Offical corel painter magazine 05


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Offical corel painter magazine 05

  1. 1. Artistic advice and inspiration Explore Esoterica effects GetgraphicwithArtPens Tipsandtrickforartists Official Magazine ISSUE FIVE £6.00ISSN 1753-3155 9 7 7 1 7 5 3 3 1 5 0 0 0 0 5 Free CD inside PHOTOS | VIDEO TUTORIALS | BRUSHES Water art Great techniques for painting a fluid underwater scene Oil illustration Celia Yost reveals how she merges pencil and oils for stunning results New brushes How to create, save and load custom brush variants PC and Mac Specialtutorial!Seepage40 ConceptdesignExpertadviceonturningasketchinto beautifullyrenderedproductart Capturethetranquillityofthe countrysidebycreatingyourown JohnConstablemasterpiece–p22 Learn to paint digitally today! Capturethetranquillityofthe landscapes Drawing still life Discovertherules ofthistraditional arttechnique Paint En glish IssuefiveVisitusonline–® PainterTM Magazine Official Magazine OPM_05-Cover2.indd 1 30/5/07 12:24:18
  2. 2. 5 Jo Cole, Editor in Chief Welcome Welcomeoncemoreto anotherpackedissueofthe Of�icialCorelPainterMagazine. We’vegotagreatselectionof tutorialsandinspirationalart, startingwithourcoverimage. JeffJohnsonhasreinvented thetraditionalConstablestyleandproduced anexquisitelandscapescene.Immerseyourself intheEnglishcountrysideandseehowhe diditonpage22.Andtoreallystretchyour imaginations,checkouttheconceptcartutorial onpage40.Learnthefundamentalshere, andthenstartdesigningyourownfuturistic vehicles.Andifthehotweather(maybe?)is gettingtoyou,cooloffbytakingadipinpage 58andlearninghowtocreateafantastic underwaterscene,courtesyofafellowreader! Ifitinspiresyoutowriteatutorial,letusknow andwe’llseeifwecanprintit. OurDrawing101thisissuelooksatwhat’s involvedinmakingastilllifemasterpiece,and wegiveyouadviceontheArtPenbrushesand Esotericaeffects. Happypainting! ThisisTHEmagazineforanyonewantingtofurthertheir CorelPainterskillsorlearnhowtobecomeabetterartist ISSUEFIVE Visitourwebsite! Ifyoufindthatthemagazineisn’tenoughtosatisfyyourCorel Painterappetite,youcanalwaysvisitourwebsite.Poponoverto outoftheway,explorethepagesandenjoygreatcontentsuchas: •Downloadableresources •Onlinegalleriestoshareyourwork •SpecialforumformeetingotherCorelPainterusers ArtPens Pg 52 Exploreyourgraphicside byloadingupthenew ArtPenbrushes Sketchandoils Pg 32 Create great illustrations by combining pencil sketches with oils Drawing101: Stilllife Pg 66 Setupanddrawa successfulstilllife scene 005_OPM_05_welcome.indd 3 1/6/07 12:51:15
  3. 3. Regularsineveryissue Pg34 08 Subscriptions Take out a subscription to the magazine to save money and ensure your copy of the magazine 10 CorelPainterCommunity The best sites and companies for creatives, and your letters page 20 Paintershowcase The first in our special pages dedicated to outstanding Corel Painter art 74 ArtClass Another merry gaggle of artistic problems sorted out 92 Reader’sGallery Discover more about what a fellow reader is getting up to in our gallery section Reviews 6 97 Readers’ Challenge Haven’t done one of our challenges? Turn here and get started 98 On the disc A full breakdown of the content on this issue’s free CD 82 PentaxK10D We put the K10D through its paces, to see how the advanced amateur DSLR shapes up when it comes to getting great reference shots 84 WacomCintiq21UX The mightiest graphics tablet you ever did see. We take a look at this huge LCD screen that lets you draw directly on the monitor 86 Books Another inspirational dose of literature to fire your creative imagination – so what are you waiting for? 88 JapaneseFibrepaper Try your hand at this unusual way of presenting your work. The heavily textured and transparent paper is just the thing for delicate watercolour or ink work WIN! YOUR WORK PRINTED TO CANVAS pg96 Paint like Constable Paint like Regulars Paint like P66DRAWING STILLLIFE SIX-PAGEGUIDETODRAWING STILLLIFE,WITHEXPERTTIPSAND SKETCHESTOHELPYOULEARN P40CONCEPTDESIGN OURDIGITALEXPERTTAKESYOU THROUGHDESIGNINGANDDRAWING ACONCEPTCARENTIRELYINCOREL PAINTERX ONTHEFRONTCOVER CeliaYostmasterclasspg32 Try your hand at this unusual way paper is just the thing for delicate Another merry gaggle of artistic fellow reader is getting up to in Original artwork by Ryan Mauskopf Immerse yourself in Constable country with this fantastic tutorial pg22 006-007_OPM_05_contents.indd 6 1/6/07 13:09:40
  4. 4. pg40 Conceptcardesign 7 66 Stilllifescenes Capturing a still life scene is a great way of practising and improving your drawing skills. Discover how to set up a classic scene and then draw all the elements 22 PaintlikeConstable John Constable produced some of the most famous scenes of English country life. Learn to re-create his style 32 CeliaYostshowsyouhow Discover how this talented artist work here 40 Designaconceptcar Our expert walks you through the essential skills that go into designing a concept car 52 Create,loadandsave brushesinPainter More creative options 58 Paintanunderwaterscene Make a splash with this intriguing tutorial Primers Getupandrunning… 38 Effects:Esoteric They are a strange bunch of effects. See what they do here 64 Brushes: Art Pen They are new in Corel Painter X, so get the lowdown on them Featurefocus Gettoknowyourtools 48 Getthemostfromourwebsite We give you a guided tour of the Official Corel Painter Magazine website, and the resources available to you for free Traditionalartistictechniques Drawing101 14 DanielConway We catch up with the young, self-taught artist to find out about is inspirations and motivations for creating his stunning images GettingtoknowPainterartists Interview DanielConway pg22 www. painter magazine. Visitour websitenow! tutorials Createinspirationalart 66 Stilllifescenes Capturing a still life scene is a great way of practising and improving your drawing skills. Discover how to set up a classic scene and then draw all the elements TraditionalartistictechniquesTraditionalartistictechniques Drawing101 pg58 Underwater scenes Drawing101 Original artwork by Daniel Conway 006-007_OPM_05_contents.indd 7 1/6/07 13:08:19
  5. 5. news events resourcesevents resourcesevents letters websiteswebsiteswebsitesletters websitesletters Tutorial xxxx 10 oudon’thavetowaitforart galleriestoopeninorderto getinspiration–theinternet houseslotsofonlinegalleries thatareburstingwithbeautifulimages. Tokartaisoneofthebest,andoffers visitorsthechancetoperuseavarietyof PORTFOLIO Online art gallery offers creatives inspiration and a place to sell artwork Makean exhibitof yourself artworks,makepurchasesandevenset uptheirownonlinegallery.Allofthework seenonthesitehasbeenuploadedby artists,andallofitcanbebought.Youcan browseaccordingtocategoryormedium, and�indoutmoreabouttheartistaswell asanyhistorybehindthepainting. Inadditiontothefactthatyoucan browseandbuysometrulybreathtaking work,youcanalsouploadyourown creationstosellonthesite.Foramonthly fee(startingat£10amonth),youcanuse Tokarta’sspacetoexhibityourownwork. ThereisaDigitalcategorythatwillhappily holdanyCorelPaintercreationsyoumay haveproduced. “Wewantedaninternationalsite thatspecialisedinallkindsofart,”says co-founderGirtsGailans.“Butmost important,ithadtobeasitewherethe artistchargestherightmoneyfortheir work,notbargain-basementrates.A sitethatisnotforbiddingand‘exclusive’, butaccessibleandwelcoming,witha widerangeofartworks.Wedon’tcharge commissiononsales,orlistingfees.Justa modestmonthlyrentalforthespaceused.” Ifyou’dliketobecomepartofthe Tokartaempire,headovertowww. tokarta.comandsignupforanaccount. Alternatively,payitavisitifyou’relacking inspiration,orifyou’reonthelookoutfor theperfectimagetohanginyourroom. Community NEWS EVENTS RESOURCES LETTERS WEBSITES INFO FORUM This image, New England by John Harris, is just one of the many works available to buy on the Tokarta website visitorsthechancetoperuseavarietyof asanyhistorybehindthepainting. browseandbuysometrulybreathtaking work,youcanalsouploadyourown creationstosellonthesite.Foramonthly fee(startingat£10amonth),youcanuse Tokarta’sspacetoexhibityourownwork. ThereisaDigitalcategorythatwillhappily holdanyCorelPaintercreationsyoumay haveproduced. thatspecialisedinallkindsofart,”says co-founderGirtsGailans.“Butmost important,ithadtobeasitewherethe artistchargestherightmoneyfortheir work,notbargain-basementrates.A sitethatisnotforbiddingand‘exclusive’, available to buy on the Tokarta website artworks,makepurchasesandevenset uptheirownonlinegallery.Allofthework Tokarta ( is an online gallery where you can exhibit and sell your Corel Painter creations Tokarta (www.tokarta.comTokarta (www.tokarta.comTokarta ( ) is an online gallery is an online gallery ©StevePratt © John Harris 010-011_OPM_05_news.indd 10 31/5/07 18:24:02
