVQUKOWNCVG /QPGV¶UUV[NGJGTG UQCNNQHVJGUG OCTMUECPDGXGT[ KORTGUUKQPKUVKE +V¶UYQTVJUVCPFKPI DCEMHTQO[QWT UETGGPTGIWNCTN[QT \QQOKPIQWVVQIGV CDGVVGTKFGCQHVJG QXGTCNNGHHGEV

Colour variability The Color Variability palette (Window>Show Color Variability) is vital when it comes to recreating Monet’s broken colour technique. By increasing the +-H value in the palette, each time you make a stroke with the brush, the colours applied will automatically flip either side of the base colour you choose, based on the colour wheel.

15 Adding detail

#FFUQOGOQTGFGVCKN VQVJGNKN[RCFUCPFYCVGT7UGVJG UCOGDTWUJDWVVJKUVKOGCVCOWEJUOCNNGT UK\GCPFCJKIJGT)TCKPCPF$NGGFUGVVKPI 4GOGODGTVJGCEVWCNUJCRGUQHVJGNKN[RCFU CTGKPFKECVGFTCVJGTVJCPQWVNKPGFCPFJGTG [QWECPVCMGVJGQRRQTVWPKV[VQWUGCXCTKGV[ QHNKIJVITGGPUCPFCSWCU

the brush 17 Change

16 Gestural strokes

7UGUQOGDTKIJVEQNQWTUUWEJCU[GNNQYU CPFRKPMUVQKPFKECVGVJGNKNKGUVJGOUGNXGUCICKPWUKPIUOCNN IGUVWTCNVKEMUCPFOCTMU#VVJKUUVCIG[QWECPCNUQCFFUQOGOQTG XGTVKECNUVTQMGUQHEQNQWTVQVJGUWTHCEGQHVJGYCVGT(QTVJGUGUVTQMGU TGFWEGVJGQRCEKV[QHVJGDTWUJCNKVVNGVQIGVVJGDTQMGPEQNQWTGHHGEV

Moving paint around To give areas of paint a little more dynamism, try using one of the Blender variants. The Coarse Oily Blender is ideal for this. Set the Opacity to 10% and the Pull to around 50%. Now use this brush at a fairly small size to break up any hard areas of paint. Make sure to brush ‘out’ from any hard edges to break them up a little.

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Digital Painting

6KOG HQTCEJCPIGQHDTWUJ CPFCPGYNC[GTCV VJGVQRQHVJGUVCEM %JQQUGVJG#TVKUVU ECVGIQT[QHXCTKCPVU CPFVJGPEJQQUGVJG +ORTGUUKQPKUVDTWUJ +P%QNQT8CTKCDKNKV[ UGV *VQSWKVGC JKIJXCNWGQHCTQWPF %JQQUGC FGGRTGFDTQYP CPFUVCTVVQ CFFKPVJGUJCFQY CTGCUQHVJGVTGGUCPF VJGTGGFUCNQPIVJG TKIJVJCPFDCPM

Colour in the 18 shadows

$GECWUG QHVJGJKIJ%QNQT 8CTKCDKNKV[[QW¶XG UGV[QW¶NNUGGNQVUQH QVJGTEQNQWTUDGKPI KPVTQFWEGFCU[QW RCKPV7UGVJGDTWUJ CVCUOCNNUK\GCPF TQWIJN[HQNNQYVJG UJCRGQHVJGHQTOU 4GIWNCTN[EJCPIG [QWTEQNQWTHQTFCTM DNWGUCPFITGGPUVQ KPVTQFWEGXCTKGV[ 5KPEGVJGUGCTGCU CTGKPUJCFQYYG FQP¶VPGGFVQQ OWEJFGVCKNJGTG

19 Sharpening and refining

#FFC ¿PCNPGYNC[GTCPFEJQQUG#TVKUVU¶ 1KNECVGIQT[5GNGEVVJG6CRGTGF1KNUDTWUJ 7UGVJGUGUGVVKPIUHQTVJGDTWUJ)TCKP 8KUEQUKV[$NGPF9GVPGUU 6JKUDTWUJNGVU[QWTGCNN[UVCTVVQUJCTRGPWR VJGNKN[RCFUDGECWUGVJCV¶UYJGTGYGYCPVVQ HQEWUCVVGPVKQPOQUV


Digital Painting

KORQTVCPVVQUGRCTCVGVJGNKN[RCFU HTQOVJGYCVGTUQWUGNQVUQHFCDUCPF¿PG EWTXGFNKPGUKPXGT[NKIJVDNWGUCPFITGGPU 6JGUGOCTMUYKNNCFFHQEWUUJCTRPGUUCPF HQTO#NUQCICKPWUKPIXGT[NKIJVEQNQWTU VJGÀQYGTUVJGOUGNXGUECPDGUWIIGUVGF YKVJUJQTVFCDUVQKPFKECVGVJGRGVCNU

21 Sampling colours

6QGPUWTGWPKV[ QH[QWTEQNQWTUEJGOG[QWECP CNYC[UUCORNGEQNQWTU[QW¶XGCNTGCF[WUGF KPQVJGTCTGCUQHVJGRCKPVKPIUKORN[D[ JQNFKPIFQYPVJG1RV#NVMG[VQCEEGUUVJG '[GFTQRRGTCPFENKEMKPIQPCEQNQWTKP[QWT KOCIG+V¶UKORQTVCPVVQCFFUQOGVQWEJGUQH RKPMCPF[GNNQYJGTGCPFVJGTGVQKPFKECVG VJGCEVWCNNKNKGU

22 Defining darks

+PQTFGTVQUGRCTCVG VJGNKN[RCFUHTQOVJGYCVGT[QWECP PQYCFFUQOGUVTQMGUQHXGT[FCTMDNWG DNCEMCTQWPFVJGNQYGTGFIGUQHVJGRCFU *GTGCICKPOCMGWUGQHXGTVKECNUVTQMGU OCMKPIUWTGVQNGCXGVJGWPFGTN[KPIEQNQWTU UJQYKPIVJTQWIJKPDGVYGGPVJGUGUVTQMGU

Paint like Monet

20

Dabs and dashes *KIJNKIJVUCTG

For this painting to work properly and to reflect the way Monet himself worked, it’s important that you paint from dark to light. Although it’s tempting, make sure that you leave the absolute highlights until the very end of the process. It’s also useful to place all the lighter areas on a separate layer so that you can adjust the lightness via Effects>Tonal Control>Equalize.

Tutorial

Dark to light

reflection 23 Light

+V¶UKORQTVCPVVJCV VJGNKIJVEQNQWTU HTQOVJGVTGGU TGÀGEVKPVJGYCVGT¶U UWTHCEGPGCTVJG FKUVCPVDCPM#ICKP JGTGYGLWUVYCPV VQKPFKECVGVJKU YKVJUQOGXGTVKECN UVTQMGU+PETGCUG VJG)TCKPCPF$NGPF XCNWGHQTVJGDTWUJ UQVJCVVJGUGOCTMU DNGPFPKEGN[YKVJ VJGGZKUVKPIEQNQWTU ;QWECPUCORNG VJGEQNQWTUHTQO VJGVTGGUWUKPIVJG '[GFTQRRGTCICKP

24 Final highlights

0QY¶UVJGVKOGVQFG¿PGHQT¿PCNJKIJNKIJVU JGTGCPFVJGTGQXGTVJGNKIJVGUVCTGCUKPVJGKOCIG4GFWEG VJG$NGPFXCNWGQHVJGDTWUJHQTVJKUCPFKPETGCUGVJGQRCEKV[VQSWKVG CUOCNNUK\G6JKPMQHVJGUGJKIJNKIJVUCUUOCNNRQKPVUQHNKIJVCPF URCTMNGCICKPWUKPIUJQTVFCDU

and clarify 26 Flatten ning touches 25 Refi

7UG VJKUUCOGDTWUJVQ KPFKECVGCHGYTGGFU QPVJGTKIJVJCPF DCPM6JGUGECPDG CFFGFYKVJLWUVCHGY IGUVWTCNUVTQMGUKPC NKIJVGTITGGP#ICKP OCMGUWTGVQCFFC HGYVQWEJGUQHQVJGT EQNQWTUKPENWFKPI XGT[NKIJV DTKIJV[GNNQYU

.CUVN[IQVQ.C[GTU &TQR#NNVQÀCVVGP VJGKOCIG;QW ECPPQYWPKH[CPF ENCTKH[VJGRCKPVKPI CNKVVNGOQTGD[ CFFKPIOQTGFCDU CPFUVTQMGUQH XCTKQWUEQNQWTUVQ VJGYCVGTCPFNKNKGU 6Q¿PKUJQHHTGHGT VQVJG/QXKPI2CKPV #TQWPFDQZQWVCPF WUGVJG%QCTUG 1KN[$NGPFGTQPCP[ JCTFGFIGU

Digital Painting

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Tutorial Paint like Rococo

Paint like:4QEQEQ

Anne Pogoda demonstrates how to re-imagine a classic 18th Century painting and re-create the decorative Rococo style Tutorial info Artist

Anne Pogoda Time needed



Start file

QEQEQKUCUV[NGQHCTVVJCVYCUOQUVRQRWNCTKP (TCPEGCTQWPFVJGUCPFNCVGTKP8KEVQTKCP 'PINCPFFWTKPIVJGµ4QEQEQ4GXKXCN¶+VYCUHQWPF GXGT[YJGTGHTQOCTEJKVGEVWTGVQOWUKEHCUJKQP KPVGTKQTCPFICTFGPFGUKIPCPFGXGPKPEQQMGT[±HQTGZCORNG KPVJGFGUKIPQHRQTEGNCKP+VUJQYGFCNQVQHIQNFGPUJKPG PCVWTCNUYKTNKPIUJCRGU¿IWTCVKXGFTCYKPICPFRNC[HWNJKPVU QHUGZWCNKV[6JGYQTFµ4QEQEQ¶FGXGNQRGFCUCEQPLWPEVKQP QHVJG(TGPEJYQTFµTQECKNNG¶YJKEJOGCPUTQEMGT[QTC FGEQTCVKXGUVQPGICTFGPCPFVJGYQTFµDCTQEEQ¶YJKEJOGCPU $CTQSWGKP+VCNKCP 4QEQEQCNUQU[ODQNKUGUJQYO[VJUHCKT[VCNGUHGUVKXCNUCPF FTGCOYQTNFUYGTGETGCVGFVQHQTIGVCDQWVCNNVJ%GPVWT[ HGCTUUWEJCUVJGHGCTQHFGCVJCPFVJGHGCTVJCVECOGHTQOVJG +PFWUVTKCN4GXQNWVKQP6JGJCRR[RNC[HWNCVVKVWFGQHVJGCTVQH 4QEQEQCNUQJKFGUUQOGQHKVUCEVWCNOGCPKPIU *KFFGPOGCPKPIUECPDGHQWPFKP,GCP*QPQTo(TCIQPCTF¶U YQTM$CNCPEGOGPVKUVJG(TGPEJVKVNGQH(TCIQPCTF¶UOQUV RQRWNCTYQTM6JG5YKPI#PFDCNCPEGKUYJCVVJKURCKPVKPIKU

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¿GF4QEQEQETGCVKQP;QWECP¿PFQWV OQTGCDQWVVJGQTKIKPCNHTQOVJGICNNGT[VJCVJQWUGUKVCV YYYYCNNCEGEQNNGEVKQPQTI

The colours of Rococo 6JGUGEQNQWTUYCVEJGUYKNNJGNR[QWYJGP YQTMKPIQP[QWTQYP4QEQEQRCKPVKPIU UKPEGVJG¿IWTGUUJQYPVJGTGCTGQHVGP GPTKEJGFD[UCVWTCVGFTGFFKUJEQNQWTU6JG UJCFQYUCTGUQHVCPFEQNQWTHWNTCVJGTVJCP FCTM6JGDCEMITQWPFUWUWCNN[WUGFCTM UCVWTCVGFITGGPKUJVQPGUYJGPUVCPFKPIKP EQPVTCUVVQVJG¿IWTG)TGGPUFQP¶VOCMGVJG QXGTCNNRCKPVKPINQQMUCFGXGPVJQWIJVJG DCEMITQWPFKUUQFCTM

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Digital Painting

Glitter and flowers

Ornamental and floral enhancements (QTYQOGPKVYCUEQPUKFGTGFCVVTCEVKXGVQJCXGUOCNNHGGVYGCTKPI RTGVV[UJQGUYJKEJYGTGGPTKEJGFD[QTPCOGPVCNFGUKIPUUWEJCU NKVVNGÀQYGTUCPFDTCPEJGU9JGP[QWCFFDWEMNGUVQVJGUJQGUCPF RCKPVUQOGEWTX[FGUKIPUVJG[YKNNGCUKN[¿VVJG4QEQEQUV[NG6JG UJQGUCNUQOCVEJGFVJGEQNQWTUCPFUV[NGUQHVJGFTGUUGU

6JGKPPQEGPVRTGVVKPGUUQHÀQYGTURNC[CP KORQTVCPVTQNGKPGXGT[MKPFQH4QEQEQNKMG RCKPVKPI'URGEKCNN[YJGTGYQOGPCTG FGRKEVGFÀQYGTUCUYGNNCUCP[MKPFQH QTICPKEHQTOUCTGVJGDGUVYC[VQGZVGPF VJGDTKIJVPGUUCPFDGCWV[QHVJG¿IWTG +H[QWYKUJVQJCXGVJGUGGNGOGPVUNQQM GXGPRTGVVKGTOCMGUWTGVQCFFRNGPV[QH JKIJNKIJVUQPVQRQHVJGO


Digital Painting Tutorial Paint like Rococo Digital Painting

171


5VCTV[QWT4QEQEQRCKPVKPI Setting the scene

Rococo colours When you plan to paint in the style of Rococo, there are a few things to keep in mind. The overall look and feel of the colours appears to be bright and friendly, sometimes with a lot of fleshy tones to be provocative, but never too dark in style. Figures are worked in soft, bright, reddish colours on a darker background, which is often enriched by dark greens that keep the painting from looking too melancholy.

01 The sketch

(KTUVYG OCMGCUMGVEJYKVJ CEQORQUKVKQPVJCVKU DCUGFQP(TCIQPCTF¶U RCKPVKPI6JG5YKPI 6QIGVUQNKFEQNQWTU HQTVJGUMGVEJYG WUGVJG#TVKUV2CUVGN %JCNMHTQOVJG 2CUVGNURCNGVVG6JKU UMGVEJKUQPVJGFKUE HQT[QWVQYQTMHTQO

03 The dress

(QTVJGNGIU YGWUGVJG#TVKUVKE 2CUVGN%JCNMCPF RKEMUQOGÀGUJ[ VQPGU6JG[CTG UWRRQUGFVQNQQMC DKVNKMGC5KZVKGURKP WRVQTGOKPFWUVJCV VJKUKPVGTRTGVCVKQP QH6JG5YKPIKU UGVKPVJGOQFGTP FC[6JGRQUGQH VJGNGIUKUUKOKNCT VQVJGQTKIKPCNCPF UJQYUKPPQEGPV GZWDGTCPEGTCVJGT VJCPRTQXQECVKXG DGJCXKQWT

1TPCVGXGTUWU #TECFKCP Balancing Rococo elements

6JGUJQGUCTGUWRRQUGFVQ ¿VVJGUV[NGQH4QEQEQUQYGRCKPVC EQODKPCVKQPQHOQFGTPRWORUCPF4QEQEQ UJQGUD[CFFKPINKVVNGQTPCOGPVUCPFÀQYGTU 6JGUJQGUCNUQ¿VVJGEQNQWTQHVJGFTGUUVQ UJQYJQYGXGT[VJKPIDGNQPIUVQIGVJGT

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Digital Painting

.GV¶UUVCTVYKVJVJGIKTN¶UVQR+VYKNNDGSWKVGUKORNG CV¿TUVUKPEGVJGRCKPVKPIKUUWRRQUGFVQJCXGUQOGOQFGTP NQQMKPIRCTVUKPKVVQIKXGKVCEQPVGORQTCT[NQQM9GUVKEMVQVJG#TVKUV 2CUVGN%JCNMCPFDNQEMKPUQOGUQHVRKPMKUJVQPGUYJKEJYGVJGP DTKIJVGPWRWUKPIYJKVG

04 Sexy legs

6QIGVC IQQFTGUWNVQPVJG HQNFUQHVJGFTGUU YGVCMGCNQQMCVQWT TGHGTGPEGCPF\QQO KP6JGWRRGTRCTV KUUWRRQUGFVQÀQY YKVJVJGOQXGOGPV VJGNQYGTRCTVYKNN UYKPICTQWPFVJG UVTKPIUQHVJGUYKPI 9GRKEMVJG#TVKUVKE 2CUVGN%JCNMVQRCKPV UVTQMGFJKIJNKIJVU QPVQRQHVJGFCTM CTGCYGUMGVEJGF HQTVJGFTGUU6JKU ETGCVGUVJGKNNWUKQP QHOQXGOGPV

05 Shoes!

02 The top

Rococo contrasts the Industrial Revolution with romantic Arcadian landscapes idealised by painters of the time. Arcadia was a place in ancient Greece, but the term was used in the 18th Century to denote an idealised rural setting. Most Rococo paintings are set in nature, with romantic backgrounds. The only ornate elements are statues, or dresses the figures wear. Indoors, they rest on ornate furniture, and often porcelain or books match the style, seen in these pictures referenced from GothicBohemianStock.


Digital Painting

07

06 More folds

6QETGCVGVJGCKT[HW\\[GHHGEVQPVJGFTGUUVJCV (TCIQPCTFETGCVGFKPJKURCKPVKPIYGJCXGVQIGVCDKVVTKEM[ )GPGTCNN[YJCVYGYCPVVQFQKURKEMCP#KTDTWUJ (KPG6KR5QHV#KT HQTGZCORNGCPFRCKPVOCP[NKVVNGYJKVGFQVUQPVJGFTGUU1PEG YG\QQOQWVYGYKNNUGGVJCVVJGFTGUUNQQMUOWEJOQTGCKT[PQY DGECWUGVJGUGCTGCUCRRGCTVQDGµNKHVGF¶

08 Complicated folds

6JKURCTVQH VJGFTGUUYKNNDGUVWEMYKVJKPVJG UVTKPIUQHVJGUYKPICPFUQETGCVGUUQOG RTGVV[KPVGTGUVKPIHQNFU+VYKNNDGPFCTQWPF VJGUVTKPIUUQKVOCMGUUGPUGVQVJKPMQHCP WRRGTRCTVVJCVYKNNDGOCTMGFYKVJCDTKIJV NKPGCPFCNQYGTRCTVVJCVYKNNDGUMGVEJGF QWVYKVJFCTMGTUJCRGU

11

Let’s start on the face

5KPEGYGJCXG CNTGCF[UMGVEJGF VJGDCUKEUJCRGHQT VJGHCEGGCTNKGTYG ECPPQYUVCTVVQ RCKPVKVUHGCVWTGU 6JGTGHQTGYGUYKVEJ DCEMVQVJG#TVKUV¶U 2CUVGN%JCNMU9G DNQEMKPJKIJNKIJVU HQTVJGWRRGTRCTVU QHJGTEJGGMUCPF FTCYDKIEWTXGF RCTVUCTQWPFVJG DCEMRCTVUQHJGT HCEGVQETGCVG UQOGFGRVJ

VQVJG#KTDTWUJ CPFIGPVN[RCKPVKP UQOGFCTMEWTX[ NKPGUHQTVJGDCEM RCTVQHJGTFTGUU YJKEJKUUWRRQUGF VQÀQYCTQWPFJGT DQF[KPOQXGOGPV YJKNGUJGUYKPIU HQTYCTF6JGPYG ECTGHWNN[CFF UQOGJKIJNKIJVGF EWTX[NKPGUVQ IKXGVJGHQNFU OQTGFG¿PKVKQP

09 Folds continued

6JGWRRGT DTKIJVGTRCTVECPPQYDGYQTMGF QXGTYKVJC%CRVWTGF$TKUVNGHTQOVJG #ET[NKEUDTWUJECVGIQT[5VCTVYKVJDTKIJV NKPGUVJCV[QWNGVÀQYCTQWPFVJGUVTKPIU VJGPCFFFCTMNKPGUDGPGCVJVJGOVQETGCVG VJGKNNWUKQPQHHQNFUIQKPICTQWPFVJGTG

Paint like Rococo

In Rococo you won’t usually find strong shadows – they wouldn’t match the soft and bright appearance of the figures. Study Rococo paintings by artists such as Boucher and Chardin to find out what sort of shadowing you would like to apply to your figures and surroundings.

The back part of the dress 9GUVKEM

Tutorial

Rococo shadows

10 Final steps on the folds

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continued 12 Face

0QYYGUYKVEJVQ VJG#KTDTWUJGU UGVVQCTQWPF 1RCEKV[CPFC NCTIGUK\G DCUGF QPVJGUK\GQHQWT ECPXCUVQDGCDNG VQDNGPFVJGEQNQWTU QPJGTEJGGMU CPFUQJCXGUQOG PKEGÀGUJ[VQPGU CUTGUWNV9GVJGP UGVVJG#KTDTWUJ VQCTQWPFRZKP UK\GCPFYQTMQXGT VJGG[GNCUJGUCPF JKIJNKIJVUQHVJG G[GUPQUGCPFNKRU

Art Nouveau Art Nouveau was much influenced by the ornamental style and soft shadows of Rococo. So when you plan to paint a modern version of a Rococo painting, have a look at and combine it with elements of Art Nouveau to find new and interesting ways for giving it a modern touch!

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4GHKPGFGVCKNUKPVJGDCEMITQWPFCPFEJCTCEVGT Learn how to use the Oils to create stunning nature effects

Sexuality Rococo often pictures and disguises sexual motives in a naïve kind of happiness. To apply this to modern painting, you need to look at the subject in an innocent way, so what you create differs from what we think of today as sexy or dealing with sexuality. For this setting, in which things happen by accident and the figures aren’t shown in an overtly sexual way, we need to use suggestion rather than be obvious.

for the strings 14 Flowers

13 The hair

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15 Hair

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16 The branch

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Paint rich cloth Women pictured in this period wore rich dresses and wonderful shoes on their little feet. The dresses and shoes are often enriched with floral designs, and the colours are bright, rich and happy. The unity of the shoes and dresses, as well as their hats, almost creates a sort of corporate identity – a ‘brand’ – as everything the woman wears, the whole styling, fits together as though it was meant to belong.

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Digital Painting

17

Paint leaves

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the 18 Indistance

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Digital Painting

(QT VJGITCUUYGUVKEM VQVJG6JKEM9GV %COGNHTQO VJG1KNURCNGVVG 6JGVTKEMKUVQRKEM JKIJNKIJVEQNQWTU CPFVJGPFTCY QXGTVJGECPXCU TCPFQON[KPEWTXGU CPFHTQODQVVQO VQVQRVQETGCVG CVGZVWTGVJCV UWIIGUVUITCUU

20 Add more grass

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Take a look at images that show dresses and interiors from the Rococo period. Since the dresses were overly pretty and detailed, this will give you a good idea of what’s possible with your own rococo paintings. Combine these with pin-ups and Art Nouveau graphics, and you’ll have a lot of ideas on how to work on your own creations. Visit the Wallace Collection (www. wallacecollection. org), the world’s most complete collection of Rococo art, architecture and interior design.

Paint like Rococo

the grass 19 Shape

Tutorial

References

last leaves 22 The

21 Add more background texture

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24 Corrections on

23 Last detail on the shoes

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the dress 9GPQY CNUQRCKPVUQOG OQTGJKIJNKIJVUQP VJGRCTVQHJGTFTGUU VJCVYGGCTNKGTWUGF VQETGCVGCPQWVNKPG CUUGRCTCVKQPHTQO VJGDCEMITQWPF 6JGHW\\KPGUUQH VJG4GCN6CRGTGF 4QWPFYKNN VJGTGHQTGETGCVGCP KPVGTGUVKPIVGZVWTG

more interest to the flowers on the strings 25 Add

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Tutorial Paint like Rackham

Paint like:4CEMJCO

The work of the Grand Master of illustration is currently enjoying a revival – if you are a fan of his work, get ready for some pointers on how to achieve the same look… Tutorial info Artist

Aaron Pocock Time needed



Start file

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4CEMJCO¶UNGICE[NKXGUQPVQFC[VJTQWIJPQVCDNGKNNWUVTCVQTU UWEJCU#NCP.GG$TKCP(TQWF%JCTNGU8GUUCPF/KEJCGN-CNWVC± CPFGXGP¿NOOCMGTUKPENWFKPI2GVGT,CEMUQP .QTFQHVJG4KPIU CPF)WKNNGTOQ&GN6QTQ FKTGEVQTQH2CP¶U.CD[TKPVJQYGCJWIG FGDVVQJKUKOCIGT[ +VYCUP¶VQPN[VJGNQQMQHJKUEJCTCEVGTUVJCVUGV#TVJWT 4CEMJCOCRCTVHTQOJKUEQPVGORQTCTKGU±VJGNCPFUECRGUKPJKU KNNWUVTCVKQPUYGTGRCTVKEWNCTN[ITQVGUSWGCPFDGCWVKHWNCPFYGTG CNUQKOOGFKCVGN[UVCORGFYKVJVJGµ4CEMJCO¶UKIPCVWTG 5QYJCVOCMGUC4CEMJCOKNNWUVTCVKQP!6JGTGCTGOCP[HCEVQTU VJGUVTQPIUGPUGQHEQORQUKVKQPCPFTJ[VJOVJTQWIJJKUKOCIGU VJGKORGEECDNGVGEJPKSWGªJGYCUCOCUVGTYKVJRGPCPFKPM CPFYCVGTEQNQWT*GCNUQFCDDNGFYKVJQKNUDWVVQPQITGCVGZVGPV KV¶UJKUNKPGYQTMCPFJKUYCVGTEQNQWTYCUJGUVJCVOCFGJKOC JQWUGJQNFPCOG*KU¿IWTGYQTMYCUKORGEECDNGJKUCVVGPVKQPVQ FGVCKNYCUGZSWKUKVG[GVJKUUV[NGCNVJQWIJEQPUKFGTCDN[NQQUGCPF ÀWKFYCUOCUVGTHWNN[EQPVTQNNGFCVVJGUCOGVKOG +PVJKUVWVQTKCNYG¶NNIKXG[QWCINKORUGKPVQJKUOCIKECNYQTNF CPFJQY[QWECPTGETGCVGJKUFKUVKPEVUV[NG

Simple washes

176

Line art

Rackham’s trees

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Digital Painting

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Digital Painting Tutorial Paint like Rackham Digital Painting

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5MGVEJVQNKPGCTV Do all the detailed work before the painting begins… sketch 01 Thumbnail

Thinking of the whole

+V¶U CIQQFKFGCVQJCXG CHCKTHGYQHVJGUG FTCYPWRDGHQTG DGIKPPKPICPKOCIG CUKVJGNRUVQGKVJGT TG¿PGQTFKUECTF CPKFGC6JGUG FTCYKPIUCTGXGT[ QHVGPQPN[HQWTVQ ¿XGKPEJGUKPUK\G &QP¶VRC[VQQOWEJ CVVGPVKQPVQVJKPIU NKMGCPCVQO[GVE ±KV¶UIGVVKPIVJG EQORQUKVKQPTKIJV VJCV¶UVJGKORQTVCPV VJKPIJGTG

When working in this style, it’s a very good idea to bear the overall image in mind at all times. It’s very easy to get carried away with detail and forget that it’s actually going to finish up as a colour image. Try to leave a fair amount of space within the image for a body of colour, a sort of ‘yin-yang’ approach. This will ensure a nice, balanced image and ultimately be more pleasing to the eye. Too much detail may show off some great techniques, but miss the point the image is there to convey. It’s about balance.

Preparing a working 02 drawing

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03 Let the inking commence

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Design your image first It’s an important fact that poorly designed plans house poorly executed paintings. Ensure that enough attention is paid from the offset to the composition of the piece. Remember to think about leading the viewer’s eyes through the image to the centre of interest. Good planning is a must, as all elements within an image must harmonise with each other – an orchestra is only as good as each individual musician.

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Digital Painting

04

Varying strokes .KPGCTVECPNQQM

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More and more 07 detail

06 Adding the clouds

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05 Inking around the figure

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Digital Painting

09

10 Line directions again

11 Roots

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Paint like Rackham

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+V¶UDGEQOKPICXGT[ FGVCKNGFKOCIG CPFVJGKPENWUKQP QHVQQOCP[NKPGU EQWNFTGPFGTVJG KNNWUVTCVKQPCNKVVNG QPVJGEJCQVKEUKFG 9GRWVVJGNKPGU FQYPCICKPIKXKPI VJGKNNWUKQPQHHQTO XKCUVTQMGFKTGEVKQP 6JG[CNUQJCRRGP VQHCNNPKEGN[VQYCTF VJG¿IWTGYJKEJ JGNRUVJGG[GUTGUV QPJGT±VJGEGPVTG QHKPVGTGUV

08 Hair

A chaotic image with no depth of field will send viewers elsewhere. Depth of field (with line art) can be obtained by observing a couple of very simple rules. Use thin pen marks in the background, thick pen marks in the foreground. It can also be achieved by keeping detail in the background minimal to the amount of detail in the foreground. Observing these few simple rules will improve your work immensely.

Detailing the tree

Tutorial

Depth of field

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Rooted to the 12 spot

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13 Grass roots

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%TGCVKPICHCGTKGYQTNF Getting the unique Rackham look texture 14 Surface

*CXKPICFFGFC EWUVQOVGZVWTG VQUKOWNCVGCIGKP CRJQVQGFKVKPI RTQITCOYGQRGP QWTKOCIGCPFCFF RCRGTVGZVWTGKP 2CKPVGT)QVQ2CRGT 6GZVWTG (TGPEJ 9CVGTEQNQT 5WTHCEG %QPVTQN #RRN[ 5WTHCEG6GZVWTG CFLWUVKPIVJGUNKFGTU HQTCDKVQHITCKP)Q VQ'HHGEVU 5WTHCEG %QPVTQN %QNQT 1XGTNC[ 7UKPI 2CRGT VKPVGFYKVJC NKIJVUGRKCEQNQWT

Think like a watercolourist Arthur Rackham was a watercolourist, so we need to think like that when we paint images in this way. Watercolour is a tricky medium, so study a book on the subject or look at originals. Rackham used paints very loosely but was a master at controlling them. So loosen up, don’t think too much about application and don’t over-detail your images too much.

15 Back to front

%JQQUKPI&KIKVCN 9CVGTEQNQT 0GY5KORNG9CVGTYKVJ 1RCEKV[)TCKP&KHHWUKQP9GV (TKPIGYGDGIKPRCKPVKPI9GDNQEM KPOKFVQPGU¿TUVVJGPFCTMGTVQPGUCPFNKHV QWVJKIJNKIJVUYKVJVJG%QNQT5GNGEVQTUGV VQYJKVG$GECWUGVJGOQWPVCKPUCTGCUQNKF OCUUYGDNQEMKPUQOGDNWGRCKPVVQGPJCPEG VJCVKNNWUKQP

down washes 17 Laying

16 Large blocks of colour

9G¶NNPQY UVCTVCFFKPINCTIGCTGCUQHEQNQWT 9G¶TGVJKPMKPIKPVGTOUQHOCUUDGHQTGFGVCKN JGTG6JGDTWUJKUQPVJGUCOGUGVVKPIUHQT VJGTGUVQHVJGVWVQTKCN±YG¶TGLWUVCFLWUVKPI KVUYKFVJFGRGPFKPIQPVJGUK\GQHCTGCYG PGGFVQEQXGT9G¶NNUVCTVQHHD[IKXKPIVJG OCKPRCTVQHVJGVTGGCDTQYPYCUJ

19

Working on the figure

6JG¿IWTGJCUDGGP NQQMKPICDKVQPVJG WPVQWEJGFUKFGQH VJKPIUHQTCNKVVNG VQQNQPIPQYUQYG DGIKPVQCFFUQOG EQNQWTVQVJGJCKT HCEGCPFPGEM6JG RCKPVKPIHGGNUNKMG KV¶UUVCTVKPIVQIGV UQOGYJGTGPQY #NUQYGCFFUQOG FCTMGTVQPGUKPVQ VJGJCKTVQCXQKFC ÀCVNQQM2CVKGPEGKU CXKTVWG

180

Digital Painting

9G¶TGPQYNC[KPI FQYPYCUJGUQH EQNQWTVQVJGOCKP KNNWUVTCVKQP#U YGYQWNFQPC YCVGTEQNQWTYG¶NN CFFUQOGQVJGT EQNQWTVQOCMGKV NQQMNKMGKV¶UDGGP DNGPFGFYGVKPVQ YGVYKVJVJGUGRKC DTQYP+PVJKUECUG VJGDNWGYG¶XGWUGF HQTVJGUM[YKNNYQTM DGCWVKHWNN[CPFVKG VJGYJQNGVJKPI VQIGVJGTPKEGN[

18 Light and shade

9G¶XGFGEKFGFVJCV VJGNKIJVKUEQOKPIHTQOQHHVQVJG TKIJVUQVJGUJCFQYGFCTGCUHCNNVQVJGNGHV #FFKPICFCTMGTDTQYPVQVJGJQNGKPVJGVTGG VTWPMTGKPHQTEGUVJGKNNWUKQPQHCJQNG9G OQXGVJTQWIJQWVVJGKOCIGCFFKPIUJCFGF CTGCUVQVJGDWORUCPFMPQDDNGUVQIKXGUQOG HQTOVQVJGRCKPVKPI

the green 20 Into

5VKNNYQTMKPIQP VJG¿IWTGYGCFF EQNQWTVQVJGUMKP CTGCUCPFDNQEM UQOGIGPGTCNVQPGU KPVJGFTGUU#FFKPI ITGGPVQVJGITCUU CNUQUGGOUVQIKXG VJGKOCIGOQTG KORCEV6JGETQY KUPQYCXKVCNRCTV QHQWTKNNWUVTCVKQP ±LWUVCFFCUOCNN YCUJQHDNWGVQVJG HGCVJGTUCPF [GNNQYVQVJGDGCM CVVJKURQKPV


Digital Painting

'XGT[RCKPVKPIJCUCµRGPP[FTQRU¶ OQOGPVCPFKV¶UWUWCNN[YJGP[QWPQVKEG UQOGVJKPIKUPQVTKIJV+PVJKUECUGYG¶XG LWUVPQVKEGFVJCVVJGYJQNGVJKPIKUNQQMKPIC NKVVNGQPVJGFCTMUKFG6JCV¶UGCUKN[TGEVK¿GF )QVQ'HHGEVU 6QPCN%QPVTQN $TKIJVPGUU %QPVTCUVCPFVJGPCFLWUVWUKPIVJGUNKFGT DCTU6JGTGªVJCV¶UDGVVGT

Weaving the magic

22 Dodging highlights

9G¶TGIQKPI VQNKHVQWVJKIJNKIJVUVJTQWIJQWVQWT KOCIGWUKPIVJG&QFIGVQQN)QVQVJG$TWUJ 5GNGEVQTDCTVJGP2JQVQ &QFIG5GV1RCEKV[ CVUQYGECPIGPVN[OQXGVJTQWIJVJG KOCIGRKEMQWVVJGJKIJNKIJVUCPFNKIJVGP CTGCUVQIKXGVJGKORTGUUKQPQHHQTO6JG NCF[¶UHCEGIGVUVJGOQUVVTGCVOGPVCUVJCV¶U VJGEGPVTGQHKPVGTGUVKPVJKURKGEG

For this example the scene was set in a natural environment, so the chosen colours complemented each other. The image has been painted with earthy tones. It’s best to have some kind of colour scheme in mind before you begin. Of course, many great works of art do evolve during the creative process, but why leave things to chance?