  6. 6. sss info news events resourcesevents resourcesevents letters websiteletters websiteletters info news events 11 Stock up on photos fyoupayavisittothisissue’sdisc, you’ll�ind50gloriousimagestaken fromtheCrestockimagelibrary.This siteisafantasticplacetocomeandgather sourcephotosforyourdigitalpaintings, andyoucanbesureof�indingwhatever youneed. Youcaneitherbuycreditstopurchase imagesindividually,ortakeoutaspecial subscriptiontodownloadupto20extra- largeimagesaday.Youcan�indpretty muchanythingyouneedhere,andwith thousandsofphotostobrowsethrough, you’ll�indloadsofoptionsforanysearch queryyouenter.Andbesuretocheckout thebestandworstimagesofthedayfor anideaofwhattodoandnottodo! Headovertowww.crestock.comand seehowyoucanbene�itfromthesite. Take advantage of Crestock’s bank of affordable images JULY In shortCreative happenings from around the world KarenSperling’sArtistry Onlinewebsite If this magazine isn’t enough for you, pay a visit to Karen Sperling’s Artistry Online site. Here you can subscribe to her monthly e-zine ($10 month- by-month) to enjoy lots of tutorials and articles about using Corel Painter and learn about the special Artistry Retreats. See Becomeastudentatthe MangaUniversity Fans of manga will love this great site – an online learning resource for drawing manga! You can take a tour through the free tutorials, picking up advice on drawing things such as hair and clothing, in addition to getting advice from manga professionals as well as buying drawing packs. Find out more at 19Issue6ofOPM goesonsale! Get the latest issue of Official Corel Painter Magazine from your newsagent today! Guarantee your copy every month or just save yourself the effort of leaving the house by taking out a subscription via ombining 3D models with the brushes in Corel Painter is a fantastic way of creating art – turn to page 58 for an example of how it’s done. But you don’t have to learn a 3D program to do this. Just call upon the services of JLStock ( Here you will find a glorious array of 3D models that can be downloaded absolutely free and used in your projects. You can immerse yourself in winged creatures, mermaids, nymphs, flowers and buildings – all of which are finished to the highest quality. If you do use any of the stock, be nice and credit JLStock, as the excellent work deserves as much attention as you can give it. Getcreativewith3Dstock imagesandbackgrounds henitcomestogivingCorel Painterusersextracontent andhelp,oneofthebest sitesisJinnyBrown’sPixelalley(www.,visitorscan enjoyawealthoftipsandtricks,aswell asvaluabletutorialsandlinkstogreat websites.Nowvisitorscanenjoyeven morecontent,asJinny’ssiteisinthe processofarebirth. “Ineverhadaplanwiththesite,” saysJinny.“Themaingoalwastoshare contentwithotherusers.Ihopedpeople would�indthesiteaccessibleand wantedtokeepitverysimple.” Thereareno�irmdatesforthenew content,sokeepcheckingback! Findgoodiesat Immerseyourselfinsome watercolourskills The excellent Watercolor site ( is packed with tutorials and helpful advice for painting with watercolours, many of which can be adapted for Corel Painter’s own brushes. Use models as the basis for your Corel Painter artwork RESOURCES RESOURCES There are plenty of Crestock images on the disc and then visit the site for even more! ART TOOLS For Corel Painter help, inspiration and advice, pay a visit to Jinny Brown’s website Popular Corel Painter site gears itself for new content Make use of JLStock’s creativity by using her models in your own work be downloaded absolutely free and used in your projects. You can immerse yourself in winged creatures, mermaids, nymphs, flowers and buildings – all of which are finished to the highest quality. If you do use any of the stock, be nice and credit JLStock, as the excellent work deserves as much attention as you can give it. models in your own work 010-011_OPM_05_news.indd 11 31/5/07 18:25:29
  7. 7. 12 news events resourcesevents resourcesevents letters websiteletters websiteletters info news events resourcesresourcesevents resourcesevents Good source of knowledge? Hello to you all. Just bought my �irst copy of the magazine and I love it! I’m hoping it will take me from fumbling beginner to a dazzling artist! I wanted to ask you what you thought about traditional art resources. I know that the software is championed as a our letters real media tool, but how close is the relationship? I only ask because I have been given a load of old art books, but they are all about things like traditional watercolour and oil painting. I haven’t got any experience with traditional art whatsoever, so am completely clueless when it comes to any artistic subject. Any advice is gratefully received. Chris Parker As you say, Corel Painter is a real media tool but it goes far beyond mimicking how traditional art materials look. A lot of the brushes work exactly as their real world counterparts would, so it is beneficial to have a grounding in traditional art theory and technique. You might notice that our book reviews cover traditional media as well as digital techniques, simply because the two are so closely interlinked. A lot of Corel Painter artists approach the tools as they would real brushes and paints, so you should get a lot of help from your inherited books! Website woes I’ve been a member of an artists and illustrators club for a few years now, and we’ve got to the stage where we want to show people outside of the club what we get up to. The obvious solution is to build a website, but we can’t think up any good ideas. Have you seen any good ones? Simone Rougele Sketch Motel ( is an excellent portfolio site. It follows a motel theme, where each illustrator is a guest and you can visit their rooms to see their works. It’s a great example of how a concept can be done very well, and helps raise it above the wash of other portfolio sites. Welcome to the part of the magazine where you can come and share your thoughts on anything you fancy! FeaturedgalleryFeaturedgallery KobiMcKenzie www.paintermagazine. Kobi is a firm favourite among the OCPM team, as her mixture of subjects is very pleasing to the eye. Now a retired graphic designer, Kobi can immerse herself in digital painting without worrying about deadlines and other restraints. The examples we have here are just three found in her gallery, so we wholeheartedly recommend you head over and view the rest. We particularly like the sports action paintings, although the animal portraits are very hard to resist! www.paintermagazine. graphic designer, Kobi can immerse worrying about deadlines and other restraints. The examples we view the rest. We particularly although the animal portraits are very hard to resist!very hard to resist!very hard to resist! Kenya Lion Official Corel Painter Magazine, Imagine Publishing, Richmond House, 33 Richmond Hill, Bournemouth, Dorset BH2 6EZ, UK If you’d prefer to contact us via email, send your message to opm@imagine- Send your letters to... Everywhere you look in Corel Painter, there are examples of traditional techniques influencing how the software works Bright Palm Beach It’s a good idea to look at other sites for inspiration and the Sketch Motel is a great example of how a simple theme can work very well It’s a good idea to look at other sites for inspiration and the Sketch Motel is a great example of how a simple theme can work very well Hockey Player Our favourite reader’s gallery this month 012_OPM_05_letters.indd 12 31/5/07 17:55:06
  8. 8. Interview DanielConway 14 ne thing that’s really inspirational is seeing an artist you admire and then �inding out that they taught themselves everything they know. It proves that not all skill can be taught in the classroom and some people are just born with talent . Daniel Conway was one artist that we had our eye on – not only is his work beautiful, haunting and technically Though still in his early 20s, Conway’s work has a certain maturity fused with digital skill. We caught up with this talented artist to discover how he went from university graduate to Painter Master DanielConway perfect, but he has also joined the hallow company of Painter Masters despite having had no formal training in digital painting techniques. Daniel graduated from Dundee University, Scotland, where he studied digital and traditional animation, which is probably where the graphic feel of his paintings comes from – not to mention the patience to create his digital art. We caught up with Daniel to discover more about how he works, where he gets inspiration from and, of course, to take a closer look at some of his spectacular and eye-catching artwork! You can see more of his work at www. or visit http:// and order some prints before they are gone. How do you go about creating a painting? Does it change according to what you’re working on, or do you follow a set routine each time? My work�low changes a lot depending on the piece I’m setting out to do. If it’s a simple character piece, I’ll start by sketching out poses until I �ind one that I like and from that point it’s generally just a case of getting a good colour composition and laying the foundations. If, however, it’s a piece that involves characters and a lot of open scenery, I will spend a great deal longer working on the composition alone. I’ve spent many a night moving elements around because they just didn’t feel right. After the painful task of balancing everything, it’s mainly just a great deal of time spent rendering the scene to a high and consistent level. Did you come from a traditional painting background, or did you delve straight in with digital painting? Before I ventured into digital painting, I had never really painted much on canvas, if at all. In fact, I think the closest I came was acrylic paints on paper. The �irst image program I used was Paint Shop Pro and it was great for starting out and learning all the simple stuff, but as soon as I bought my �irst Wacom (a small A6 Graphire 2), I wanted to try more advanced stuff, and that’s when I found out about Painter 7. I’ve been creating digital art for about �ive years now and in that time I’ve learnt a great deal, so digital skill. We caught up with this talented artist to discover how he went from university graduate to Painter Master Aninterview with… WEBSITE www.artofconway.comand JOBTITLE Freelancedigitalartist CLIENTS CorelCorporation,Fightstar [BELOW] Forget Me Not This took me forever and a day to do! But it paid off, as it’s how I wanted it 014-019_OPM_05_interview.indd 14 1/6/07 11:29:25