23 Finishing up

+V¶UPQVNQQMKPIVQQ DCFPQYDWVVJGTG¶UUVKNNCNKVVNG PKIINGª9GHGGNVJGKNNWUVTCVKQPKUUVKNNVQQ FCTMUQQPEGCICKPYGIQVQ'HHGEVU 6QPCN %QPVTQN $TKIJVPGUU%QPVTCUVCPFCFLWUVVJG UNKFGTDCTUWPVKNYG¶TGJCRR[VJCVVJGKOCIG KUYJCVYGYQWNFEQPUKFGTVQDG¿PKUJGF

Paint like Rackham

21 Brightening things up a little

Tutorial

Colours should work well together

Tips and techniques to help you bring your fantasy forest to life

ZIGZAGGING ELEMENTS 5VCTVKPIHTQOVJGVQRNGHV QHVJGKOCIGVJGVTGG DTCPEJGUVJGETQYVJG NCF[¶UIC\GVJGTQQVVQVJG TKIJVQHVJGTQEMCPFVJG TQQVUKPVJGHQTGITQWPFCNN NGCF[QWVJTQWIJVJGKOCIG CPFDCEMCICKP

THE EYES TELL THE STORY 6JGTG¶UPQVTGCNN[VJCV OWEJIQKPIQPKPVJG RCKPVKPIVQIGVKPVJG YC[QHVJGIC\GQHQWT HCKTOCKFGP9JCV¶UUJG NQQMKPICV!9JCV¶UECWIJV JGTCVVGPVKQP!$[FTCYKPI QWTG[GUVQVJGEGPVTGQH KPVGTGUVYG¶TGFTCYPKPVQ JGTUVQT[

CARRYING A COLOUR THROUGH 6JGITGGPQHVJGFTGUUJCU DGGPWUGFVJTQWIJQWV VJGYJQNGKNNWUVTCVKQP VQVKGVJGNCF[KPYKVJ JGTGPXKTQPOGPV# FKHHGTGPVEQNQWTOC[JCXG DGGPWUGFHQTVJGFTGUU DWVEQWNFGCUKN[JCXG FQOKPCVGFVJGUEGPG

OVER-RENDERING 6JGTGOC[CRRGCTVQDGCNQV QHFGVCKNKPVJKURCKPVKPIDWV QXGTFGVCKNKPICTGCUUWEJCU VJGNCTIGVTWPMQHVJGVTGG EQWNFGCUKN[JCXGOCFGVJG YJQNGVJKPICRRGCTQXGT FQPGRCTVKEWNCTN[KHKVKUVQ TGOCKPCUCRKGEGQHNKPGCTV

DODGING HIGHLIGHTS 6JG&QFIGVQQNYCUWUGFVQNKHVQWVJKIJNKIJVU

UKOKNCTVQVJGYC[CVTCFKVKQPCNYCVGTEQNQWTKUV OKIJVWUGEQVVQPYQQN1RGPVJG$TWUJ5GNGEVQTDCT VJGPIQVQ2JQVQ &QFIG-GGRVJGQRCEKV[PKEGCPF NQY CTQWPFHQTUGPUKVKXGNKHVKPIQHJKIJNKIJVU

Digital Painting

181

Tutorial Paint like MC Escher

Paint like: /%'UEJGT Use the power of Painter to update one of MC Escher’s most memorable optical illusions. Can you believe your eyes? JGYQTMUQHVJGITGCV/%'UEJGT CTGCUGPKIOCVKECPF WPKSWGCUVJGOCPJKOUGNH CPFJKUWPOKUVCMCDNGHWUKQP QHOCVJGOCVKEUCPFOGVKEWNQWU FTCWIJVUOCPUJKREQPVKPWGUVQHCUEKPCVG CPFCOC\GGXGPPQYOQTGVJCPC JWPFTGF[GCTUCHVGTVJGDKTVJQHVJKU ITQWPFDTGCMKPI&WVEJDQTPCTVKUV #NVJQWIJ'UEJGTURGPVJKUGCTN[ [GCTUVTCXGNNKPIVJTQWIJQWV'WTQRG EQPEGPVTCVKPIQPFGRKEVKPIVJGNCPFUECRG VJCVECRVKXCVGFJKOKVYCUWRQPJKU TGVWTPVQ*QNNCPFVJCVJKUHCUEKPCVKQPYKVJ OWNVKRNGEQPÀKEVKPIRGTURGEVKXGUCPF OCVJGOCVKECNN[RGTHGEVQRVKECNKNNWUKQPU DGICPVQRTGFQOKPCVGKPJKUYQTM'UEJGT EQPEGPVTCVGFOQUVN[QPYQQFEWVUCPF NKVJQITCRJ[HQTJKUOQUVHCOQWUKOCIGU DGECWUGVJGUGRCTVKEWNCTOGFKWOUCNNQYGF JKOVQFGXGNQRVJGMKPFQHFGVCKNVJCVUWEJ EQORNGZGZCEVKPIUWDLGEVUFGOCPFGFQH VJGKTETGCVQT 6JGITGCVOCP¶UGZRNQTCVKQPCPF FKUUGEVKQPQHRGTURGEVKXGUKOCIGRNCPGU CPFTGCNKV[YGTGCEVWCNN[VCMGPXGT[ UGTKQWUN[D[OCVJGOCVKEKCPURJKNQUQRJGTU CPFUEKGPVKUVUCNKMG'UEJGTJKOUGNHGXGP RWDNKUJGFCDQQMQPVJGOCVJGOCVKECN RTKPEKRNGUJGFGXKUGFCPFGZRNQTGFKP JKUCTV #NNQHVJKUGZRNQTCVKQPCPFOCPKRWNCVKQP QHVJGCEEGRVGFXKUWCNRTKPEKRNGUNGFVQ

182

Digital Painting

'UEJGTRTQFWEKPIHCUEKPCVKPIPGXGT GPFKPIRCVVGTPUCPFVGUUGNNCVKQPUCPF UQOGWVVGTN[EQPXKPEKPIQRVKECNKNNWUKQPU QHYJKEJ&TCYKPI*CPFUKUQPGQHVJG ¿PGUVGZCORNGU+PVJGYCNMVJTQWIJVJCV HQNNQYUYG¶TGIQKPIVQETGCVGCFKIKVCN WRFCVGFJQOCIGVQVJKURKGEGKP2CKPVGT +PVJKUKOCIGVYQJCPFUSWKVGNKVGTCNN[ FTCYGCEJQVJGTVJGJCPFUVJGOUGNXGU GTWRVKPIHTQOVJGUWTHCEGRNCPGQHVJG FTCYKPIUQVJGG[GRGTEGKXGUVJGUJKTV EWHHUVQDGCUKORNGÀCVFTCYKPICPF VJTQWIJECTGHWNFTCYKPICPFVJGDWKNFKPI QHVQPGUVJGCEVWCNJCPFUCRRGCTVQDG UVWPPKPIN[VJTGGFKOGPUKQPCN 6JGRGTURGEVKXGUCPFVJGQRVKECNKNNWUKQP ETGCVGFYKVJKPVJKURKGEGJCXGVJGKTTQQVU KPVJGRTKPEKRNGUQHVJG/QDKWU5VTKRCPF [QW¶NN¿PFCPGZRNCPCVKQPQHVJGXKUWCN VTKEMURTQFWEGFD[VJKUHCUEKPCVKPIFGXKEG KPVJGUKFGRCPGNQPRCIGVJCVFGCNU YKVJ'UEJGT¶UFG¿PKPIUV[NG 9JCVGNGXCVGU'UEJGT¶UYQTMDG[QPF VJGOGTGN[SWKTM[VJQWIJKUJKUUJGGT VGEJPKECNDTKNNKCPEGYJGPKVEQOGUVQDQVJ JKUFTCYKPICDKNKV[CPFJKUHCEKNKV[VQETGCVG WVVGTN[EQPXKPEKPIVJTGGFKOGPUKQPCN QDLGEVUVJTQWIJPQVJKPIOQTGVJCPVJG GZRGTVOCPKRWNCVKQPQHNKPGCPFVQPG $GCTVJKUKPOKPFCU[QW¿TGWR2CKPVGT CPFHQNNQYWUKPVQVJGUVTCPIGYQTNFQH /%'UEJGTWUKPIPQVJKPIOQTGVJCPUQOG RJQVQUCPF2CKPVGTDTWUJGU



3 hours Skill level


Start files


Digital Painting Tutorial Paint like MC Escher Digital Painting

183


Boundary position

+PVJGJCPFUQHVJGOCUVGT Create your own optical illusion in the style of MC Escher

It’s important that you position the guide rectangle for the outer edge of the drawing surface beneath the hands accurately. Make sure that it intersects the wrists at the correct points by scaling it via the Free Transform handles. Use the finished image as a guide for this.

01 The canvas

)QVQ(KNG 0GYCPF ETGCVGCECPXCUOGCUWTKPI´Z´ YKVJCYJKVGDCEMITQWPFCVFRK0QY QRGPVJG¿TUVJCPFKOCIGHTQOVJG%&7UG VJG.CUUQVQQNVQOCMGCTQWIJUGNGEVKQP CTQWPFVJGJCPFCPFCTO)QVQ'FKV %QR[ VJGPTGVWTPVQ[QWTOCKPKOCIGCPFIQVQ 'FKV 2CUVG

02 Position the tracing images

%JQQUGVJG.C[GT#FLWUVGTVQQN%VTN TKIJVENKEMQXGTVJGRCUVGFJCPFCPFEJQQUG (TGG6TCPUHQTO*QNFFQYPVJG5JKHVMG[CPF FTCIQPQPGQHVJGEQTPGTJCPFNGUVQUECNGVJG JCPFCPFCTOVQ¿V4GRQUKVKQPVJGRCUVGF KOCIGD[FTCIIKPIYKVJKPVJGKOCIG%VTN TKIJVENKEMCPFEJQQUG%QOOKV6TCPUHQTO

03 Second hand image!

(QNNQYVJG UCOGRTQEGFWTGHQTCFFKPIKPVJG UGEQPFJCPFCPFCTO$[JQNFKPIFQYPVJG %OF%VTNMG[YJKNGFTCIIKPIQPCEQTPGT JCPFNG[QWECPTQVCVGGCEJRCUVGFNC[GTUQ VJCVGCEJJCPFKUKPVJGEQTTGEVRQUKVKQP (KPCNN[TGFWEGVJG1RCEKV[XCNWGHQTGCEJQH VJGUGNC[GTUVQCTQWPF

Pencil 04 Charcoal

%JQQUGVJG$TWUJ VQQNCPFUGNGEVVJG %JCTEQCNXCTKCPVU 5GNGEV*CTF%JCTEQCN 2GPEKN8KC9KPFQY $TWUJ%QPVTQNU 5JQY 5K\GUGVVJG/KPKOWO 5K\GVQ5GVVJG )TCKPVQCPFENKEM KPVJG2CRGTUUYCVEJ VQEJQQUG$CUKE2CRGT 0QYCFFCPGYNC[GT VQVJGKOCIGCPFVJGP EJQQUGCFCTMITG[ HQTVJG(QTGITQWPF %QNQTUYCVEJ

05 Careful tracing

*KFGQPGQHVJG JCPFNC[GTUCPFUVCTVVQVTCEGQXGT VJGQVJGTQPGWUKPIVJGDTWUJCVCXGT[UOCNN UK\GQP[QWTPGYNC[GT#NNYG¶TGFQKPIJGTGKU GUVCDNKUJKPICHCKPVQWVNKPGVQYQTMQXGTNCVGT UQLWUVVTCEGVJGOCKPEQPVQWTUCPFQWVNKPGU ;QWPGGFVQFQVJGUCOGHQTVJGUGEQPFJCPF

Hard copy Once you’ve completed the initial outline tracing from the pasted layers, it’s worthwhile printing both of the original hand images so that you have them to work from as you complete the drawing. It’s likely that Escher actually made this drawing from observation using his own hands and a mirror.

184

Digital Painting

06 Stroked shape

%JQQUGVJG.C[GT#FLWUVGTVQQN%VTNTKIJV ENKEMQXGTVJGRCUVGFJCPFCPFEJQQUG(TGG6TCPUHQTO*QNF FQYPVJG5JKHVMG[CPFFTCIQPQPGQHVJGEQTPGTJCPFNGUVQUECNGVJG JCPFCPFCTOVQ¿V4GRQUKVKQPVJGRCUVGFKOCIGD[FTCIIKPIYKVJKP VJGKOCIG%VTNTKIJVENKEMCPFEJQQUG%QOOKV6TCPUHQTOYJGP [QW¶TGFQPG

07 Rectangular guide

&TCICUJCRGQXGTVJGJCPFUVQTGRTGUGPV VJGVCDNGVUETGGP%VTNTKIJVENKEMVJG5JCRGNC[GTKPVJG.C[GTU RCNGVVGCPFEJQQUG%QOOKV;QWECPVTCPUHQTOUECNGCPFTQVCVGVJKU CUKPVJGRTGXKQWUUVGRU4GFWEGVJG1RCEKV[XCNWGQHVJKUNC[GTVQ CTQWPF'TCUGCP[RCTVUQHVJGQWVNKPGVJCVHCNNQXGTVJGJCPFU


Digital Painting

Style points for the ultimate Escher look By following these key elements to Escher’s style, you’ll be able to bring the Escher touch to your own compositions

4GVWTPVQVJGFTCYKPI NC[GTCPFRKEMVJG$TWUJVQQNYKVJ [QWT%JCTEQCN2GPEKNXCTKCPV(KTUVYG¶NN GUVCDNKUJVJGEWHHUCPFCTOU6JGUGCTGXGT[ UKORN[KPFKECVGFKPVJGQTKIKPCNRKGEGUQ LWUVWUGUKPINGÀQYKPINKPGUFGNKPGCVKPIVJG QXGTCNNHQTOCPFQWVNKPG4GOGODGTVJGUG YKNNGXGPVWCNN[VTCKNQHHCVVJGRQKPVYJGTG VJGJCPFUGTWRVHTQOVJGDQWPFCTKGUQHVJG VCDNGVUETGGP

10 No overlaps

+V¶UXKVCNVJCVVJGUG NKPGUFQPQVRTQLGEVDG[QPFVJG GFIGUQHVJGUETGGPCTGCQHVJGVCDNGV DGPGCVJQVJGTYKUGVJGQRVKECNKNNWUKQPYKNN DGFGUVTQ[GF+HCP[UMGVEJNKPGUFQCRRGCT QWVUKFGVJKUCTGC[QWECPCNYC[UWUGVJG 'TCUGTVQQNQPVJKUNC[GTVQENGCPVJGOWR