  9. 9. 15 Motoko Closeup This was a sketch I did while preparing to do my Fragile Shell piece AlloriginalartworkbyDanielConway 014-019_OPM_05_interview.indd 15 1/6/07 11:29:38
  10. 10. Interview DanielConway 16 Sketch of the Colossus Fan art for the game Shadow of the Colossus 014-019_OPM_05_interview.indd 16 1/6/07 11:29:51
  11. 11. 17 much so that I want to now go back to traditional oil on canvas – so I guess it works in reverse too! What inspires you when you are creating your works of art? Inspiration can come from anywhere really, but inspiration is just a trigger that sets off a series of other thoughts and ideas, meaning the �inal image is often nothing like the initial inspiration – and that’s how I like it. I �ind that photography has a bigger in�luence on me than actual paintings. I think this is because painters are often more concerned about the visual quality of their work rather than the ideas behind the work. Photographers don’t suffer from this since the world is their canvas and it has already been painted beautifully for them. This gives a lot more freedom for creating images with much more interesting concepts. What are your favourite Corel Painter tools and brushes? My current favourites are the Pencil tool, which I �ind great for sketching; the Sumi-e brushes, because I love their textures; and, of course, the Artists’ Oils. Oh, and I also must mention the Blending tools since they are the best of any program I’ve used. Do you have a favourite personal piece of work? It’s hard to say really; I like some work more due to the visual content and others because of the concept. I would say it would be between Broken Dawn and Bright Eyes. Is there any kind of style that you would like to try that you haven’t already touched on? I think I would quite like to try my hand at combining messy oil painting with [ABOVE] Her Silent Silhouette I’m most happy with how the sky and water turned out. I don’t use references so I just keep drawing until I feel it looks right crisp, clean, cell shading, simply because it would be a nice challenge to achieve the right balance. Who are your favourite Corel Painter artists? It’s actually quite hard to distinguish as to who uses Corel Painter or not these days unless they state speci�ically, so I would rather pick out some of my Sub Emergence I had this idea in my head for months and felt I had to get it onto digital canvas. I’m very glad I did too! “Inspiration can come from anywhere really, but inspiration is just a trigger that sets off a series of other thoughts and ideas” 014-019_OPM_05_interview.indd 17 1/6/07 11:30:08
  12. 12. Interview DanielConway 18 favourite digital artists across the whole genre. First up for me is Yanick Dusseault [check out his work at]. I remember staring at his work for the �irst time �ive years ago and suddenly realising that digital painting was clearly the way forward to me, so his stuff was a big inspiration. I also really enjoy the work of Jason Chan [see for yourself his inspiring work at]. [He has some] very nice concepts and [his work is] always wonderfully executed. What are your plans for the future? Goals for the future would include learning a lot more about creating captivating images, and I guess to that end learning more about my new copy of Painter X. I would also really like to become an art director within the industry of games and/or �ilm; the two mediums are quickly merging together so I think it’s going to be easier to cross over from one to the other. My main goal, however, is to always enjoy the work I do. [ABOVE] To Sleep This was another sketch I created for the Fightstar album booklet Bright Eyes This was a sketch created for the Fightstar album booklet. It was also used in the Corel Painter X promotional material 014-019_OPM_05_interview.indd 18 1/6/07 11:30:25
  13. 13. 19 Broken Dawn This was another image created for the album cover for Fightstar 014-019_OPM_05_interview.indd 19 1/6/07 11:30:41
  14. 14. showcase ATAALISHAHI TITLE BeautifulDay WEBSITE JOBTITLE Freelanceartist,photographeranddesigner Ata’s work first came to our attention when he joined up to the website, and we’ve constantly been amazed by the work he produces. Colour is a major driving force in his paintings, which is demonstrated perfectly with this example here. 020_OPM_05_artspread.indd 20 1/6/07 13:29:27
  15. 15. 22 or the last two years I have been running after pictures, and seeking the truth at second hand. I have not endeavoured to represent nature with the same elevation of mind with which I set out, but have rather tried to make my performances look like the work of other men… there is room enough for a natural painter. The great vice of the present day is bravura, an attempt to do something beyond the truth.” With this statement, John Constable (1776-1837) turned his back on the prevailing styles of the time in order to re-dedicate himself to wresting some visual truths from his beloved English countryside. Born in the river village of Suffolk, young Constable had become intimately familiar with his environs, making many trips out into the �ields and woods to sketch and paint. His love of simple, un-manufactured pastoral beauty never left him, and indeed many of his most famous paintings are of settings he grew up around. In fact, the area around Suffolk is called ‘Constable country’. While his peers were busy in their studios creating their scenes of nature from imagination, he began to actually venture outside to plan and execute whole paintings based on keen observation of what he actually saw. He began to make visual notation of �leeting light and weather effects for use in later works, and developed a very scienti�ic approach to investigating these phenomena �irst hand. This was a true revolution in thinking and studio practice. Along with a handful of other like-minded artists, he ushered in an approach that led to the great Impressionist movement, which elevated the study of natural light and atmospheric effects to the same level that realistic depiction of the human form had obtained during the Renaissance. His name brings to mind massive six- foot canvases, but did you know that most of his works were rather small? A good Let’s use digital tools to explore the methods of the great landscape artist John Constable ConstableConstableConstable Tutorial PaintlikeConstable Artist Time needed Skill level On the CD Jeff Johnson 3 hours Intermediate Line sketch Tutorial info Paint like: ConstableConstableConstable Paint like: 022-029_OPM_05_constable.indd 22 1/6/07 09:56:37
  16. 16. 23 TutorialPaintlikeConstable 022-029_OPM_05_constable.indd 23 1/6/07 09:57:20
  17. 17. 24 Tutorial PaintlikeConstable deal of his outdoors work was done on canvases he could tuck under his arm. His oil sketches are a prized part of his legacy owing to their highly expressive and nuanced brushwork. Just look at one of his cloud studies and you will see how brave an experimenter he was. We have often thought that his ability to suggest complex form and content on small canvases with what we would call shorthand notation informed his trademark brushwork and surface treatment. In this tutorial, we are going to use elements from three of Constable’s works, and add on a fair bit of our own scenery to boot. We will borrow the river and grounds from Flatford Mill (Scene On A Navigable River) 1816-17, the wagon and folks from The Haywain 1821, and the glorious sky from Wivenhoe Park, Essex 1816. You may be thinking that blending those elements into a cohesive whole would be challenge enough, but we will be given a full third of the canvas upon which we will extend the scene à la Constable! This will offer a fun test of our understanding of his approach and style, for not only must our subject matter be styled in a fashion similar to that of the master, but also our very handling of paint in creating form and light. Constable is known for innovations in painting, like using sharp dabs of white to simulate dew, putting dots of red in foliage to activate the green and using broken strokes to create facets that suggest natural light. Re-creating some of these techniques in digital media requires making good use of the right tools. The Wet Oily brush is perfect for working up the basic values, as a loose treatment with it immediately begins to layer textures and colour variation. We will throw in a Spatter Airbrush in places (hey, the only reason he didn’t use one is there was no such thing at the time!) to simulate the spattery �licking of paint he sometimes used. The Grainy Blender will come in handy as we progress, as it creates a lovely texture, as well the Oily Blender and the Round Blender brushes. The �irst order of business will be to bring all of the elements together in a simple line drawing. Then, using a colour palette sampled from a set of the best web reproductions we could �ind, we will rough in the entire painting, starting with the sky and working forward in nice, manageable steps. We will be working ‘wet on wet’, always painting into midtones with darks and lights. Once we have a working rough, we will work back into the canvas, adding textures, highlights and details that help create a sense of light and atmosphere. The end result should, if we do our due diligence, be distinctly reminiscent of the work of the master himself. Good luck to all of us! [RIGHT] Cloud study Constable studied the sky and clouds in paint throughout his career. His rapidly executed oil studies attempted to capture oft-fleeting effects of light, form and atmosphere. The result of such efforts is perhaps the largest single body of such studies in all of Western art [BELOW] Simple strokes Just look at how simply this study is put together, yet how much information it holds about the kind of day and quality of light! Wikimedia Wikimedia has 35 good-quality large images of Constable’s works. They have good colour and many have the kind of detail that one needs in order to see how they were painted 022-029_OPM_05_constable.indd 24 1/6/07 09:57:45