12

Shadow positioning6QOCMGVJG

GHHGEVQHVJGJCPFUGOGTIKPIHTQO VJGUWTHCEGEQPXKPEKPIVJGUGUJCFQYUPGGF VQVCRGTQHHCUVJGYTKUVUXCPKUJKPVQVJG UWTHCEG6JGUJCFQYUYKNNJCXGVJGGHHGEVQH NKHVKPIVJGJCPFUCDQXGVJGFTCYKPIUWTHCEG ;QWOC[PGGFVQJCVEJQXGTVJGUGCTGCUCHGY VKOGUVQIGVVJGOFCTMGPQWIJ

Paint like MC Escher

08 Define lines

Tutorial

6JGUV[NGQH/%'UEJGT

09 Sharpen up

7UG[QWTDTWUJCV CXGT[UOCNNUK\GJGTGCPF\QQO YGNNKPVQVJGKOCIG;QWECPKPETGCUGVJG FCTMPGUUQHVJGNKPGUUKORN[D[YQTMKPI QXGTVJGOCICKPCPFCICKP4GHGTVQVJG ¿PKUJGFFTCYKPICPFVJGKPFKXKFWCNJCPF RJQVQITCRJUVQIWKFG[QW&QP¶VRWVVJGUG JCTFQWVNKPGUCTQWPFVJGJCPFUDGECWUG YG¶NNDWKNFVJGOWRVQPCNN[

Perspective and planes/CP[QH'UEJGT¶UXKUWCNVTKEMUTGN[ QPRGTURGEVKXGCPFVJGKPVGTCEVKQPDGVYGGPFKHHGTGPVRNCPGU 6JKUUKORNK¿GFKNNWUVTCVKQPUJQYUJQYVJGGHHGEVYG¶TGVT[KPIVQ CEJKGXGJGTGYQWNFNQQMHTQOCOQTGQDNKSWGCPING+VJGNRUVQ XKUWCNKUGVJGGHHGEV[QW¶TGCKOKPIVQEQPXG[DGHQTG[QWCEVWCNN[ UVCTVQPVJGRTQLGEVKVUGNHCPFSWKEMVJWODPCKNUMGVEJGUCTGC IQQFYC[QHXKUWCNKUKPIVJGEQORQUKVKQPHTQOCPQVJGTCPING

11 Establish the shadows

0QY CFFCPQVJGTNC[GT6QJGNR[QW PCXKICVGCTQWPFVJGFTCYKPICPFVQUVCTV IKXKPIVJGQRVKECNKNNWUKQPUQOGNKHGDGIKPVQ UJCFGKPVJGXGT[FCTMGUVCTGCUCPFUJCFQYU YKVJKPVJGJCPFU5VCTVD[GUVCDNKUJKPI VJGDTQCFGUVUJCFQYU(QTVJKUWUGUJQTV JCVEJKPIUVTQMGUVJCVHQNNQYVJGUWTHCEG RNCPGQHVJGFTCYKPIVCDNGV

13 Add definition

5VKNNYQTMKPI YKVJVJGFCTMGUVVQPGUKPVJG JCPFUWUGVJGDTWUJCVCXGT[UOCNNUK\GVQ CFFVJGFCTMGUVNKPGU±VJGUGFGNKPGCVGVJG CEVWCNUJCRGUYKVJKPVJGJCPFUCPF¿PIGTU #ICKPWUGVJGTGHGTGPEGRJQVQUCUCIWKFG #VVJKUUVCIGVJG[OC[NQQMVQQFCTMDWVVJG[ YKNNDG¿PGYJGPYGUVCTVCFFKPIKPNKIJVGT OKFVQPGXCNWGU

Draughtsmanship and accuracy (QTCPQRVKECNKNNWUKQPUWEJ CUVJKUVQDGCUEQPXKPEKPICURQUUKDNGCNNVJGGNGOGPVUYKVJKP VJGRKGEGPGGFVQDGFTCYPCEEWTCVGN[6JKUKUYJ[YGUVCTVGFQHH D[VTCEKPIVJGJCPFUHTQORJQVQITCRJKETGHGTGPEGU$GHQTG[QW IGVKPVQVJGTGYCTFKPIDWUKPGUUQHOQFGNNKPICPFUJCFKPI[QW PGGFVQHQNNQYVJGITGCVOCP¶UGZCORNGCPFGPUWTGVJCV[QWT KPKVKCNQWVNKPGUCTGCUCEEWTCVGCPFKPHQTOCVKXGCURQUUKDNG

The Mobius Strip,QKPKPIVJGVYQGPFUQHRCRGTVQIGVJGT YQWNFHQTOCDGNVYKVJVYQUWTHCEGUCPFVYQGFIGUDWVKH[QW IKXGQPGGPFQHVJGUVTKRCJCNHVWTPDGHQTGLQKPKPIKV[QWETGCVGC /QDKWU5VTKRYJKEJJCULWUVQPGGFIGCPFCEQPVKPWQWUUWTHCEG 'UEJGTETGCVGFCPQVJGTKNNWUVTCVKQPHGCVWTKPIC/QDKWU5VTKR YJKEJFGRKEVUCPCPVVJCVKUCDNGVQYCNMCNQPIVJGGPVKTGUWTHCEG QHVJGUVTKRYKVJQWVGXGTETQUUKPICPGFIG

Digital Painting

185


Greyscale values If you’re having difficulty judging the greyscale values to use within the hands, try converting the reference photos to greyscale first. Open one of the hand images and go to Effects>Tonal Control>Adjust Colors. Grab the Saturation slider and drag it all the way to the left. Now go to Effects>Tonal Control>Bright And Contrast. Increase the Contrast slider to separate the individual tones more.

14

Initial modelling0QYUVCTVCFFKPIKPVJGOKFVQPGUCPFDWKNF

VJGOQFGNNKPI1PGQHVJGOQUVKORQTVCPVCURGEVUJGTGKUVJCV [QWTUJCFKPIHQNNQYUVJGEQPVQWTUCPFHQTOQHVJGJCPFU;QWJCXG VYQYC[UQHDWKNFKPIVQPGUYKVJVJGDTWUJDWVRTKOCTKN[VJGCEVWCN OCTMU[QWOCMGUJQWNFFGUETKDGVJGFGVCKNVGZVWTGCPFHQTO

16 Shadow, midtone and highlight

#KOVQFGUETKDGVJGVQPGU YKVJKPVJGJCPFU¿TUVCUIGPVN[UJCFGFOKFVQPGUCPFVJGP UJCFGDCEMKPVQFCTMGTCTGCUVQKPVGPUKH[VJGFGRVJQHVJGUJCFKPI 4GOGODGTVJGJKIJNKIJVUCTGETGCVGFUKORN[D[NGCXKPICTGCUQHVJG YJKVGECPXCUWPVQWEJGF

Pen or pencil? You’ll see in the finished version that one hand uses a stylus and one uses a pencil. You can copy the pencil from Escher’s original image. If you’re not confident about drawing this by eye alone, you can copy and paste the pencil from the original image, reducing its opacity so you can trace over it. Use the Free Transform routine to position, rotate and scale the pencil.

186

Digital Painting

15 Tone and contour

9JGTGCUVJGJQTK\QPVCNUVTQMGUYGWUGFVQ UJCFGKPVJGUJCFQYUGCTNKGTJGNRGFVQIKXGVJGKORTGUUKQPQHC ÀCVUOQQVJUWTHCEGVJGOCTMUYG¶TGWUKPIJGTGFGUETKDGVJGVGZVWTCN SWCNKV[QHVJGUMKP;QWECPCNUQEQPVTQNVJGFCTMPGUUQHVJGOCTMU[QW OCMGXKCVJGRTGUUWTG[QWCRRN[VQ[QWTUV[NWULWUVCU[QWPQTOCNN[ YQWNFYKVJCRGPEKN

17 Sharp as a tack

;QWECPKPVGPUKH[VJGFCTMGUVCTGCUCVCP[ VKOGD[UJCFKPIYKVJRNGPV[QHRTGUUWTGCICKPWUKPIJCVEJKPI NKPGUVJCVHQNNQYVJGEQPVQWTU/CMGUWTGVQMGGRVJGCEVWCNQWVNKPGQH VJG¿PIGTUPKEGCPFUJCTR
magic 18 Eraser

0QVG VJCVVJGUJCFKPIQP VJGJCPFUVTCKNUQHH CUVJG[GPVGTVJG RNCPGQHVJGFTCYKPI UWTHCEGUQJGTG[QW PGGFVQWUGXGT[ HCKPVUJCFKPI;QW ECPGCUKN[NKIJVGP CTGCUQHUJCFKPID[ WUKPIVJG'TCUGTVQQN CVXGT[NQYQRCEKV[ ;QWECPCNUQWUG VJG'TCUGTCVJKIJ QRCEKV[VQµNKHVQWV¶ CTGCUQHDTKIJV JKIJNKIJVUYKVJKP GZKUVKPIUJCFKPI

19 Define the surface

6QYCTFUVJG ¿PCNUVCIGUUQOGXGT[NKIJVFKCIQPCN UJCFKPIQXGTVJGVCDNGV¶UUWTHCEGYKNNJGNRVQ KPVGPUKH[VJGQRVKECNKNNWUKQP;QWECPFQVJKU QPCPQVJGTNC[GTIKXKPI[QWVJGQRVKQPQH TGFWEKPIVJGNC[GTQRCEKV[VQEQPVTQNVJGVQPG QHVJGUJCFKPI


Digital Painting

6JGVCDNGVKVUGNH KUCUKORNGUJCRGCPF[QWECPGCUKN[ ¿PFTGHGTGPEGRJQVQU;QWECPETGCVGCIWKFG HQTVJGQWVGTGFIGUQHVJGVCDNGVD[OCMKPI CUVTQMGFUJCRGCU[QWFKFKPUVGRUCPF TQVCVKPICPFUECNKPIKVKPVQRQUKVKQP&GNGVG VJKUNC[GTYJGP[QW¶XGVTCEGFCTQWPFKV

21 Simple shading

-GGRVJGUJCFKPI CTQWPFVJGGFIGUQHVJGVCDNGVSWKVG UKORNGLWUVCFFKPICNKVVNGJCVEJKPICNQPI VJGNGHVUKFGCPFDQVVQOGFIGVQUWIIGUVVJG EWTXGFEQPVQWT+PFKECVGVJGGFIGUQHVJG EQPVTQNUQPVJGVCDNGVYKVJUOCNNUJCFQYU TCVJGTVJCPFTCYKPIVJGORTGEKUGN[

22 Crosshatching

5QOGUWDVNG ETQUUJCVEJKPIKUCNNVJCV¶UPGGFGFVQ KPFKECVGVJGUWTHCEGDGPGCVJVJGVCDNGVDWV OCMGUWTGVQKPFKECVGVJGFCTMGTUJCFQYECUV D[VJGVQRJCPF6QETGCVGVJGETQUUJCVEJ GHHGEVUKORN[UJCFGYKVJFKCIQPCNNKPGU RNCEGFQXGTQPGCPQVJGTCVFKHHGTGPVCPINGU

Paint like MC Escher

20 Tracing template

Even once you’ve completed the drawing, you can still adjust the greyscale values within it. To do this, target one of the drawing layers and go to Effects>Tonal Controls>Equalize. To darken the values, grab the Black Point slider and drag it to the right. To lighten the values, grab the Brightness slider and drag it carefully to the right.

Tutorial

Adjust greyscale values

Escher’s other passion – beech wood globes

23 Enclosed area

(QTVJGKNNWUKQPVQYQTMCVKVUDGUVVJG DQWPFCT[CTQWPFVJGFTCYKPICTGCQPVJGVCDNGVPGGFUVQDG SWKVGYGNNFG¿PGFUQKV¶UYQTVJCFFKPIUQOGOQTGECTGHWNUJCFKPI CTQWPFVJKUCICKPWUKPIRCTCNNGNFKCIQPCNJCVEJKPIUVTQMGUVQTGPFGT VJGVYQFKOGPUKQPCNSWCNKV[JGTG

'UUGPVKCNN[FTCYKPICPFRCKPVKPIKUCNNCDQWVETGCVKPIQRVKECN KNNWUKQPUDWV'UEJGTVQQMVJKUUEKGPEGVQKVUOQUVGZVTGOGRQKPV 9JGPYGFTCYVJGQPN[YC[YGJCXGVQEQPXG[FKHHGTGPVRNCPGUQH RGTURGEVKXGKUD[VJGWUGQHNKPGCPFVQPG'UEJGT¶UQVJGTQDUGUUKQP YCUHCUJKQPKPIDGGEJYQQFINQDGUCPFCU[QW¶NNUGGKPVJG KNNWUVTCVKQPUDGNQYYKVJVJGECTGHWNWUGQHNKPGCPFVQPGCUKORNG EKTENGCPFTGEVCPINGECPDGOCFGVQCRRGCTCUCDCUKEIGQOGVTKE FGUKIPCVYQFKOGPUKQPCNÀCVUJCRGQTCUVJTGGFKOGPUKQPCN DQFKGUCPFRNCPGUQHRGTURGEVKXGYKVJVJGCFFKVKQPQHUQOGECTGHWN UJCFKPICPFOQFGNNKPI ;QWECPUGGCPGZVGPUKXGEQNNGEVKQPQH'UEJGT¶UITGCVGUVYQTMCV YYYOEGUEJGTEQOCPF[QW¶NNPQVKEGHTQOOCP[QHVJGKOCIGU VJGTGYJGPXKGYGFKPVGTOUQHUKORNGQWVNKPGUVJGGHHGEVQHVJG QRVKECNKNNWUKQPYKVJKPVJGOKUOQUVN[NQUV

Layer upon layer

24 Evaluate and refine

(KPCNN[GXCNWCVGVJGVQPGUKP[QWT FTCYKPIUJCFKPIQXGTCTGCUCICKPYKVJVJGDTWUJCVCVKP[ UK\GVQTGKPHQTEGVJGOYJGTGXGTPGEGUUCT[;QWECPCFFCP[¿PCN UJCTRFCTMFGVCKNUQPCPQVJGTNC[GT9JGP[QW¶TGJCRR[YKVJ[QWT FTCYKPIÀCVVGPVJGKOCIG

As this piece is created by overlaying many areas of shading, it’s best to add new layers to the image as you progress. By doing this you can isolate particular areas of shading and line work. This will give you more flexibility when it comes to erasing and correcting specific areas. You can also control the tone of the shading by adjusting the opacity of a specific layer.

Digital Painting

187

Tutorial Paint like Baroque

Paint like:$CTQSWG

Using Van Dyck’s painting style as a reference, create a baroque-looking portrait full of elegance and royalty JGPYGVCNMCDQWVVJG$CTQSWG YGVGPFVQOGCPVJGNCXKUJ CPFQUVGPVCVKQWUUV[NGQHCTV CTEJKVGEVWTGCPFFGEQTCVKQPUGGPKP VJGVJ%GPVWT[7PNKMGUQOGOQXGOGPVUKPCTV VJG$CTQSWGFKFP¶VJCXGOCP[µUKIPK¿GTU¶±FGXKEGU VJCVXKUWCNN[FG¿PGCUV[NG±YJGPKVYCU¿TUV EQPEGKXGF6JKUKUDGECWUGCVVJGVKOGQHVJGGCTN[ $CTQSWGKPVJGHQTOGTJCNHQHVJGUVJGKFGC QHCTVOQXGOGPVUYCUKVUGNHCXGT[PGYVJKPI6JG 4GPCKUUCPEGQHVJGRTGXKQWUEGPVWT[JCFGPFGF CPFRCVTQPUYGTGNQQMKPICTQWPFHQTPGYVTGPFU +P+VCN[VJGRQUV/CPPGTKUVCTVKUVUYJQJCF FTCYPHTQOVJGKPÀWGPEGUQHVJG4GPCKUUCPEG YGTGUVKNNEQPEGTPGFYKVJRCKPVKPI$KDNKECN VJGOGUCPFUWDLGEVU+VYCUKP(NCPFGTU C

EQWPVT[PQYURNKVDGVYGGP(TCPEG$GNIKWO CPFVJG0GVJGTNCPFUVJCVVJGPGYDQTP$CTQSWG GXGPVWCNN[HQWPFKVUUV[NKUVKEFGXKEGU±KPVJGJCPFU QH2GVGT2CWN4WDGPUCPFOQUVPQVCDN[JKURWRKN 5KT#PVJQP[8CP&[EM 8CP&[EM¶UTKEJECPXCUGUFKURNC[GFCP KORTGUUKXGITCURQHENCUUKECNRCKPVKPIVGEJPKSWGU DWVCNUQUJQYECUGFKPVTKIWKPIPGYFKTGEVKQPU KPVJGJKUVQT[QHCTV*KUUWDLGEVUYGTGP¶VFTCYP HTQOCNNGIQTKECNNGIGPFUQT$KDNKECNVCNGU +PUVGCFJGRCKPVGFTQ[CNV[CPFRCKPVGFVJGO YGNN±ÀCVVGTKPIN[CPFQUVGPVCVKQWUN[6JCPMUVQ 8CP&[EM¶URCKPVDTWUJVJGETQYPGFJGCFUQH 'PINCPF%JCTNGU+CPFJKUSWGGP*GPTKGVVC/CTKC YGTGVTCPUHQTOGFHTQOUQOGYJCVWPCVVTCEVKXG KPFKXKFWCNUKPVQKEQPUQHVJGECXCNKGTCTKUVQETCE[

(NQYKPIFTCRGT[UQHVN[EWTNKPIJCKTRGTHGEVUMKP CPFCRRTQCEJCDNGUOKNGUFG¿PGFVJGRQTVTCKVUVJCV VJGKTPQYMPKIJVGFEQWTVRCKPVGTRTQFWEGF +V¶UVJGUGCURGEVUQH8CP&[EM¶URCKPVKPIUVJCV YGPQYUGGCUEQTPGTUVQPGUQHVJG$CTQSWGRQTVTCKV UV[NG+PNCVGT[GCTUVJG(NGOKUJOCUVGTJCUDGGP CEEWUGFQHUWDXGTVKPICOQTGTGCNKUVKEVTCFKVKQPQH RQTVTCKVRCKPVKPI*G¶UGXGPDGGPJGNFTGURQPUKDNG HQTVJGPGICVKXGRGTEGRVKQPQHVJGCTKUVQETCE[¶U NKHGUV[NGVJCVNGFVQVJG'PINKUJ%KXKN9CT &GURKVGVJKU8CP&[EM¶UTGOCKPUQPGQHVJG OQUVDGCWVKHWNCPFCRRTGEKCVGFRQTVTCKVUV[NGU *GTGYGUJQY[QWJQYVQTGETGCVGVJKU RQTVTCKVKOCIGDCUGFQPJKURCKPVKPIUQH3WGGP *GPTKGVVC/CTKCWUKPI2CKPVGT¶UDTWUJGUVQRCKPV TKEJVQPGU

Influences from old masters Friendly faces 2QTVTCKVUQH$TKVCKP¶URTGXKQWUIGPGTCVKQPUQH 6WFQTTQ[CNV[UJQYGFVJGOCURQYGTHWN CPFGXGPETWGNRGQRNGDWV8CP&[EMOCFG JKU5VWCTVUWDLGEVU¶HCEGUNQQMHTKGPFN[CPF CRRTQCEJCDNG±HCTOQTGVJCPVJG[CEVWCNN[ YGTG*GFKFVJKUD[UJQYKPIVJGOYKVJC UQHVJCNHUOKNGCUKHVJKPMKPIQTGPICIGFKP EQPXGTUCVKQPCPFYKVJCDUQNWVGN[ÀCYNGUU UMKP±RGTHGEVN[DNGPFGFCPFPGKVJGTVQQ OCVVGPQTVQQUJKP[+PHCEVOCP[HQTGKIP EQWTVKGTUYGTGUWTRTKUGFD[VJGXCTKCPEG DGVYGGPVJG'PINKUJSWGGP¶URQTVTCKVUCPF JGTCEVWCNCRRGCTCPEG

188

Digital Painting

Elaborate drapery 1PGQHVJGVJKPIUVJCV8CP&[EMTGOCKPUOQUVHCOQWUHQTKUJKU EQPUWOOCVGOCUVGT[YJGPKVECOGVQRCKPVKPIENQVJ6JGYGCNVJ[ VJ%GPVWT[EQWTVUQH'WTQRGYKVJQXGTUGCUVTCFGTQWVGUCPFPGY EQNQPKGUCXCKNCDNGVQVJGOTGXGNNGFKPYGCTKPICPFFGEQTCVKPIVJGKT JQOGUYKVJKORQTVGFUKNMUUCVKPUCPFQVJGTHCDTKEUHTQOVJG(CTCPF /KFFNG'CUVCUYGNNCUVJGOQTGVTCFKVKQPCN'WTQRGCPXGNXGVUCPF VWNNGU6QTGETGCVGVJGGHHGEVQHFKHHGTGPVENQVJVGZVWTGUQDUGTXCVKQP KUVJGMG[±NQQMCVJQYXCTKQWUHCDTKEUDQWPEGDCEMNKIJVKPFKHHGTGPV FKTGEVKQPUCPFQRCEKVKGU

1PGQHVJGDKIIGUVKPÀWGPEGUQP8CP&[EM CPFJKUOCUVGT2GVGT2CWN4WDGPUYCUVJG NCVG4GPCKUUCPEGGCTN[/CPPGTKUVCTVKUV 6KVKCP6KVKCPKUHCOGFHQTJKUWUGQHTKEJ EQNQWTUYJGPRCKPVKPIRGQRNGUQOWEJUQ VJCVCRCTVKEWNCTUJCFGQHCWDWTPJCKTKU TGHGTTGFVQCUµ6KVKCP¶VQVJKUFC[+H[QWYCPV VQWPFGTUVCPFYJCVOQVKXCVGFVJGCTVKUVU QHVJG$CTSWGYJGPVJG[YGTGFGXGNQRKPI VJGUV[NKUVKEFGXKEGUQHVJGOQXGOGPVIQ DCEMVQVJGCTVKUVUYJQKPÀWGPEGFVJGO 6KVKCPKUUVKNNETGFKVGFYKVJETGCVKPIUQOGQH VJGYQTNF¶UOQUVDGCWVKHWNTGRTGUGPVCVKQPU QHUMKPJCKTCPFG[GUVJCPMUVQJKUWUGQH GZRGPUKXG+VCNKCPRKIOGPVU



Tutorial

Artist


Five hours Skill level

Intermediate

Paint like Baroque

On the CD

Start files

Digital Painting

189


5VCTVVJGDCUG Take the sketch and shade in the basic colours

01 The sketch

4GUGCTEJ KUGUUGPVKCNYJGP VT[KPIVQTGETGCVG CUV[NG.QQMCVQNF OCUVGTU¶RCKPVKPIU UGCTEJHQTTGHGTGPEG HQTGXGT[VJKPIVJCV YKNNDGFGRKEVGFKPVJG RCKPVKPIUKPEGTGCNKUO KUMG[JGTG+PVJKUECUG VJGUMGVEJYCUFQPG D[JCPFYJKNGNQQMKPI CVOWNVKRNGTGHGTGPEGU VJGPKPMGFFKIKVCNN[ KV¶U RTQXKFGFQPVJG%& 6JGTG¶UVJGECPXCUNC[GT CPFCUGRCTCVGNC[GT YKVJVJGNKPGCTVVJCV YKNNYQTMCUCIWKFG

02 Pick your colours

(QTVJKURCKPVKPIYGYCPVGFVQIQHQTCTKEJIQNFGPGNGICPV CVOQURJGTGYKVJDWTPV[GNNQYUCPFQTCPIGU6JGMG[KUVQWUGTGHGTGPEGCUOWEJ CURQUUKDNG6CMGUGXGTCNRCKPVKPIUCUGZCORNGUCPFETGCVG[QWTEQNQWTRCNGVVGKPVJG/KZGT RKEMKPIVJGVQPGUHQTVJGUMKPJCKTDCEMITQWPFCPFENQVJGU

“Use reference as much as possible. Take several paintings as examples”

05 Skin base

03 The brushes

6JGDTWUJGUYG¶NNWUGYKNNDGOQUVN[VJG1KN DTWUJGUIGPGTCNN[VJGQPGUYKVJDNGPFKPIRTQRGTVKGUKPQTFGT VQIGVCUQHVNQQM5QOGQHVJGOYKNNDGVJG$TKUVNGDTWUJ&GVCKNDTWUJ 5OGCT[4QWPF4QWPF%COGNJCKTCPF6KPVKPI±5QHV)NC\KPI4QWPF

04 Block in the colours

7UKPICP QRCSWGDTWUJNKMGVJG%CRVWTG $TKUVNGDNQEMKPVJGFKHHGTGPVEQNQWTUQHVJG GNGOGPVUVJCVOCMGWRVJGRCKPVKPI7UGCU OCP[NC[GTUCUPGEGUUCT[VCMKPICFXCPVCIG QHVJGFKIKVCNOGFKC

07 The dress

06 Start the clothing

2CKPVVJGUKNM[ENQVJGUCICKPQDUGTXKPI TGHGTGPEGUUWEJCURQTVTCKVUD[8CP&[EM5MGVEJQWVVJG UJCFQYUCPFNKIJVU5KNMHCDTKEKUYGNNMPQYPHQTJCXKPICENGCT EQPVTCUVUQGZCIIGTCVGVJGEQNQWTUVQCNOQUVRQORQWUNGXGNUKPQTFGT VQCEJKGXGVJG$CTQSWGNQQMWUKPIVJGEQNQWTUHTQOVJG/KZGT

190

Digital Painting

5VCTV TG¿PKPIVJGUKNM[ FTGUU7UGDTKIJV [GNNQYUCPF QTCPIGUYJKEJ U[ODQNKUGYGCNVJ )KXGUJCRGVQVJG YTKPMNGUYKVJVJG 5OGCT[4QWPF DTWUJCPFDNGPFCPF CFFFGVCKNUWUKPI ,WUV#FF9CVGT5VC[ XGT[ENQUGVQ[QWT TGHGTGPEGFTCYKPI KPQTFGTVQ CEJKGXGCJKIJNGXGN QHTGCNKUO

7UKPITGHGTGPEGRJQVQU QTQDUGTXKPI[QWTUMKPKPCOKTTQT UVCTVUJCFKPIVJGHCEGYKVJVJG5QHV)NC\KPI CPF5OGCT[4QWPFDTWUJGU5KPEGVJG[ JCXGUOWFIKPIRTQRGTVKGUVJG[ETGCVGC UQHVVGZVWTGFGRKEVKPIVJGRGTHGEVUMKPKP $CTQSWGRCKPVKPIU-GGRKPOKPFVJGECPQP VJGRQTVTCKVKUVUWUGFCVVJCVVKOGRNGCUCPV UOKNGDKIUOKNKPIG[GUFGGRG[GNKFUPQ G[GNCUJGUTQU[EJGGMU7UGVJG&GVCKNDTWUJ YJGPTGSWKTGF



$CTQSWGTGUQWTEGU Always use reference when painting elements In order to paint realistic elements, your best bet is to refer to the websites of the online experts and explore the fashions, costumes and forms of the time for accurate period style results.

Paint like Baroque

01 Drapery 08 Keep on refining

6JGTGCNKUVKE HCDTKEKUQPGQHVJGOQUVFKUVKPEVKXG HGCVWTGUQHC$CTQSWGRCKPVKPIYJKEJKU YJ[[QWJCXGVQVCMG[QWTVKOGVQMGGR QPTG¿PKPIKV7UGVJG&GVCKN1KNDTWUJVQ IKXGVJQUGGZVTCYTKPMNGUVQVJGUKNMCPF YJGPFQPGUOWFIGKVYKVJVJG5OGCT[ 4QWPFWUKPIVJG&TQRRGTVQQNVQRKEMVJG TKIJVEQNQWTU

09 All about silk

6JGNCF[KU JQNFKPIQTCPIGHCDTKECPFYG PQVKEGVJCVVJGTG¶UCNCEMQHEQPVTCUVDGVYGGP VJGHCDTKECPFVJGFTGUU6JGEQNQWTUYGTG EQTTGEVGFKP'HHGEVU±6QPCN%QPVTQN7UGVJG UCOGVGEJPKSWGCUHQTVJGFTGUUWUKPIVJG UMGVEJCUCIWKFGNKPGHQTUJCFQYUCPF NKIJVU)KXGUQOGUVTQMGDTWUJGUWUKPIVJG 4QWPF%COGNJCKT

+H [QWYCPVVQ RCKPVTGCNKUVKENQQMKPI %CXCNKGTENQVJGUVJG DGUVYC[KUVQ¿PFVJG CRRTQRTKCVGTGHGTGPEG YYYFGXKCPVCTV EQOKUCITGCVRNCEGVQ UGCTEJHQTHTGGUVQEM WUKPIVJG5GCTEJDCT ,WUVTGOGODGTVQ HQNNQYVJGIWKFGNKPGU QHVJGUVQEMRTQXKFGTU 6JGQPGUGGPKPVJG KOCIGQPVJGTKIJVKU HTQO%QDYGD¶UUVQEM

The drapery in 10 the background /QUV$CTQSWG RQTVTCKVUJCXG FTCRGT[JCPIKPI KPVJGDCEMITQWPF WUWCNN[KPFCTM VQPGUDWVVJG[FQP¶V JCXGVQNQQMOQTG FGVCKNGFVJCPVJG NCF[¶UFTGUU7UGC PKEGVGZVWTGFDTWUJ UWEJCUVJG(NCV1KNU VQETGCVGVJGHQNFU

11

The hair )KXGUQOGUJCRGVQVJGJCKT

RCKPVKPIVJGFCTMGUVVQPGU¿TUVQPVQR QHVJGDCUGEQNQWTYKVJCXGT[FCTMDTQYP WUKPICDTWUJYKVJDNGPFKPIRTQRGTVKGUNKMG VJG4QWPF%COGNJCKTCPFHQNNQYKPIVJGÀQY QHVJGJCKTCPFVJGEWTNU6JGPQPVJGUCOG NC[GTQTCUGRCTCVGQPGIKXGUQOGNKIJVU WUKPI[GNNQYCPFTGFJWGU

02 Period clothes

#IQQFYGDUKVGVQUGGQNFOCUVGTU¶ RCKPVKPIUKUYYYCTVTGPGYCNQTI6JKUUKVGRTQXKFGU [QWYKVJCUGCTEJHQTCPCTVKUV¶UPCOG[GCTYJGPJGQTUJGYCU DQTPCPFUQQP+H[QWTG¿PGVJGUGCTEJRGT[GCT[QWECPIGV ITGCVTGHGTGPEGUHQTRGTKQFHCUJKQPUCPFJCKTUV[NGU

12 Refine the hair

1PGQHVJGHGCVWTGU QH$CTQSWGRCKPVKPIUKUVJGUQHVUKNM[ JCKTQHVJGRGTUQPYJQKURQTVTC[GF6Q CEJKGXGVJCVTGCNKUVKENQQMRCKPVKPFKXKFWCN UVTCPFUQHJCKTYKVJC&GVCKNDTWUJVQOCMG KVOQTGCNKXG+H[QWFKFVJGJCKTKPUGXGTCN NC[GTUEQNNCRUGVJGOCPFUOWFIGVJGOYKVJ CDTWUJNKMGVJG5OGCT[4QWPFKPQTFGTVQ OCMGKVNQQMPCVWTCN

03 Portraits

#PQVJGTITGCVYGDUKVGVQ¿PFOQTG TGHGTGPEGCPFKPURKTCVKQPHQTRCKPVKPI$CTQSWGKU YYYYICJW6JG5GCTEJ3WGT[QRVKQPJCUXGT[WUGHWN HGCVWTGUUWEJCUVKOGNKPGUEJQQNHQTOCPFV[RG(QTKPUVCPEG [QWEQWNFUGCTEJHQTRQTVTCKVUDGNQPIKPIVQVJG RGTKQFKPQTFGTVQUGGJQYRGQRNGFTGUUGFFWTKPIVJCVVKOG

Digital Painting

191


)GVKPVQVJGFGVCKNU With the basics done, refine the painting to get into the Baroque look

Composite methods To help add depth to your paintings, you might want to make use of composite methods. For instance, if you want to add deeper shadows to a layer, you could create another one on top of it and paint with the composite method Multiply. If you want to apply glazing, the best composite method to use would be Gel, otherwise the Glazing brush will not create the desired effect. Use composite methods to help you change the colours and overall look of your artwork.

13 Sunflowers

6JGUGQHVGPU[ODQNKUGF VJGTGNCVKQPUJKRDGVYGGPMKPICPF UWDLGEVCUUWPÀQYGTUVWTPVQVJGUWPHQTNKHG CPFNKIJVUQVJGUWDLGEVUJQWNFVWTPVQVJG OQPCTEJ6QRCKPVUWPÀQYGTUTGHGTVQ8CP &[EM¶U5GNH2QTVTCKV9KVJ5WPÀQYGTU$TKUVNG CPF&GVCKNDTWUJGUIKXGUQHVRGVCNU

14

Colour correction 9GECPCFFOQTG

FGRVJVQVJGKNNWUVTCVKQPD[CFFKPI GZVTCEQPVTCUVCPFEJCPIKPIVJGDTKIJVPGUU WPFGT'HHGEVU 6QPCN%QPVTQN;QWECPRNC[ CTQWPFYKVJVJGTGFUDNWGUCPFITGGPJWGU WPVKN[QWCTGUCVKU¿GFYKVJVJGTGUWNV

If your painting looks too sharp, you might want to soften the contour of a figure. Using a soft-edged eraser, carefully go over the contours so it will look as though the figure and the underlying background are part of the same painting. Use this for the hair as well, since hair is made of a soft material, in order to make it look more appealing and realistic. Hair with hard edges will look rather unnatural.