  18. 18. 25 TutorialPaintlikeConstable Onebrush atatime, please All of the various elements in this painting are going to be roughed in with the same brush (the venerable Wet Oily brush, located in Artists’ Oils). Brushwork and brush sizes will vary according to necessity. One of the best ways to learn what a brush is capable of is to wrestle with it in various circumstances. Change its size and/or opacity. Try short stabs with it or skitter it across the surface. Look closely at the kind of edges it creates in each circumstance. Does it work painting into another colour? Is it suitable for detail work if made small enough? Answer these questions and others before you pick up the next tool. 04Paintingsomesky Eachofthestepsinthistutorialaredesigned to add texture and enliven the colour variation. This simple preliminary is no exception. The three tones of sky are applied loosely with a 60+ Variable Spatter Airbrush on a separate Darken layer. Most of the sky will be covered with clouds, but layers of paint to follow will either pick up some of those blues, or only partly cover them. Wet-on-wet painting is a process of painting into colours, so we will always rough in a ground from here on in. 05Lookattheclouds Next up are the clouds. Using a 25 Wet Oily brush and painting on a new Default layer, rough in the midtones of the clouds. Bring out the Variable Spatter Airbrush again for a few transition areas. Consult the sky references and carry the rhythms of the original into the new sky as well. Gather together all the pieces you need for your work Collecting the elementsCollecting the elements 01Let’sgoEngland You can try rough composition using grabs from the web. In terms of the narrative, we decided to have our boatman crossing the river with a tether (rather than a pole as in the original) as if it were a ferry crossing. There to meet him will be mom and pop, and their rickety wagon. Make your own or use the line sketch on the CD. 02Makingalinedrawing First, create a new Default layer and set it to roughly 70% Opacity. Then using a size 7 Charcoal Pencil, draw in the major details. To complete the scene, place the various elements of water, land, buildings, trees and sky following the compositional themes we described earlier. Next comes a Variable Spatter Airbrush and paper white to paint back some lines in the clouds and water so they are more easily covered later. 03Puttingtogetheracolour scheme The images on the web vary considerably in quality where colour is concerned. The same holds for reproductions in general. We scoured the net for some versions of our three Constable paintings that seemed to have a solid range of hues and values, and sampled colours directly from them using the Eyedropper tool. The result was this fairly warm colour scheme. 06Darkness Using the same brush, let’s lay in the various darks from our scheme. We still have the originals to bounce off of, so the going is still easy. In order to frame a scene, a common compositional technique is to darken the outer edges of the picture somewhat, and indeed Constable did so on many occasions, so why don’t we? Onebrush 07Lighten up Now we complete our preliminary sky with our lightest tones. The red arrows show the brush direction, namely away from the light source. Using the Wet Oily brush in this way creates an easily controlled edge. It is easy to feather with soft dabs across the edge. Leave the lightest value for last and feather it back. Merge the layers. 022-029_OPM_05_constable.indd 25 1/6/07 09:58:16
  19. 19. 26 Squint Sharp eyesight can be a positive hindrance when one is painting details. It is all too easy to lose track of the effects those details are having on the rest of the painting. Sure, zooming out can help, but area averaging can play havoc with the finer stuff. Zooming in and stepping back from the monitor is excellent for close- up work, but the best overall way to track the effect of a painterly flourish is to have as much of the canvas visible as possible and squint. It is literally one of the oldest tricks in the book of painting. Work your way through the image with your painting tools Painting in the middle groundPainting in the middle ground 08Downandout With the sky and far hills roughed in, let’s move forward. Next up is the middle ground, starting with the buildings, far trees and fields. The process will begin the same way, namely roughing in midtones of each on a Darken layer. A smaller version of our Wet Oily brush is called for. Something in the range of 10-12. 09Shadows Next comes shadows and the darker tones. These are painted on a separate Default layer. Take a little time to cover the line drawing, even reworking some of the sky if needed. Loose strokes are fine, as we are trying to build texture. The close-up shows the kind of brushwork needed. 10Lightenupabit Now comes highlights, starting with the buildings. It is perfectly all right to fix details along the way, but this is just preliminary work so not too much time should be spent on any one thing. Try to create a uniform handling of the brush. It is a great brush for the look you see here. Merge and save. 11Moreofthe same Notice how quickly this all comes together? We are already halfway down the painting with our rough, and things are shaping up. Now come the near trees and shrubs, following the process of roughing in midtones on a Darken layer. Flatten the image, save and move on. 12Moreshadows Here is a shot of some shadows and darker areas being blocked in rapidly. Use short strokes to create as many facets as possible for the most realistic effect, even going over longish strokes cross- wise to break them up a bit. 13Morelight Now we need to add the highlights. As things get closer and more details become visible, paint more and smaller highlights as you move to the foreground. It is good at this point to take some time to make some interesting shapes at the edges of our flora. Tutorial PaintlikeConstable Squint 022-029_OPM_05_constable.indd 26 1/6/07 09:58:40
  20. 20. 27 TutorialPaintlikeConstable Reflections and shadows create realistic water Water worksWater works 14Thirsty? Now we begin to paint in the water. Open up another Darken layer and bring the Wet Oily brush up to about 20 pixels. Time to start laying in horizontal strokes of midtone, starting with a greenish hue. The water is mirroring nearly everything in the picture at some place or another, so the reflections will have to, well, reflect that. That is why there are so many colours in our water palette. 15Shadowsanddarkreflections Once the Darken layer is dropped and the document saved, move on to adding the darker values with the same horizontal strokes. Notice how a little brown makes the blue in our midtones come out. The Wet Oily brush leaves a fairly sharp edge at the beginning of a stroke, so when necessary go back along the stroke to a point past its beginning to soften this edge a bit. 16Brightreflections Now, using the lightest tones, we paint into our midtones in the areas reflecting the most light, not bothering to completely cover up what is underneath. Do this stage on a separate Default layer, so you can modify some edges without disturbing the rest of the work. FENCING, ANYONE? The retaining wall on the far side was a solid tie-in with the one on the near bank. In the original, there is a hint of just such a wall. Short gesture stabs of midtones with the trusty Wet Oily Brush were quickly followed by highlights in places to suggest the dappled light in the rest of the painting. What’s left for you to doMidway, now what? UP, UP AND AWAY The diagonal these clouds make can be followed all the way to the edge of the canvas via the line of purplish clouds and details in the trees. It is nearly parallel to the ferry line and cuts across the strong diagonal of the river for some nice dynamic energy. UH OH Originally, we thought that a little lively play of the sparkling water and tree reflections would be enough here, but a little something else may have to be included to add a bit more to the overall level of interest. GO TO THE (LIGHT) SOURCE The wagon and horses are going to have to be brought into the same light as the rest of the painting. In The Haywain the light is coming from a different direction, and the values are much darker, so basic shapes will have to do. The idea is to-colour pick using the Eyedropper tool from around the canvas for some likely suspects and model the wagon in the proper light. HOUSING DEVELOPMENT In searching through ways to complete the composition, we decided to simply continue some of the details found elsewhere, such as placing a few more buildings on a far slope. It seemed logical to do as Constable did, and integrate them into their surroundings by obscuring parts of each of them by the hill, shrubs and trees. 022-029_OPM_05_constable.indd 27 1/6/07 09:59:46