192

Digital Painting

#RRN[ (KPG(GCVJGTKPI1KNUKPVJGFKTGEVKQP QHVJGECPXCU HTQOVJGVQRUVTCKIJVVQVJG DQVVQOVQETGCVGCPKEGVGZVWTGVJGP$TKUVNG 1KNUVQCFFOQTGEQNQWTXCTKGV[#NUQWUGVJG $TKUVNG1KNUHQTVJGEQWPVGTKPQTFGTVQCEJKGXG CUQHVNQQMKPIYQQFVGZVWTG

The sunflowers’ 16 glass vase

6Q CEJKGXGVJG VTCPURCTGPVNQQMQH VJGINCUU[QWPGGF VQETGCVGVYQNC[GTU ±VJG¿TUVYKVJVJG DCUKEUJCFKPIQHVJG INCUUWUKPICDTWUJ NKMGVJG$TKUVNGQT 5OGCT[4QWPFYKVJ VJGVTCPURCTGPE[ TGFWEGF6JGPQPVQR QHVJCVNC[GTTG¿PG VJGUJCFKPICPFCFF FGVCKNUYKVJVJG&GVCKN DTWUJKPQTFGTVQIGV VJGUJKPG&QP¶VHQTIGV VJGECUVUJCFQYQP VJGEQWPVGT

Erase the contours

15 Back to the background

17 Back to the face

9GPQVKEGFVJCVVJGHCEGYCUP¶VVJCV[QWPI CPFEJGGTHWN5QYGPGGFVQEJCPIGVJGRTQRQTVKQPUDGHQTG IQKPIHWTVJGTKPVJGUJCFKPI6JGEJKPEJGGMUG[GNKFUCPFG[GDTQYU YGTGUQHVGPGFCPFOQTGJWGUYGTGCFFGFUWEJCUFGUCVWTCVGFITGGPU CPFNKNCEUCPFCNUQUQOG[GNNQYUKPQTFGTVQCFFOQTGFGRVJ9KVJ VJG&GVCKNUDTWUJFTCYKPVJGNCDKCNHWTTQYUG[GNKFUPQUGG[GDTQYU RWRKNUCPFG[GNCUJGU

18 The skin

6JGUMKP FGRKEVGFKP$CTQSWG RCKPVKPIUKUXGT[ NWOKPQWUCPF FGNKECVG7UWCNN[VJG JCPFUJCXGNQPI UV[NKUGF¿PIGTUCPF UQHVUJCFKPIYKVJ CNQVQHDNGPFKPI [GVVJGCPCVQO[KU XGT[CEEWTCVG6JG VKRUQHVJG¿PIGTU CTGRKPMYKVJNKIJV ¿PIGTPCKNU7UG [GNNQYRWTRNGTGF CPFITG[VQUJCFGVJG UMKPVQIGVCPCVWTCN NQQMYKVJVJG 5QHV)NC\KPI 4QWPFDTWUJ

Adding jewellery 19 and details

6Q GORJCUKUGVJG µTQ[CNV[¶HGGNQHVJG RCKPVKPI[QWEQWNF CFFUQOGLGYGNNGT[ ±KPVJKUECUGC RGCTNPGEMNCEGCPF UQOGOQTGRGCTNUKP VJGJCKT7UGC¿PG DTWUJHQTFGVCKNKPI


Digital Painting cast shadows 20 Add


0QYVJCVCNNGNGOGPVU QHVJGRCKPVKPICTG FQPGYGECPRCKPV VJGECUVUJCFQYU ±VJGUJCFQYQHVJG JCPFUQPVJGENQVJKPI ENQVJKPIQPVJGEJGUV JCKTQPVJGHCEGGVE %TGCVGCPGYNC[GTQP VQRQHVJGENQVJGUCPF CPQVJGTQPVQRQHVJG UMKPCPFYKVJVJG(KPG (GCVJGTKPIDTWUJRCKPV QPVJGECUVUJCFQYU ;QWECPCFFC%COGTC /QVKQP$NWTGHHGEVCPF EJCPIGVJGEQORQUKVG OGVJQFVQ/WNVKRN[VQ GPJCPEGVJGGHHGEV

22 Glazing effect 21 The final touches

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Key Baroque elements Take a look at the most important Baroque elements in a painting When painting in a given style, you may want to research how the painters used to do it. For instance, faces in Baroque paintings are pleasant looking, with stylised and idealised proportions. This was done in order to flatter the person to be portrayed. Apply the same canons to your painting to get the desired look. Pay special attention to the proportions and compare them to the way people are portrayed today.

SOFT HAIR 6JGJCKTYCUKPURKTGF D[6KVKCP¶UFGVCKNGF CPFUQHVNQQMKPIJCKT WUWCNN[EWTN[KPEQNQWTU VJCVXCTKGFHTQODNQPFG TGFUVQOKFDTQYPU5QHV EWTNKPIJCKTKUCNUQQPGQH VJGMG[UKIPK¿GTUQHVJG ECXCNKGTHCUJKQPUQHVJG VJ%GPVWT[

LUMINESCENT SKIN 6JGUMKPYJKEJYCUKPÀWGPEGFD[ 6KVKCPYCUTGCNKUVKECPFRQN[EJTQOCVKE NQQMKPIVTCPUNWEGPVCPFTQOCPVKEYKVJ TQU[EJGGMUCPFNKRU

PLEASANT FACIAL EXPRESSION 2GQRNGRQTVTC[GFKPTQ[CN RCKPVKPIUWUWCNN[JCFIGPVNG HCEGUYKVJUV[NKUGFHGCVWTGU YJKEJOQUVQHVJGVKOG FKHHGTGFHTQOTGCNKV[6JKU YCUFQPGKPQTFGTVQOCMG VJGOOQTGHTKGPFN[CPFRNCEKF NQQMKPICPFCNUQVQOCMG VJGONQQMOQTGDGCWVKHWNVJCP VJG[YGTGKPTGCNNKHG

BRUSHSTROKES 5QHVDTWUJUVTQMGUYGTGWUGF VQTGETGCVGKPVTKECVGGNGOGPVU UWEJCUVJGHCDTKE

SILKY DRAPERY /QUVQH8CP&[EM¶URQTVTCKVUFGRKEVGF RGQRNGYGCTKPI%CXCNKGTUV[NG FTGUUGUWUWCNN[UKNMCPFUCVKPKP DTKIJVEQNQWTUYKVJGNCDQTCVGNCEG EQNNCTUCPFEWHHU

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Tutorial Paint like Pop Art

Paint like:2QR#TV

We show you how to create a punchy piece of personal Pop Art within Painter Tutorial info Artist

Kyle T Webster Time needed

3 hours Skill level


Line art and final image

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Art for art’s sake

Half-tone dots 6QTGETGCVGVJGNQQMQHEJGCREQOKEU .KEJVGPUVGKPRCKPVGFJCNHVQPGFQVRCVVGTPU KPUQOGQHJKUYQTMVQOKOKEVJGVTCFKVKQPCN HQWTEQNQWTRTKPVKPIRTQEGUU %/;-6Q CEEQORNKUJVJKUJGWUGFCNCTIGOGVCNUETGGP

ECNNGFCDGPFC[YKVJCFQVRCVVGTPRWPEJGF KPVQKVUUWTHCEG*GRCKPVGFKPUKFGVJGJQNGU CUKHWUKPICPGPQTOQWUUVGPEKN

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Pulp imagery 6JGKOCIGUKPOWEJQH.KEJVGPUVGKP¶URQRWNCTYQTMU GCTN[5KZVKGU ECOGFKTGEVN[HTQOVJGRWNROCIC\KPGUCPFEQOKEUQHVJGVKOG 2WNRUYGTGEJGCRN[RTKPVGFRKGEGUQH¿EVKQP PQXGNUQTEQOKEUQHVGP FYGNNKPIQPVJGUCOGVJGOGUTQOCPEGETKOGFTCOCJQTTQTYCT CPFCFXGPVWTG2WNR¿EVKQPGZRGTKGPEGFKVUJGKIJVQHRQRWNCTKV[HTQO VQ

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Digital Painting Tutorial Paint like Pop Art Digital Painting

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2QR#TVHTQORJQVQU Make photos pop quickly and easily

5VCTVVJGEQORQUKVKQP Introduce thick line art to capture the Pop Art feel

For beginners it’s really easy to transform a photo into a piece of Pop Art. Make use of Painter’s Pop Art Fill tool to quickly and easily reproduce Lichtenstein’s signature look.

01 Rough out the composition

+H[QW YCPVVQFTCY[QWT2QR#TVRKGEGHTQO UETCVEJETGCVGCUMGVEJQH[QWTEQORQUKVKQP CVCHCKTN[NQYTGUQNWVKQPVQUCXGRTQEGUUKPI RQYGTCPFVJGPKPETGCUGKVUUK\G KVFQGUP¶V OCVVGTKHKVNQUGUSWCNKV[CVVJKUUVCIG

02 Ink the line art

#FLWUVVJG VTCPURCTGPE[QHVJGUMGVEJNC[GT CPFFTCYQXGTKVVQETGCVGVJKEMDNCEMNKPGCTV WUKPIVJG6JKEMµP6JKPRGP#NVGTPCVKXGN[ QRGPVJGµ2QR#TV.KPG9QTM¶UVCTV¿NGHTQOVJG %&VQDGIKP[QWT2QR#TVRKGEG

01 Duplicate

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outlines 03 Create

5QOGQHVJGDNCEM NKPGUKPQWTUMGVEJ CTGSWKVGVJKEM UQYGYKNNQPN[DG FTCYKPIVJGQWVNKPGU QHUQOGQHVJQUG CTGCU9GYKNNVJGP ¿NNVJGOKPNCVGT YKVJVJGJCPF[2CKPV $WEMGVVQQN

02 Pop Art Fill

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Multiply and 03 Posterize

5GVVJG %QORQUKVGOQFG QHVJGVQRNC[GTVQ /WNVKRN[5GNGEVVJG DQVVQONC[GTCPF IQVQ'HHGEVU 6QPCN %QPVTQN 2QUVGTK\G 5GVVJGPWODGT QHNGXGNUVQHQWT 0QY[QW¶TGFQPG ±KPUVCPV2QR#TV

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04 Close off the page borders

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05 Fill in the line work

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Digital Painting 9JCVCTG[QWVJKPMKPI! Tutorial

Create the thought bubbles that are typically found in Pop Art

06 Fill in large shapes

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#FFCPGYNC[GT CPFECNNKV$WDDNG7UKPIVJG1XCN UGNGEVKQPVQQNENKEMCPFFTCIVQETGCVGVYQ OCKPVJQWIJVDWDDNGQXCNUKPVJGEGPVTGQH [QWTECPXCU JQNF5JKHVVQETGCVGOWNVKRNG DWDDNGU6JG[UJQWNFQXGTNCRD[CDQWVC VJKTFVQOCMGVJGUJCRGKPVJKUUMGVEJDWV [QWECPETGCVGCP[UJCRG[QWNKMG/QXGVJG QXCNUVQVJGDQVVQONGHVEQTPGT

Paint like Pop Art

07 Thought bubble

08 Small ovals

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Other Pop Art styles Andy Warhol As one of the most famous artists of the 20th Century, Andy Warhol’s pop art consisted of painted and silk-screened images taken directly from American pop culture: Campbell’s soup cans, Coca Cola bottles and other products, as well as the most famous faces of the time, like Marilyn Monroe. His style was immaculate, bold, minimalist, and immediately original. There is an Andy Warhol museum in Pittsburgh, or you can visit its website at www. warhol.org and learn how to make your own silkprint.

09 Fillovalsin the

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Richard Hamilton

10 New layer for bubble outlines

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A master of the delicate art of collage, English artist Richard Hamilton was at the forefront of the Pop Art movement. His style, influenced by many yet still entirely personal, was unmistakable in its thorough understanding of design and balance, and his images were instantly thought provoking and visually challenging. His most notable work, Just What Is It That Makes Today’s Homes So Different? So Appealing? is an icon of Pop Art. It is considered by many to be one of the first works of Pop Art. You can discover more about Hamilton and his life at the Tate Online (www.tate.org.uk).

Digital Painting

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Draw outlines and fill in blacks A trick we used in this image is a trick that we frequently employ in other illustration work. For a line that varies in width from thin to very thick, we cannot always rely on the pressure sensitivity of our drawing tablet to perform as we would like it to when using an extremely large Thick ‘n Thin pen. So instead, we draw outlines and use the Paint Bucket to fill in between these lines to create heavy line work (in this tutorial, this was handy for most of the line work – since it had to be extra thick and bold).

11 Add the thought

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12 Build a city

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and sk 14 Window

13 City fil

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[1P CPGYNC[GTDGPGCVJ VJG%KV[NC[GT FTCYCTGEVCPIWNCT UGNGEVKQPVQ TGRTGUGPVVJG YKPFQYDGJKPFQWT OCKPEJCTCEVGT7UG VJG2CKPV$WEMGV VQ¿NNVJGNC[GT YKVJCFCTMDNWG UM[4GOGODGT .KEJVGPUVGKP¶U EQNQWTUYGTG UCVWTCVGFCPF WPUQRJKUVKECVGF LWUVNKMGVJGEQOKEU

6JTQWIJVJGYKPFQY Define the background and frame the window

15 Create background colour

0GZVKPXGTV[QWTUGNGEVKQP CPF¿NNVJKUCTGCYKVJCFGGRTGFEQNQWTHQTVJGKPVGTKQTYCNN QHVJGTQQO6JKPMCDQWVVJGDQNFUVTQPIN[EQNQWTGFFoEQTWUGFKP VJG(KHVKGUCPF5KZVKGUCPFFQP¶VUJ[CYC[HTQODNQEMUQHTGCNN[ JGCX[EQNQWT

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Digital Painting

16 Window frame

7UKPIVJG4GEVCPIWNCTUGNGEVKQPVQQNCPF VJG2CKPV$WEMGVUGNGEVCPF¿NNTGEVCPIWNCTUJCRGUVQETGCVG VJGHTCOGUCTQWPFVJGYKPFQY WUKPIDNCEM¿NNU;QWECPCNUQUGNGEV VJGCTGCQHVJG%KV[NC[GTVJCVYKNNDGETQRRGFQWVQHVJGYKPFQYCPF FGNGVGKVCVVJKURQKPV


Digital Painting (KPCNKUG[QWT2QR#TVOCUVGTRKGEG

1P CPGYNC[GT NQECVGFCDQXGVJG %KV[NC[GTETGCVGC UOCNNTGEVCPINGCPF ¿NNKVYKVJCNGOQP [GNNQYEQNQWT9KVJ VJG.C[GT#FLWUVGT CTTQY%VTN%OFENKEM QPVJGTGEVCPINGCPF FTCICPFFTQRCEQR[ QHKVVQETGCVGCPQVJGT YKPFQY&QVJKUWPVKN [QWJCXGGPQWIJ YKPFQYUCPFVJGP EQOOKVVJGEJCPIGU VQVJGNC[GT

19 Colour unification

18 Lasso and fill

1PCNC[GTLWUVWPFGT VJG.KPGUNC[GTWUGVJG.CUUQVQQN VQUGNGEVCTGCUCPFVJG2CKPV$WEMGVVQFTQR KPNCTIGÀCVCTGCUQHEQNQWTVQ¿PKUJVJG DCUKEEQNQWTUQHVJGCTV9GPCOGFVJKUNC[GT (QTGITQWPF%QNQWT

6QGPUWTGVJCVVJGKOCIGHGGNUEQJGUKXG YGTGEQOOGPFWUKPIVJGEQNQWTUVJCVCTGCNTGCF[QEEWR[KPI VJGDCEMITQWPFEQNQWTNC[GTU(QTKPUVCPEGYGTGWUGFVJGYCNN EQNQWTHQTVJGNKRUCPF¿PIGTPCKNUVJGUM[NKPGEQNQWTHQTVJGG[GUCPF PKIJVIQYPCPFVJGEKV[NKIJVUHQTVJGJCKT

%JQQUG5GNGEV#NNQP[QWT(QTGITQWPF%QNQWTNC[GT VJGPEQR[VJKUKPHQTOCVKQP0QYWPFGT'FKVUGNGEV2CUVG+P 2NCEGVQETGCVGCFWRNKECVGNC[GTQHEQNQWTHQTQWT2QR#TVGHHGEVVQDG CRRNKGFQPVQ

21 Pop Art fill

22 Layer properties

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Paint like Pop Art

17 Lights

A great way to get a more successful outcome when it comes to colour is to try and limit your palette. Colours that appear in numerous locations in your composition will have a unifying effect and will make for a more balanced design. The computer offers us far too many colours, so try imagining you only have a few tubes of paint and it will help you to make careful decisions with your colour choices. We always set a personal limit of six to ten colours (and values of these colours) in any one illustration.