  21. 21. 28 Layercake Nothing frees one up to experiment with paint more than the sure knowledge that what is underneath can be easily retrieved if things go south. Layers are indispensable for many other purposes as well. It can be extremely useful to create an effect on the canvas and erase passages of the unaffected top layer to reveal the effect with precise control. Now for the carriage, horses and people Colouring the detail 17Ridingthe waves After painting in the darkest darks, lightly pull some midtones across those areas. Working back and forth with horizontal strokes plays lights and darks into one another at the edges of shadows, focusing on creating a shimmering surface. Colouring the detail 18Anewbrush! Out comes the Oily Blender 40. Worked horizontally along the waves and ripples, the Oily Blender smoothes out those harsh edges and helps create a nice glistening surface. Use a light touch, or take the opacity of the brush down a bit for control. 19Therightbank After saving the image, it is on to the right side of the river. Using a size 45 Wet Oily brush on a Darken layer, quickly block in the midtones. There is a good deal of colour variation in the original, so do a little consulting before moving on. 20Darkshadows The darkest shadows in the painting will be in this area, but it is a good idea to build to the darks slowly, concentrating on colour variation and texture along the way. Merge and save. 21Lightongrass After blocking in the light areas with the large Wet Oily brush, reduce the size to about 9-10 and quickly paint in the brightest tones in the golden areas (as well as some light and dark colours in shadowy areas) as separate vertical strokes, creating a grass-like rhythm. Go around to all of the grassy areas in the picture and repeated this as needed. 22Lastbutnotleast The final laying in of midtones! Like before, a large Wet Oily brush is used with quick, vigorous strokes to start building textures. Use a purplish grey for the two horses and a slightly more reddish brown for the barge. 23Thedarkening Still on the same Darken layer as before, lay in the darker tones. Most of the wagon is in shadow, as well the posts and stump. We will be working these items a bit, so don’t spend any time with edges at this point. Tutorial PaintlikeConstable Layercake 022-029_OPM_05_constable.indd 28 1/6/07 10:00:10
  22. 22. 29 Variation over time One of the first questions when laying out a project is what kind of surface treatment will the painting have? This project was no different. In fact, surface handling was a big part of the plan. When one thinks of Constable, one thinks of atmosphere and light. His surfaces are richly varied, and his details are sometimes surprisingly sketch like. To develop a way of getting to our own set of details via painterly means, we began early by building up layers of overlapping hues and values with vigorous brushstrokes. Then more and more surface detail was added to create the kind of faceted, shimmering light one would expect to see in an image meant to evoke Constable, using smaller and smaller brushes and applying a couple of different blenders. We went so far as to layer canvas textures on top of one another in subtly amended layers to give the whole canvas a little controlled sparkle. TutorialPaintlikeConstable Tweak the colours and add the final touches Getting it right 26Lastbigcolourtweaks Now for a little colour play. Open up a Soft Light layer and set it to 33% Opacity. With a large (70 or so) Variable Spatter Airbrush set to 25% Opacity, paint some light greens into the green highlights and in places on the water. It creates a subtle hue change suggestive of a warmer light. Shift the sky a bit more towards blue using the same method. 27Canvas Create a duplicate layer and select the lower layer. Then, with Linen Canvas (located on the toolbox menu) as the paper choice, go to Effects>Surface Control>Apply Surface Texture. Go over the second layer, erasing lightly until just enough texture in just the right places shows through. Repeat the operation with Artists’ Canvas very lightly in order to vary up the texture. Getting it right 24Bestfor last Now for some nice details using our brightest values. The trick in painting something small that looks like something big in the distance is to get the shape, local colour and basic lighting right. A dab of the right colour with the right shape in the right place can become a very expressive arm or hat or blouse. 25Alittlemorefocus First order of business is to copy the picture and paste. Then via Effects>Surface Control>Apply Lighting, choose Warm Globe at the settings shown. Since the effect is isolated on a separate layer, it’s a snap to gently erase a bit of the effect from places like the diagonal clouds and anywhere else it is not wanted. 28Thefinishline Now for some smaller details added with alternating Wet Oily and Impasto Oil brushes set to about four pixels each. The idea is to search around the canvas and add dabs of light and dark to flat areas. A little red in a field of green (or vice-versa) can really liven up a patch. Then comes the Grainy Blender 30 with a light touch following the stroke direction to blend them into the picture. Finished! Variation over time One of the first questions when laying out a 022-029_OPM_05_constable.indd 29 1/6/07 10:00:36
  23. 23. 030-031_OPM_05_artspread.indd 30 1/6/07 13:36:43
  24. 24. showcase RYANMAUSKOPF TITLE Robot’sBestFriend WEBSITE JOBTITLE Digitalartist Ryan’s work is a glorious combination of colour and character, mixing cartoony illustration with painterly touches you’d expect from an old master. Visit his website for information on how you can buy prints of his work, and email him at 030-031_OPM_05_artspread.indd 31 1/6/07 13:37:07
  25. 25. 32 orking digitally is awesome. I was trained in a wide variety of traditional media: oils, acrylics, watercolours, charcoal and graphite. They all have their advantages, and I still enjoy using them, but Corel Painter is an incredibly �lexible program that lets me not miss them too much. In this particular image, I took three drawings and a computer-generated 3D model, combined them into one composition, and then tried to make it look as non-digital as possible. While I’m a big fan of working digitally, I’m not so fond of the very clean, airbrushed look that often is the result. When working in Corel Painter, I try to think of it as I would if I was using traditional media as much as possible. Actually, that’s a lie; I try to treat it like I would treat traditional media if my paper had magical layers that I could work on simultaneously and could be as opaque or transparent as my heart desired. What I really meant is that I try to keep in mind things I learned about colour when I was learning to paint, such as rendering by using complementary colours is a good thing (in this painting I use a lot of purple and yellow), to avoid true black, and to try to ‘echo’ colour throughout a composition. Also, I try to keep my hand visible by letting things not be perfect. But I’m probably preaching to the choir. I’m going to explain how I made this image. The 3D model makes the start a little more complicated, but otherwise this is pretty typical of how I work. In this tutorial, Celia Yost looks at turning a sketch of a couple of figures into a full painting with an environment Illustratewith sketchesandoils Illustratewith sketchesandoils Tutorial Illustratewithsketchesandoils Artist Time needed Skill level On the CD Celia Yost 2 hours Intermediate Source files Tutorial info Get your basics together Setting the scene 01Settingup I started by setting all the layers with line art in them to Gel in the Layers palette. This gives me transparent pencils to paint under. The layer with the model will be my base, and I also fill the canvas layer with dark purple. It’ll be visible through the window, and I’ve decided it’s night time. 02Figure:basiccolour I need to block in the figures with opaque colour, as right now you can’t see them very well. I add a new layer directly beneath the figure line art, and use the Gouache brushes to apply the colour, specifically the Opaque Smooth and the Fine Bristle options. Setting the scene Celia Yost shows you how to 032-036_OPM_05_ghost.indd 32 31/5/07 16:34:31
  26. 26. 33 TutorialIllustratewithsketchesandoils 032-036_OPM_05_ghost.indd 33 31/5/07 16:34:48
  27. 27. 34 Using hotkeys Hot keys are your friends. These are keyboard shortcuts that can save a lot of time when painting – especially these two: ‘{’ and ‘}’. They adjust brush size up and down, and allow me to fuss with the size on the fly. All of the tools have associated hot keys. The ones I use the most are ‘B’ for brush, ‘G’ for grab and Ctrl/Cmd+ ‘+/-’ to zoom in and out. Also, I find it expedient to keep a palette of brushes that I use frequently while painting open. These custom palettes are easy to create: drag the brush icon off of the selector bar. To see any palettes that aren’t open (they’re automatically saved), go to Window> Custom Palettes. Small, subtle brush strokes add realism It’s all in the detail 03Clothingdetail Using the Artists’ Oils Wet and Blender brushes, I go back in and add detail once I have the general colours for the clothing blocked in. As far I’m concerned, these brushes are about the same, so I’ll just keep one more opaque and switch between them. I keep a palette with my frequently used brushes open for speedier access. It’s all in the detail 04Hairandskindetail For the figure’s skin, I use a modified Fine Feathering Oils brush. Under Window>Show Brush Creator, I change the Stroke Type to Rake and the Method to Drip, giving the brush a nice smeary-ness. Around her eyes, mouth and to pick out highlights in her hair, I used a Detail Oils brush. Since she’s fair, I’m using dull purples to shade her skin. 05Theghost I’m keeping the ghost translucent, so I use the Blender brush, the Fine Feathering Oils brush (unmodified) and the Fine Soft Glazing Oils brush at low opacities. This last tool is modified, changing the Method from Buildup to Cover, so that the color gets more opaque the more it’s applied. 06Theghost’sshadow I’m giving the ghost a very transparent double following and overlapping it, so I’m going to lightly go in with the Feathering Oils and Glazing Oils brushes, in a new layer set to Screen at 60% Opacity. I’ve turned off the other figure layers so you can see it a bit better in the screengrab. 07Background:firstattack I’m now going to throw some paint on the background before going back to the figures. I like to move around the canvas a lot, at least touching on everything before settling down to finish anything. I’ve started to add reflective shadows on the floor and detail tothefurniture.I’vealsousedtheSpongebrushtoaddcolourtothewall. Tutorial Illustratewithsketchesandoils Using 032-036_OPM_05_ghost.indd 34 31/5/07 16:35:06
  28. 28. 08Moreonthebackground I also start adding detail to the books. You’ll note that the drawing and the model don’t quite match up. That’s because it was far faster for me to just draw in any curves, instead of sculpting them in 3D. I draw detail a lot faster than I model it, and it wasn’t necessary to see the basic form. 09Backto thefigure I’m now going to go back to the girl. I’ve decided that I need more of a directional light source, so I added some purple and blue shadows to her face, as well as a little more yellow in the highlights, blending this into the original skin tone. I’m using the Fine Feathering Oils and the Wet Acrylic brushes. 10Clothingdetail I also went in and added some more detail to her clothing, using the Artists’ Oils brushes and Detail Oils brushes. I’m also going in and cleaning up the slop from my first go-round, where I wasn’t too concerned about staying in the lines. The basic eraser works fine for this. 35 Going about things the wrong way This image started with the drawing of the ghost and the girl. Unfortunately, only afterwards did I decide on the setting. This was a mistake, as trying to make the perspective of the interior match that of the figures was deeply annoying and I should have known better. Then I realised that everything I wanted in the interior was essentially box shaped. While my 3D modelling skills aren’t particularly impressive, I could at least manage boxes. And, even better, once I built the model, I’d be able to adjust the viewpoint without having to redo the entire thing. But now I had these pencil-drawn figures and a very hard-edged, digital background, and I needed to make them look like they belonged in the same image. So, I printed out one of my renders, traced it by hand, scanned the trace back in, and then composited the figures on top, keeping the model for lighting and color reference. TutorialPaintaninteriorwithfeatures Keep working on different elements of your composition Back and forthBack and forth 11Theghostagain Painting the ghost is a lot of fun. Using the Oils brushes and an eraser, I’ve added some red and orange to his face. Also I use a Detail Oils brush to pick out lines because I think it looks nifty. I’m mostly following my drawing, but in places allowing the color to drift away a bit. 12Afterimage I’m now going to do the same to the after effect that’s following the ghost. Again, here’s a shot of it with the figure layer turned off for the sake of visibility. Going about things the wrong way This image started with the drawing of the ghost 032-036_OPM_05_ghost.indd 35 31/5/07 16:35:23
  29. 29. 36 Getmoreout ofbrushes Brushes are the fun part of Corel Painter. One thing I did when I was first learning the program, which I highly recommend others do, is to just play with the brushes. I’d systematically go through all of the brush families, doing a sketch using each brush just to see what it did and what it was useful for. Also, if I have a particular effect in mind that I want to show, I’ll spend a lot of time trying to find the perfect brush to create that. While I certainly have my favourites, (Soft Glazing Oils, I’m looking at you), other people may prefer others. Having fun and figuring out which ones work for you is the important part. Perfect your painting with further detailing Finishing touches 17Window The window’s still bugging me. I’ve gone in and put in some more reflection, but it’s not enough. So I created a new layer behind everything except the canvas, and used an Airbrush tool to make some vague dark shapes behind the window. Finishing touches 18Finaltouches The last thing I have to do is add some more shadows on the bookcase and the floor. I made another layer above the floor color and set it to Darken. I then picked a dark purple and used the Soft Airbrush at a low Opacity to knock back some of the space, and ground the girl and the table. Tutorial Illustratewithsketchesandoils 16Floor I made a new layer for the floor so I’d be able to make longer strokes, instead of trying to paint around the table. I used warm orange browns and the Artists’ Oils Wet Oily Blender brush. These brushes will blend long after the ‘pigment’ has run out, so they’re good at smoothing without annihilating the individual marks. 15Woodwork Another thing I’m concerned about is that I have a lot of different surfaces in this painting that are wood, which need to be distinguished from one another. For the furniture, I tried to make the bookshelves darker and richer than the table, so more reds and purples for the shelves and duller browns for the table. 14Booksneedtobebook-like All those books still don’t really look like books, so I needed to put enough detail in to make them convincing. I’m not very picky with what brush I’m using here, just grabbing the Artists’ Oils brushes and Detail Oils brushes again. I like adding little bits of hatching with a Detail Oils brush for some variety in brush marks. 13Background again I’ve decidedthewallshould bedarkyellow.Iused theSoftFineGlazing Oils,theSquareConte andBluntChalk.I ended up putting the baseboard on the same layer as the colour for the figures, as I kept accidentally painting over it when it was on the layer with the rest of the background color. I used the Straight Line tool to get the edges of the baseboard, as it’s a detail that I didn’t draw or model. 032-036_OPM_05_ghost.indd 36 31/5/07 16:35:42
  30. 30. 38 he dictionary de�ines the word ‘esoteric’ as “understood by or meant for only the select few who have special knowledge or interest” – such a de�inition could easily apply to this particular category of effects and illustrates how these �ilters came to have such a title. However, it’s all too easy to dismiss a selection of seemingly obscure and strange effects without a second glance but as always with Corel Painter X, when applied with imagination and creativity, many of the effects within the Esoterica category can be used with some very interesting results. It’s true to say that there are a few effects within the category that are indeed obscure, there are as many that can raise your Corel Painter creativity to a whole new level. Here we’re going to examine each one individually, show you the best of them and look at exactly how to apply them to your Corel Painter art. We’re going to look at two of the most useful features – Auto Clone and Auto Van Gogh – in more detail. If you know just how to use them, these effects can create convincing paintings for you in just a couple of mouse clicks. Although you might not be entirely satis�ied with the ‘out of the box’ results, both of these effects can be a great shortcut to an effective under-painting, which you can then paint on top of. And if you feel like going a little wild and experiencing the more surreal side of Corel Painter effects, we’ll show you how you can adapt the other Esoterica effects to add the ‘wow’ factor to your images. This is a great way to give your images a real Sixties feel, and make them much more graphic in nature. It can also create the effect of a very coarse newsprint image if used in a certain way. Within the dialog, the Scale slider controls the size of the actual dots that are applied, while you can choose the Dab Color and the Background from the two colour swatches. Image Luminance is the most useful mode: you can choose it from the Using box. Adjusting the Contrast slider allows you to use the luminance of your image to mix the fill with. Step back in time Pop Art FillPop Art Fill Not just for kitchen surfaces… Auto MarblingAuto Marbling Auto Marbling creates an effect that simulates traditional decorative marbling, where a rake or fork is dragged across a wet surface, distorting the image in wave-like patterns. Within the effect’s dialog box there are a number of values that you can adjust to modify the appearance of the marbling. It’s a good idea to apply this effect numerous times, using a different direction each time. Essentially, this is a decorative effect. The Quality slider is important in that it allows you to increase the smoothness and visual quality of the finished effect. Primer Focus Fadeaway! Many of these effects can be a little overpowering if they are used straight out of the box, and the results are often improved if they are toned down a little. An ideal way of doing this is by using the Fade command. Once you’ve applied the effect to your image, go to Edit>Fade. By default, the Fade amount is set to 50%, but you can change this to any value you want. IMPRESSIONISTIC For more traditional painterly effects, the Impressionist variant makes a great choice. Again, make sure that in the Colors palette you have the Clone Color icon depressed, or your Auto Clone option will be greyed out in the menu. They key here is that this is automatic cloning, and the software will keep painting until you instruct it to stop. PRIMER Esotericbynameandbynature.Takealook attheweirdworldofEsotericaeffects! EFFECTS MENU Esoterica DAB BRUSHES Remember, you can use any Captured Dab type brush in conjunction with the Auto Clone effect. Here, we’ve used the Sargent brush from the Artists group of variants. Again, it’s worth experimenting with the settings for the brush. See the tips alongside for identifying Dab brushes. USING AUTO CLONE Using Effects>Esoterica> Auto Clone, you can use any Captured Dab type brush and Corel Painter will actually paint the picture for you. Start by going to File> Quick Clone. On the cloned copy, choose a Captured Dab type brush, click the Clone Color icon and simply watch Corel Painter paint. Click with your mouse to stop the painting process! Remember, you can use any Captured Dab 038-039_OPM_05_effects.indd 38 31/5/07 16:29:53