Tutorial

Unify your colours

Make your image pop with colour and effects

20 Pop!

(KPCNN[UGV[QWT.C[GT%QORQUKVG /GVJQFVQ/WNVKRN[CV1RCEKV[UQVJCVKVETGCVGUC NKIJVRTKPVGFGHHGEV0QY[QW¶TGFQPG&QP¶VHQTIGVVQUKIP[QWT2QR #TVOCUVGTRKGEG

Digital Painting

199

Tutorial Paint like Classicism

Paint like:%NCUUKEKUO

Kelley Harris leads us through the fascinating process of creating a scene with a classical approach and concept Tutorial info Artist

Kelley Harris Time needed



Start file

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Digital Painting

Symbolism

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Digital Painting Tutorial Paint like Classicism Digital Painting

201


6JGENCUUKEVQWEJ Create a classical masterpiece

from life 01 Draw

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02 Background

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oily 04 Anapproach

Rest up If you find yourself bogged down in a problem part of your painting, walk away from it. You can get frustrated trying to over-correct what doesn’t look right, and possibly cause yourself more work in the end. Take a step back or do something else entirely. You can return later with a clear mind and perhaps have a better solution to your problem.

03 Colour layout

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7UGENCUUKECNGNGOGPVU KPQVJGTRCKPVKPIU Age-old techniques to enrich your work

05 Lighting

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Digital Painting

If you’d like to take a classical approach to another painting or add depth to a story, there are elements of Classicism you can use. Some are more subtle or obvious than others. Symbolic props can be placed around a figure in the foreground as a tool or for aesthetic purposes. Architecture can be inspired by or designed around classical elements. Stone or gilt work, open airy verandas and farreaching fields can broaden an environment. Character interaction can change the mood or direction of a painting. Strength can be conveyed by strong postures and expressions rather than movement and force. And using iconography from historical myths and figures can add an air of power or a certain period of time to characters.


Digital Painting

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08 Reflect colour

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09 Know when to fold

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In deeper shadows, using straight and hard-edged strokes can help bring out the shape of the form being obscured. The bends of the arms, nasal and ear cavities can be accented with a simple stroke or point in the darkest areas. Surround these strokes with softer colours to keep them from standing out too much, or else the outline will flatten the surrounding forms you might wish to be foreshortened.

Paint like Classicism

06 Hair elements

Hard edges

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Tutorial

it up 07 Warm

10 Call in a ref

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shadows 11 Deepen

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Scratch that

12 Soft textures with fruit

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As an alternative to adding texture to your painting using various brushes, you can simply add texture by changing your brushstroke pattern. Close inspection of the cloth and parts of the skin will reveal that small, quick, scratchlike strokes were made in horizontal patterns. Crosshatch or steeple blemishes on skin and clothing to add variation to similar surfaces.

Digital Painting

203


'ODQNFGPVJGEQNQWT Continue by strengthening the painting using colour interaction and shadow

the adornments 14 Limit

Mythology Classical paintings were designed for high class, wealthy, educated patrons, so they often alluded to less well-known myths than we’re familiar with. The people who bought these paintings had often spent years learning Latin and so understood the mythological references used - which made them look even cleverer!

13 Colour interaction

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those edges 15 Soften

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16 Developing the face

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of fancy 19 Flights

17 Grain waves

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Digital Painting

18 More textures

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Digital Painting

21 Subtle bark texture

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You don’t have to sit and paint for hours on end. Venture outside! Examine stonework, grass, trees. Observe the sun whether in clear or overcast weather, and notice how it interacts with foliage and nearby structures. Make an image catalogue in your head to bring back with you when you finish up your painting. Or take a sketchbook with you on your adventure. It will help you get a feel of what you’re trying to convey when you’re painting digitally.

Paint like Classicism

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Tutorial

20

Find outside resources

Confident foliage

Distance and 23 perspective

22 Cool down

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and finalise 25 Mirror

24 Small touches

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Fine ageing If at this stage your colour harmony has gone astray and you would like to add a general sense of age or warmth to your painting, a new colour layer can be added. Using the Composite mode Overlay, paint a saturated orange over the majority of the image. Lower the opacity as needed and make any additional adjustments in brightness and contrast once the layer is merged.

Digital Painting

205

Tutorial Retro Paint like photo Modern art Realism

Paint like:

/QFGTP4GCNKUO

Paul Cartwright uses Edward Hopper as his inspiration to create a modern-day painting in the Realist style


Paul Cartwright Time needed


Advanced On the CD

Start file

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-G[GNGOGPVU Establishing the distinctive Edward Hopper look

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Rich, textured glazes.CTIGCTGCUQH

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Digital Painting

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5MGVEJKPIVJGKOCIG Create a solid base to paint over

the style 01 Studying

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02 Planning the scene

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03 Light source and shadow

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Refining the 04 environment

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05 Figure styling

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Flip the canvas When sketching out your image it’s a good idea to flip your canvas horizontally and back again at regular intervals. This will give you a new perspective, and any mistakes in your composition that you may have overlooked will make themselves obvious. We recommend assigning a shortcut for this function to speed things up a bit.

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06 Modern modification

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07 Adding details to the scene

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Digital Painting

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09 Sharpen up the sketch

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It’s very handy, especially when painting with black and white, to be able to switch between your foreground and background colours quickly. Pressing Shift+S will achieve this. For even more efficiency from this function, set its shortcut to the ‘P’ key so it sits next to the shortcuts for increasing and decreasing brush size, which are ‘[‘ and ‘]’.

Paint like Modern Realism

08 Correcting the

Tutorial

Swap colours

Choosing brushes 10 and paper

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11 Colour palette

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Make it bolder A good way to make areas of your image bolder in colour and brightness without having to repaint or lose texture detail is to create a new layer and set it to Overlay mode. Use the Dropper tool (hold Opt/Alt) to pick the underlying colour of the area you want to make brighter, then use a large soft brush to paint over that area on your Overlay layer.

12 Colour wash

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13 Curve adjustment

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2CKPVKPIQXGTVJGUMGVEJ Use Oil brushes and canvas texture to build up the image

14 Edge clean-up

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15 Zoom out

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16 Faces

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Impasto effect To give the illusion of thicker paint on your canvas, experiment with Impasto brushes. They can be very useful when trying to mimic real paintstrokes, but be careful to use the Impasto effect sparingly or you run the risk of raising the paint too much and it will then look unrealistic.

figure 17 Background

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$GHQTGCFFKPIEQNQWTª Get your values right Because Edward Hopper’s use of light and shadow is so distinctive, it was important to get our values correct first if we wanted the final painting to represent his style convincingly. To give myself a decent guide to work from for this stage, we took the Chop Suey painting and desaturated it completely so we could see just the light and shade without being distracted by colour. We placed this next to our line sketch to use as a reference while painting in our values. Establishing values before the colouring process begins can save a lot of time in the long run. It’s often easier to see if your composition is balanced well when it’s in greyscale rather than colour. Once your values are looking right, you can add your first colour wash on an Overlay layer without having to worry about disturbing what you’ve already painted.

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18 Accessories

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Digital Painting Tutorial Paint like Modern Realism

details 19 Figure

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20 Window detail

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22 Impasto

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21 Glaze effect

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Sharpen things up When you’re finished painting it’s sometimes beneficial to run your image through Painter’s Sharpen filter – Effects>Focus>Sharpen. This will make your edges nice and crisp and can add a more finished look overall. Again, be careful not to overdo this effect or you’ll create harsh lines and unnecessary noise.

23 Light glow

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24 Final adjustments

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/10(&))00" 1&,+ 214 From pencil to Painter Take traditional skills to the digital age

222 Guide to coloured pencils An in-depth look at how these tools aren’t just for kids

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226 Guide to charcoal Master a real-life charcoal effect for amazing portraits

230 Guide to watercolours Create stunning landscapes by understanding how watercolours work

234 Guide to using real oils Oils work great for some many types of art – find out more here

238 Guide to gouache

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Get to grips with gouache and how to use it to the best effect

242 How to paint reflections Master the art of reflections – get them right to add realism

246 How to paint water Water is a difficult subject matter, but we put you on the right track

250 How to paint light Create amazing lighting in your digital paintings

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Feature From pencil to Painter

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Digital painting and its real media equivalent aren’t as different as you might think. We explain why, and how traditional and digital art can complement each other beautifully J[FQYGVGPFVQXKGYFKIKVCN RCKPVKPICPFVTCFKVKQPCNCTVCU VYQUGRCTCVGVJKPIU!+V¶UCPQFF EQPWPFTWOCPFVJGTG¶UPQUKPING CPUYGT6JGCKOQHVJKUHGCVWTGKUVQFGOQPUVTCVG VJCVVJG[¶TGCEVWCNN[JKIJN[EQORNGOGPVCT[CPF DQVJGSWCNN[XCNKFCPFWUGHWNVQVJGRTCEVKUKPICTVKUV $WVDGHQTGYGFQVJCVNGV¶UNQQMCVUQOGTGCUQPU YJ[VJKUKFGCOKIJVGZKUVKPVJG¿TUVRNCEG 6JGTG¶UCHCOQWUSWQVGHTQOD[EWNVWTCN VJGQTKUV/CTUJCNN/E.WJCPYJQUCKF³6JG OGFKWOKUVJGOGUUCIG´/E.WJCP¶UKFGCYCUVJCV VJGOGFKWOCPCTVYQTMKUOCFGHTQOKUHCTOQTG KORQTVCPVVQQWTWPFGTUVCPFKPIQHKVVJCPCP[VJKPI GNUG/E.WJCPCPFJKUEQPVGORQTCTKGURTQOQVGF EQORNGZKFGCUCDQWVJQYYGWPFGTUVCPFCTVYQTM #VVJGOQUVDCUKENGXGN/E.WJCP¶UVJGQT[UWIIGUVU VJCVCRCKPVKPIKUOQTGµTGCN¶VJCPC,2')CPFUQVJG VYQOWUVDGXKGYGFFKHHGTGPVN[ $WVKUVJCVTGCNN[VJGECUG!6JGUGVJGQTKGUEQWNF JCXGRNC[GFQPVJGJQRGUCURKTCVKQPUCPFGXGPHGCTU

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Digital Painting 4GCNFTCYKPICPFFKIKVCNCTV Kelley Harris demonstrates the perfect mixed media blend To create this image, Kelley first sketched her character design in pencil. She then scanned her pencil sketch, imported it into Painter and cleaned up the line work – we’ll

show you how to do this at the end of the feature. You’ll find the clean line art for this piece on the disc, so you can experiment with some of the techniques outlined here.

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4""(4&1%&+1"/ We made Corel Painter novice Sophie Elliot spend a week with Painter 11 and a Wacom Intuos4 graphics tablet. How did she get on? #PCTVKUVCPFCTVVGCEJGT5QRJKGJCUCNYC[UYQTMGF VTCFKVKQPCNN[UQYGEJCNNGPIGFJGTVQURGPFCYGGMYKVJ 2CKPVGTCPFCP+PVWQUVCDNGV5JGMGRVCFKCT[QHJGT FKIKVCNCTVFKUEQXGTKGU

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Digital Painting

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Digital Painting

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Digital Painting

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“Just as real as with traditional media”

2GPEKNVQRCKPVKPI Learn how to import and use line art

01 Clone and clean

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02 Tracing paper

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04 Block in colour 03 Basic ground

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Making changes detailing 06 Start

05 First blend

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As a painting evolves from a sketch through line art to a final piece, you may find yourself making changes to it. We lost the jetty and monkey from our original line art and replaced them with a bird in flight, which was a more effective way of signifying the height at which our painting is set. Allow yourself to be creatively led by your composition occasionally, and you’ll find that you reap artistic dividends.

Digital Painting

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Drawing 101 The simple guide to coloured pencils

The simple guide to…

EQNQWTGFRGPEKNU Revisit and revitalise the rainbow spectrum of a childhood friend

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Digital Painting Drawing 101

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proportions and colour 01 Analysing

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the form and shape 02 Analysing

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The simple guide to coloured pencils

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$NGPFKPI There are many ways to blend, so experiment!

03 Build up the contrast

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04 Refine the final touches

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Digital Painting

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Drawing 101 The simple guide to coloured pencils

SKETCHY OBSERVATIONS

Over previous issues, we have spent a good deal of time looking at using pencils in a very controlled and realistic way – now it’s time to explore the potential of the pencil point. This rock pool is a great example of how adaptable and transportable pencils can be. They are the ideal material to take on holiday or to a museum to capture first hand the shape, colour and tone of what you see. These can then be used at home to inspire artwork of all shapes and sizes.

TEXTURAL COLOUR

The coloured pencil lends itself to reproducing textures. This is especially useful for soft, flowing textures like fabrics, fur and hair. The pressure, direction and layers of different colour should all be applied with thought to convey the shape, weight and texture. We chose this rainbow coloured dye job to emphasise the importance of following the direction of the hair as it falls. Press firmly to intensify the tone and colour as necessary.

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Digital Painting

BLACK CARTRIDGE PAPER

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

SMOOTH WHITE PAPER OR BRISTOL BOARD

This is an excellent vehicle to help your crayons produce a smooth finish. Experiment with waxier pencils to achieve more intensity of colour. Some crayons find it hard to get a purchase, and slip and slide their way over the even surface, leading to delicate quality that can appear wishy-washy.

WATERCOLOUR PAPER

Use this heavily textured absorbent paper with watercolour pencils. This method also produces a very delicate effect and low level of colour intensity. Outline your image and scribble firmly over the bumpy surface, then use a wet brush to busily merge and disperse the colour.


Digital Painting Drawing 101

This classic still-life features objects of different textures and tones. The near absence of colour creates a cool, even cold atmosphere, which is heightened by the use of black paper. The highlights are muted, and the grainy texture of the paper adds to the energy of the execution. The only change in principal is that you will need to do your outline sketch in white coloured pencil rather than ordinary pencil.

DRAMATIC SKYSCAPES

Now you can really go to town with colour and slightly more expressive marks. This sunset is very useful because of the silhouetted trees at the base. This allows you to structure your composition and focus completely on the incredible colours in the sky. Try to get a feeling for the movement of the colours and how they merge together, and freely express this with directional, swift, sweeping pencil marks.

The simple guide to coloured pencils

MOODY ATMOSPHERE

BRILLIANT COLOUR

This colourful collection of jewels lends itself to an illustrative approach, or realistic graphic approach. We used watercolour pencils, and created several layers to build up this speedy expressive image. Ensuring each one had dried properly, we then used normal pencil crayons to create a dramatic contrast and reflect the sharp, shiny nature of the jewels.

Digital Painting

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Drawing 101 The simple guide to charcoal

The simple guide to… %JCTEQCN

Charcoal is the cheapest, yet most dramatic form of art media. We take a look at what’s involved in creating art from it…

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Digital Painting

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Drawing 101

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The simple guide to charcoal

SOLID BLOCK MARKS

Create an atmospherically powerful, silhouette effect. For the background, gently lay down tone in the darker area and smudge in to reduce the white paper. Lessen the tone in this manner to maintain the effect of lightness. On top of this, put pressure on the stick to encourage it to produce deep, dark shadows.

SWEEPING DIRECTIONAL MARKS

Achieve a real sense of sweeping movement with blurred marks. First, describe the general direction of the marks. A pattern of straight or curved lines should sit before you. Now sweep the excess in the direction you require to create a motion blur effect. You can leave it at this point to continue intensifying layers of depth and control.

LAYERED HATCHED MARKS

Create a varied and rich tapestry of textures to represent fluid and watery effects. Lay down a base of light grey and smudge all over with your fingers. Use your charcoal instinctively to record the detailed areas of vegetation and choppy water at the front. Distant reflections can be delicately shown with the sharp, clean eraser.

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MUTED AND QUIET SHADING

Shading can really accentuate and enhance or induce an emotion in the viewer. This type of shading is gently subtle and peaceful. The variation between tone is smooth and subtle. The controlled and intentional use of fingers and eraser is steady and thoughtfully rendered. Smooth the shadows and make sure you blend gently.

DOTTED AND FRAGMENTED SHADING

This sort of shading in contrast is beginning to get a little more energetic. The smoothly suave blocks of tone are pock marked with finger prints so the viewer can see the artist’s hand at work. The eraser starts to take responsibility for serious mark making, and the highlights glow with life.

DIRECTIONAL AND EXPRESSIVE SHADING

This is vivacious and vibrant shading that heightens the drama and expressiveness charcoal is capable of. It is the sort of mark making that takes courage and forces you to represent what you feel, rather than what might be there realistically. Describe the form gesturally with gut instinct.