  31. 31. 39 PrimerEsoterica Mosaics made easy Custom TilesCustom Tiles Attack of the clones Auto CloneAuto Clone Using this effect allows you to split your image up into a mosaic-like pattern, where the image itself is made up of many small tessellating shapes. You can choose from many variety of shapes from the drop-down box, and adjust the size, angle and sharpness of the individual tiles with ease. By checking the Use Grout checkbox, you can create the effect of grouting between each tile. Choose the colour of the grout via the Color swatch, and modify the Thickness slider to control the width of the grout. Choose Auto Clone and Painter will actually paint your picture for you. Start by cloning your image via File>Quick Clone. On this cloned copy, choose any Dab type brush. Adjust the brush size to suit. You must make sure that the Clone Color button is active in the Colors palette before Auto Clone will work. Once you go to Effects>Esoterica> Auto Clone, Painter will begin to paint. Watch the progress of your image and simply click your mouse button when you’re happy with the result. CHALK AUTO CLONE Here we’ve used the Square Chalk variant in conjunction with Auto Clone. For a more realistic effect, make sure that your brush Opacity and Resat are both set fairly low so that the brush dabs build up quite slowly, giving you chance to hit that mouse button when you’re happy with the result. that mouse button when you’re happy with the result. AUTO VAN GOGH Auto Van Gogh is similar to Auto Clone but creates automatic painting in the style of the great master himself. For this you need to choose the Auto Van Gogh brush from the Artists category. This brush has colour variability dialled into its settings so as well as creating those typical Van Gogh curved strokes, it will also introduce other colours for added effect. PrimerEsoterica AUTO VAN GOGH Auto Van Gogh is similar to Auto Clone but creates automatic painting in the style of the great master himself. For this you need Add some eccentricity to your images The Esoterica collection You’ll see by now that the Esoterica effects are many and various, and it must be said that some of them are most definitely more useful than others. Here we’re giving you the complete lineup of effects, so you can see the results of each. Original photo Marbling Blobs Custom Tiles Grid Paper Growth High Pass Maze Place Elements Pop Art Fill Auto Clone Auto Van Gogh 038-039_OPM_05_effects.indd 39 31/5/07 16:31:16
  32. 32. 40 Tutorial Designaconceptcar ion Tutorial Designaconceptcar 040-045_OPM_05_cars.indd 40 1/6/07 15:27:42
  33. 33. 41 TutorialDesignaconceptcar Designa conceptcar From sketch to final illustration, we walk you through how to sell a believable car design using just the tools in Corel Painter othing can excite the masses quite like a sexy and futuristic concept car. Everyone can relate to them, invoking pure passion in many. As fun as it is to look upon these rolling sculptures, it is even more exciting to create them. This tutorial will focus on the ‘hero’ rendering that is used to accurately explain the details and surfaces of the �inal design. This drawing usually follows a long design process �illed with pages of loose sketches and concept ideation. But nothing can sell your design to others like this kind of polished illustration. As with most of my professional work, I draw the vehicle into a white studio setting. This means I won’t be spending much time and energy on a fancy background. This technique is fairly simple, and produces great results. Primarily sticking to the Digital Airbrush, most the tools I use are out-of-the-box Corel Painter defaults. These are automobile surface �inishes in a studio environment, so we won’t need to employ any wild texture techniques. The key is in the details and the design. So if you have ever dreamt of designing your own concept car, let’s go! Artist Time needed Skill level On the CD Erik Holmen 3 hours Intermediate Starter sketch Tutorial info Designa conceptcar From sketch to final illustration, we walk you through how to sell a believable car design using just the tools in Corel Painter othing can excite the masses quite like a sexy and futuristic concept car. Everyone can relate to them, invoking pure passion in many. As fun as it is to look upon these rolling sculptures, it is even more exciting to create them. This tutorial will focus on the ‘hero’ rendering that is used to accurately explain the details and surfaces of the �inal design. This drawing usually follows a long design process �illed with pages of loose sketches and concept ideation. But nothing can sell your design to others like this kind of polished illustration. As with most of my professional work, I draw the vehicle into a white studio setting. This means I won’t be spending much time and energy on a fancy background. This technique is fairly simple, and produces great results. Primarily sticking to the Digital Airbrush, most the tools I use are out-of-the-box Corel Painter defaults. These are automobile surface �inishes in a studio environment, so we won’t need to employ any wild texture techniques. The key is in the details and the design. So if you have ever dreamt of designing your own concept car, let’s go! Artist Time needed Skill level On the CD Erik Holmen 3 hours Intermediate Starter sketch Tutorial info 040-045_OPM_05_cars.indd 41 1/6/07 15:30:17
  34. 34. 42 Many, manylayers I only manage layers in the early sketch phase, when it’s important to keep everything under the lines. Once I start rendering the final illustration, layer management goes out the window. Every time I add a new highlight or shadow, it’s on a new layer so as to not disturb any previous work. By the end of the drawing, I will have made roughly 300 layers, and have had to flatten a dozen times. You might need to go back into previous layers for clean-up, so only flatten when you get to a good milestone. From pencil sketch to the start of a digital creation Start with a sketch 01Thesketch This could be the most important part of the entire rendering. And for a tight illustration, perspective is king. If there is a perspective problem, it could throw off the believability of even the most well-rendered vehicle. Spend the time here to get it right; flip the canvas horizontally to check the perspective. Even ask somebody to check your completed line art, or use the one supplied on the disc! Start with a sketch 02Blockin Take your completed line art and copy it to a new layer. Set that layer to Multiply and name it ‘lines’. This is the only layer I ever keep track of. Create some new layers underneath and start to block in tone. Here I use a Digital Airbrush with the 1px Edge setting (Brush Controls>Size). This is a good time to decide what colour you want your car to be. 03Definingform Staying under the lines layer, use the standard Digital Airbrush to start shading those surfaces. This is where you determine a light source, placing the hotspot to show off an interesting part of the car. Right now all the paint should look matte, as if it has no clear coat. Don’t worry the number of layers you use, as long as they are under the lines. 04Nicesketch! Start working on top of the lines layer to clean this up a little bit. Add some crisp highlights and reflections to make the paint look glossy. This ends at what I would consider a decent loose sketch. It should represent the intent of the final illustration. Use this opportunity to get some feedback before the time-consuming stuff starts. 05Startrendering Because it’s the backbone of the design, I will start the tight rendering with the bright silver parts that run the length of the car. Using the Pen tool, draw a shape around this part. Because it’s a continuous surface, it will save us some time down the road to have this part selected. Go to Shapes>Convert to Selection and Select>Feather (2px). 06Carpaint It doesn’t hurt to illustrate car paint like it’s applied in real life. I start here with the base coat, a flat silver. With no hard reflections, it’s easier to draw, here shown with one major light source. Try not to jump around the rendering too much; this part is fairly complicated and should be focused on. 07Clear coat (reflections) Because the vehicle is in a studio environment, it will reflect white from all directions. I will draw these with a large 1px Edge Airbrush tool at full opacity. This will give me a nice crisp edge on the highlights and reflections. Adjust the intensity through theOpacitysliderinthe Layers palette. Each reflection will get its own layer. Tutorial Designaconceptcar 040-045_OPM_05_cars.indd 42 31/5/07 16:50:49