Digital Painting

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Drawing 101 The simple guide to charcoal

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the equipment 01 Preparing

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Confidence building 02 guidelines

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tonal overlay 03 Mid

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04 Gestural definition

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Digital Painting

“Use your charcoal to pick out the really darkest details of eyelashes, lips and nostrils”

The simple guide to charcoal

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Drawing 101

tones 05 Darkest

06 Blending and texturising

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07 Final tweaks and effects

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Digital Painting

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Drawing 101 The simple guide to watercolours

The simple guide to…

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Experience the potential and the complexity of one of our best loved art materials

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Digital Painting

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02 Tonal washes

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The simple guide to watercolours

01

The lightest of touches 6QDGIKPYKVJ

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Drawing 101

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03 Darker and more specific washes

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c background details 04 Specifi

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05 Final deepest touches

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Correction protection Imagine feeling very pleased with yourself. You have worked steadily with expression and created a beautiful, thoroughly effective and enticing landscape. Then, horror of horrors, a tragic accident occurs, out of nowhere and totally unexpected! A splash, a splatter, a spray or a spill occurs, usually of some hideously inappropriate colour. This happened to us just as we were getting ready to complete step five! Deep, dark brown stains shattered the perfection of the all-green landscape, so carefully engineered and spoiled by this brown muck! Thankfully, your work is eminently salvageable, use the lifting-out technique on page 233, with a clean, wet brush and tissue to mop up the mess.

Digital Painting

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Drawing 101 The simple guide to watercolours

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ROUGH WATERCOLOUR PAPER

This is the thickest and most textural sort of paper. Sometimes the texture appears like ripples and the colour sinks in to reveal the texture quite clearly. It is very good for chunky, spontaneous, big brushes, bright colours and watery washes; for example, the sturdy, exciting intensity of the salt-textured pictures.

WET-IN-WET PROCESS

This is a very spontaneous and expressive method that works well for watery or airy spaces. Avoid using it for specific detail or small areas; it is immediate, impressionistic and immensely fun. The main principle is to layer colour next to or on top of each other when both layers are wet. This means that they merge softly and bleed into one another to give a soft focus mark. This is very effective for many surfaces but the main pitfall is that the colours can mix and create an unwanted green, for example.

COLD PRESSED PAPER

This is a much more gentle and subtle textured paper, but it is still solid enough to bear the wrinkling effect that water and subsequently watercolour can have on it. We have used it in this instance to support the more subtle washes and wet-on-wet effect. It works better for delicate, small-scale work.

ORDINARY PAPER

This paper is almost completely flat, with an entirely smooth surface. It reveals the really delicate and sensitive capacity watercolour has to make really nuanced marks and intense or muted ranges of colour. Hot pressed watercolour paper has a similarly smooth surface but is comparatively thicker.

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Digital Painting

MASKING FLUID TECHNIQUE

Masking fluid that you might find in most art suppliers is usually pale yellow to differentiate from the whiteness of the paper, and has an acrid rubbery smell. Read the directions on the back of the bottle carefully and choose an image in which you anticipate troublesome white areas, for example, a field of daises. The fluid protects the paper from the staining paint that you apply once your mask has dried. Remove when it is entirely dry, using an eraser softly.


Digital Painting WATERCOLOUR LIFTING-OUT

Drawing 101

This is both a corrective and effective technique. One of the challenges watercolour pushes you towards is to set white in stone. Because it pays to work from white (or light) towards layers of dark, it means that your first layer of colour has to be just right; if you obliterate too much white paper, that highlight or cloud could be lost without hope. However, by using a wet, clean brush and wiping it over the surface of the paint, you can remove colour to reveal the white paper beneath. Use a clean cloth or tissue to wipe away the excess.

The simple guide to watercolours

WATERCOLOUR SALT EFFECT

This is a technique that allows for lots of happy accidents and spontaneous effects. This natural phenomenon is best produced on the heavier rough paper. To begin with, saturate the paper with deep, intense colour – watery is pretty ineffective – and while the paper is still shiny with moisture, sparingly sprinkle crystals of salt over the top. This should allow the salt to suck up the pigment. Feel free to experiment with table, crushed and rock salt. It can take a few goes to get the exact right ratio of colour to water to salt, but persevere and the results will be worth it.

“Watercolour is a cost-effective solution for planning the big finish”

WATERCOLOUR GRADUATED WASHES

The wash image that we have used is brightly coloured with separately distinguishable washes. The best way to create smooth graduated washes is to use the paper itself. We began this painting halfway down. The sky begins with an orange and yellow hue and merges into purple. Use a large brush to paint a watery yellow wash along the horizon and then tip the paper at 90 degrees so that the entire watery wash travels down to the top edge. At intervals, add more water or colour as desired to ensure it travels down a level.

Digital Painting

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Drawing 101 The simple guide to using real oils

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Oil paints have stood the test of time and remain an artist’s first choice for set-piece paintings. We show you the ins and outs of using real oils

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234

Digital Painting

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Digital Painting 7UKPIQKNU

There are a few steps, prior to painting, which will make the process much easier!

It’s not just about the colours you use, but how you use the tools!

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01 Rough or smooth

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The simple guide to using real oils

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Drawing 101

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02 Thin and thick

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03 Broad or fine

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Digital Painting

235

Drawing 101 The simple guide to using real oils

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01

Establish a midtone 5VCTVD[FGCFGPKPIVJGUVCTMYJKVGUWTHCEGQH

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02 Initial shadows

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03 Refine the tonal sketch

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04 Thicker midtones

05 Create texture

06 Lively brushwork

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236

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Digital Painting

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Digital Painting

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09 Wet into wet

10 Follow the form

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08 Refine with lighter tones

The simple guide to using real oils

07 Blended midtones

Although you can buy a whole host of colours in oil paints, limit yourself to the primaries: red, yellow and blue. Choose Titanium White and Ivory Black, and also a couple of earth colours such as Burnt Sienna and Burnt Umber. You’ll be able to mix the vast majority of the colour you need from the three primaries plus black and white when mixing lighter tones and highlights. Always start with white, and then darken it with other colours.

Drawing 101

Colour choices

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Pick up colours

11 Magical highlights

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12 Refine and define

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Make sure you use quite a large palette to mix on, so that you can leave colours on there that you mixed earlier and pick them up on your brush later on. Oil paints stay wet for a long time, and using colours that were used in an earlier stage of the painting can help colour harmony in a painting, and save you the trouble of mixing the same colour again.

Digital Painting

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Drawing 101 The simple guide to gouache

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The oranges, yellows and reds of the sun penetrate this intensely colourful sunset, with its heavily purple-blue clouds mirrored by the deep dark silhouette of the mountains. We are tempted to just let you go for it in response to the image, but here are a few words of advice first. You will need three raw colours and white, no underdrawing, flat-ended Sable brushes (large and small), a decent piece of watercolour paper and about ten minutes. Lay down a wash of lemon yellow and dash a few streaks of orange into it about a quarter of the way up. Let it dry and then use the brushes to portray the intense darks and colours with thick impasto paint to express the clouds and mountains, and the small marks with the edge of either brush. Once dry, correct any errors with a light wash to prevent disturbing the surface.

Although gouache competently covers the layer below it, there could be the odd incident where a particularly strong layer of colour may reappear – particularly lakes, magentas and violets – so put an extra layer of white between each layer. A simple palette is emerald green, ultramarine, carmine red, vermillion, burnt sienna and yellow. We used all of these colours, along with black and white, to create the images in this tutorial. Bear in mind that in general the light colours will dry slightly darker than at application, and the dark colours will be lighter, hence gouache’s chalky reputation.

The simple guide to gouache

EXPRESSIVE AND INSTINCTIVE BRUSHMARKS

Colour migration

Drawing 101

The three different techniques of gouache produce very different results

FLAT BODY COLOUR

This formal, controlled pastel image needs planning. One of the commendable abilities of gouache is that, due to the heavy pigmentation, it mixes like a dream. And you can add a white to create a beautiful tint from the raw colour. But a word of warning: you must mix up the amount you are going to need. To achieve a clean, flat area you have to mix it all in one go – running out of paint is disastrous, and it is impossible to mix the exact hue again. The resulting change in tone is crushingly obvious. Also remember that gouache dries deceptive quickly (although we have a rescue remedy for that later). We recommend an under drawing, so all you have to worry about is the flat application with a large flat-ended brush. Do not add water to enable it to run smoothly, as this could disturb the flatness. Just generously load your brush with colour.

FINE DETAIL

For this study, you will need to utilise the painterly quality of gouache that allows you to pick out the most delicate of highlights. This allows us to draw your attention, once again, to its opacity or ‘chalky solidity’, in contrast to watercolour’s light filled soluble layers. You can apply gouache to all sorts of coloured papers, and even the most delicately applied brushmarks are powerfully opaque enough to stand out and overpower the colour below. So, begin to express these fine smoky trails of fireworks by laying down a flat coat of orange-red. Allow it to dry to prevent the next layer disturbing it. Next, mix up the pastel tones for the highlights and use the control and poise of a dancer to manipulate the tip of your finest brush to create a delicate yet energetic line.

Digital Painting

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Drawing 101 The simple guide to gouache

5VGRQWVUKFG Papers

Pack up a picnic, a pad and your paints to face the elements

Surfaces that are recommended for gouache are robust. Supportive surfaces prevent flexing and rippling under watery washes or cracking impasto brushmarks. Supersmooth Bristol Board is excellent for flat, smooth work. However, one of the lovely things about gouache is that you can use coloured papers, as in the finely detailed image we did. Avoid sugar paper and opt for pastel papers, such as Ingres or Michallet.

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01 Quick draw

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02 Sketchy mid-tones

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Gel retarder One modern invention that helps to reduce the small sense of panic that can be created by gouache’s uncanny ability to run out or dry up, despite your best efforts, is to use the medium developed to steady and slow down the drying process of acrylic paint. Mix a hazelnut sized splodge of Slow Drying Gel with a hazelnut splodge of gouache, and this will allow you to relax and paint at your pace rather than the gouache’s.

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04 Lively colour

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03

Speedy depths 0QYOKZWRUQOGFCTMGTDTQYPU DWV

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“To up the anti even more, we are going to expose it to the unpredictability of the elements”


Digital Painting Drawing 101 The simple guide to gouache

highlights 05 Flashing

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Digital Painting

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Art study How to paint reflections

How to…

- &+ 1/"#)" 1&,+ 0 This time around, our Art Study takes a reflective look at the mirrored images in our paintings…

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01 Concentrate on the main image

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02 Refine the main image

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03 Painting the overlay

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Digital Painting

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How to paint reflections

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INSPIRATION

Art study

Horizontal reflections

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Glass reflections

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Just for fun

CLEVER COLOUR

COMPLETE YOUR SKETCH

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Just for fun, try using the human eye itself as a canvas for the reflections. We found it quick and easy as we sketched an eye using the Oil brushes, and placed a hand of cards over the pupil. What other objects can you think of to reflect within someone’s eye?

Digital Painting

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Art study How to paint reflections

Broken reflection

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Reflection s tha t ripple

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01 In the beginning 01 Background colour

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02 Sketch your image

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02 No need to repaint

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03 Making ripples

03 Experiment

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Digital Painting

04 Shadows and highlights

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Digital Painting

01 Finding what works

02 Define the images

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How to paint reflections

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Art study

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03 This is where the fun starts

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01 Choose an image

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02

Ready to paint

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03 Put it all together

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Digital Painting

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Art study How to paint water

How to…

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Through three small studies, a waterfall, a fountain and a stream, learn how to paint different types of moving water

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PAINT A CONVINCING WATERFALL IN A FEW BASIC STEPS

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03 The falls

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Digital Painting BLENDING

Art study

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How to paint water

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FROTH AND FOAM

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04 Break the surface

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05 Mist

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06 Details

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Digital Painting

247

Art study How to paint water

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01 Start

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03

Gravity

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02 Droplets

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splatter 04 Surface

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Digital Painting Art study

2+ +&+ $01 /" *

A SIMPLE WAY TO PAINT A RUNNING STREAM

How to paint water

01 Paint it in

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02 Follow the flow

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03 Finishing

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Digital Painting

249

Art study How to paint light

How to paint…

&%1

Create dynamic effects and illuminate painting subjects using a wide range of lighting techniques for eye-catching results KIJVKPIKUQPGQHVJG¿TUVVJKPIUVQOCMG CPKORCEVYJGPXKGYKPICRCKPVKPI+VECP UGVVJGVQPGOQQFVGORGTCVWTGUGVVKPI CPFKPVGPUKV[QHVJGGPXKTQPOGPV/CUVGTRCKPVGTU URCPPKPIOCP[CTVOQXGOGPVUWUGFNKIJVCU COGCPUQHGZRTGUUKQPVJCVNGHVNQPINCUVKPI KORTGUUKQPUQPVJGKTYQTM 6JG/CPPGTKUORGTKQFQHCTVJCUOCP[UVTQPI GZCORNGUQHWUKPINKIJVVQIKXGHQTOCFG¿PKVKXG UJCRGCPFUV[NG6JG+VCNKCP4GPCKUUCPEGCPF $CTQSWGOQXGOGPVUCTGCNUQYKFGN[TGEQIPKUGF YKVJOCP[YQTMUUJQYKPIVJGRQYGTHWNWUG QHNKIJVKPRCKPVKPI%CTCXCIIKQWUGFUVTQPI EQPVTCUVUCPF,QJP5KPIGT5CTIGPVEQODKPGF

250

Digital Painting

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Digital Painting Art study

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How to paint light

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“If there was a word to describe this lighting technique, it would have to be ‘assertive’” High opacity 03 for light

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01 Block in with saturated colours 02 Brush in shadow

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Create the 04 background

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05 HardLightcompositemode

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Digital Painting

251

Art study How to paint light

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01 Surrounding light

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02 Pure white

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Digital Painting

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“Catchlights have a simple purpose they draw attention”

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Digital Painting Art study How to paint light

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“Edges are the primary focus for a soft lighting effect”

down soft strokes 02 Lay

01 Block in general colour

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Pressure control

03 Subtle shading

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04 Rounditout

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Remember to control the amount of pressure that is used when trying to achieve a soft light effect in your painting. You can adjust the flow of your brush, opacity or pen pressure settings if you use a stylus. This will help you blend light softly around important edges of your subject.

Digital Painting

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On the CD Your Corel Painter resources

1PVJG%&

Load the CD: Microsoft Windows PC and Mac

All you need to start using Corel Painter to create art

We support Windows XP and higher unless otherwise stated. The CD-ROM should autorun once placed into your disc drive. If not, follow the instructions below. 1. Browse to My Computer. 2. Right-click on your CD drive and select Open from the drop-down list. 3. Read the ‘readme. txt’ if there’s one present to find out which files you need to launch to run the interface.

Load the CD: Apple Macintosh We support OS X 10.3 and higher unless otherwise stated. This CD-ROM interface will NOT autorun when placed into your CD drive. Instead… 1. Double-click the CD icon on your Desktop.

Tutorial resource files Most of the tutorials in this book have accompanying files on the disc that you can use to follow the guides step by step. This might be photo references, sketches or details of brush setups. Open the disc, navigate to the Tutorials section, then click the right folder to open the files.

258

Digital Painting

Quick Start guide On the disc you will find a ten-page Quick Start guide, which helps you open a new document in Corel Painter and set it up to begin your first digital painting. There is an interactive version so you can find what you need to know fast, as well as a print-ready version.

2. Read the ‘readme’ file if there’s one present to find out which file you need to launch to successfully run the interface.

Bonus resources to enhance your paintings

30 stock images Use these royalty-free photos as references or to clone to give you a starting point for paintings

Extra content Open the Extras folder to find these resources, which are for noncommercial use

30 textures Add that something extra to your paintings with this collection of free textures

PC and Mac

All you need to start painting digitally today!

Quick Start Find your Quick Start guide from the tabs to the right

Get started in Corel Painter Special ten-page PDF guide to help you understand the program

eMags Sample eMag content including The Complete Guide to Digital Painting Vol 1

Tutorial files Some tutorials come with starter files, which you’ll find in this section of the disc

Use the disc content to create your digital masterpieces!

T H E C O M P L E T E G U I D E T O…

DIGITAL PAINTING

" / +1,- &+ 14& 1%

watercolours, oils, pastels, charcoal and acrylics

Whether you have been painting digitally for years or just getting started, this book is your guide to Corel’s Painter software. Packed with expert tips and advice, step-by-step workshops and inspirational imagery, this guide will transform your artworks today!

Paint amazing artwork From a photo or from a sketch, build up impressive digital paintings with our expert tips and tricks

Re-create famous works of art Learn how you can emulate the most famous art styles of all time with our Paint Like series

£12.99

VOLUME 03

ISBN 978-1-906078-71-3

FROM THE MAKERS OF…

Explore painting tools We go back to basics and look at practical theory and advice for handling different art materials

9

781906 078713

www.digitalartistdaily.com

The Complete Guide to Digital Painting Vol 3 - 2010 UK

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