  35. 35. 43 TutorialDesignaconceptcar Online resources A great resource for car design is CarDesignNews. com (www., a site that I will check every day for the latest and greatest in the car industry. It’s a great source for inspiration, where you can find articles and galleries on huge auto shows or design school student shows. They have excellent design reviews, featuring sketches of concept cars directly from the studio. You can create and browse through portfolios of car design students and car design professionals. Also bookmark www. as a great site for high- res car photo galleries and car news. Techniques to give the car a three-dimensional feel Shiny bumpers and reflective surfaces 11Subtle reflections To give these surfaces a high-gloss finish, we add some hard reflections. As with the silver piece, I will draw them in as opaque white, and adjust the layer down to around 10% Opacity so they don’t draw too much attention. Give these reflection shapes some interesting form; this can give a boring surface some drama. 12Headlight Time to bring back the headlight; I draw a simple overall form, to which I will add projector beams, and a lens. All glass effects are drawn on last, so feel free to have some fun with those projectors. Draw one and duplicate it to save some time. Add some hard reflections to show off the clear lens over the entire piece. Shiny bumpers and reflective surfaces 08Pinpointhighlights Drawing tight highlights on a long edge is made super easy with the ability to snap to curves. Click the Align to Path box in the Properties bar, and your brush stroke will be snapped to that shape. This is a car designer’s best friend to hitting that perfect arc. If you go to the Properties menu and click Paint Hidden Shapes, you can snap to a hidden path. 09Complexsurfaces Because these areas are much smaller and more complex than the bright silver surfaces, it won’t save too much time making selections of everything. I start by painting over the sketch to clean it up, and start fresh when it comes to the detailing. I roll over any small details like the headlight; it will be easier to draw these in later than to draw around them now. 10Silkysmoothshine Try to use bold single brush strokes when building up highlights and shadow. The Digital Airbrush will create some muddy artefacts that won’t look very good on car paint. I will often make a highlight or shadow bigger than needed, and use the Eraser to bring that effect down to the desired location. 13Coolwheels By now you can see that I am working on each part until it’s completed. With all the detail on this vehicle, you can burn up a lot of time by jumping around to the interesting parts. I want to finish up this corner of car, so the wheel is the next. Start cleaning it up by over-drawing the existing sketch. Online Photo reference Photo reference is an awesome tool when rendering an automobile in Corel Painter. It is important to understand how highlights will react to surface forms. Before you get started on a highly detailed rendering, look at photographs of similar settings and colour. You will see how the car reflects the light of the scene, and be able to sample colours directly off of the picture. If you are having trouble landing that initial sketch, grab a photograph, drop back the opacity, and overlay your sketch. This will greatly help with any proportion and perspective problems. Photo 040-045_OPM_05_cars.indd 43 31/5/07 16:51:32
  36. 36. 44 Compare withothers is another fantastic place to get inspired, but its greatest use for artists and designers are the honest and valuable critiques. If your design is not confidential, go ahead and post it in the Critique Centre forum when you hit step 4. Fresh eyes can see mistakes that you have grown used to. You might also get some good design tips along the way. Just be open to the ideas and suggestions, and never get too attached to a design. The It’s Finally Finished forum is a great place to see some hot concept art. If the work up there doesn’t inspire you to get drawing, nothing will. Adding those essential touches Under the hood 14Conceptcarwheels I decided that the wheels I had going were not wild enough for the car. I wrap the tyre into the rim in true concept car fashion. Here you can see where I start to add a little surface texture to the tyre. I switch to the Simulated Woodgrain paper and use the Blunt Chalk brush to apply the texture. Under the hood 15Brakerotor For a brake rotor, or anything with a brushed surface finish, I will use a Round Oils brush with the Feature setting cranked up. Apply a wash of dark streaks to a new layer, and drop back the opacity. Apply a wash of bright highlight, and drop back the opacity until everything looks correct. 16Chromeengine! Exposed engines are usually the domain of rear engine supercars. Here I want to show off a front engine GT with a chromed-out centrepiece of a motor. Start cleaning up the surfaces by washing in big fields of flat colour. 17Renderingchrome Chrome can be tough to render and depict form at the same time. Photo reference would be good here. Just remember that everything needs a lot of contrast with chrome, hard reflections, and that it reflects its environment. DO NOT render ‘desert chrome’ unless you draw the car in a desert. 18Roughtexture To add some interest in the engine bay, let’s give this part some texture. Use the Fine Spray Airbrush and dust it with some dark sparkle. Do the same with white for a textured highlight. I use this brush all the time when showing textured plastic and cast metal. Tutorial Designaconceptcar 19Interior My original grey interior is looking a little dull, with the rest of the car being fairly monochromatic. I clean it up and add some warm colour. It wouldn’t hurt to find some photo reference of car interiors. Use an image to find good colours, sampling highlights and shadows. 040-045_OPM_05_cars.indd 44 31/5/07 16:54:07
  37. 37. 45 TutorialDesignaconceptcar 20Render away The process here is nothing new; add highlight and shadow over a base tone. I am paying the price for all this detail… this rendering is taking a while. If you want to speed things up, just make this a coupe! But I am having fun with the different materials, so it’s no big deal. 21Windshield Automotive glass has a slightly green tint; on a Multiply layer, cover the windshield with a light pale green. Add some white reflections, and drop back the layer opacity until they look good. Keep the reflection edges sharp, as automotive glass is highly reflective. For all hard reflections, I use that same Digital Airbrush with the 1px Edge setting. 22Oops,badperspective When I flip the canvas horizontally, something looks funky at the rear end of the car. I notice that the perspective is cranked with the headrests of the seats, and the passenger side rear fender is way too small. Flatten the image and duplicate these areas. Free Transform the pieces and move them into place. 23Final details I saved these details until the end: side mirrors, front emblem, door cuts and shadow. They should support the overall design, and would be tough to draw around earlier. The shadow can be especially difficult; I usually save it until the end, so it works with the values of the car itself. Use the Pen tool to make a selection that excludes the car. Give your design a paint job Changing the colour 01Makeitred On a Multiply layer, add your colour of choice in a single solid block. This will be shaded automatically by the silver tones underneath. Use this time to play around with different colours to see what looks best on the car. 02Addwarmsandcools On that same layer, click the Preserve Transparency option in the Layers menu. This will limit your paint to cover only the pixels you already have on that layer. Where the highlight is hitting the surfaces dead on, I put down some warmer red-orange hues. On the backside of the car, I brush in a very washed-out red, as reflected by the background. 03Highlights Add some new highlights on top of the red base coat. Make a new layer and paint in opaque white fields for your highlight reflections. Drop back the layer opacity until they look good. Do the same thing for your ground reflection and you are done! I usually render vehicles in silver. It’s easy to draw, easy to read and prints well. But you might want to do some colour options in the end. Silver is relatively easy to turn into different paint finishes, but it doesn’t always work the other way around. Once again, it doesn’t hurt to look at some photo references for good colour samples. 040-045_OPM_05_cars.indd 45 31/5/07 16:54:54
  38. 38. 48 ne of the biggest driving forces behind this magazine is to create a welcoming community for Corel Painter users. Obviously, the majority of this takes place with the actual magazine, but when we �irst sat down and came up with a masterplan, having a functional and inspirational website was always in the grand scheme of things. So when we launched the magazine, we also launched the magazine website and offered readers a place to upload their images, comment on other readers’ work and have a place to come and share ideas. However, as more and more of you started to upload artwork and create galleries, we noticed that there were certain tasks that could be improved and some that needed to be added. We set about working on an update to the site, using our experiences and also suggestions made by some of you on the forum. The result went live in May, as this issue was being put together. While the structure remains the same, users can now enjoy improved browsing capabilities in addition to extra options. We’re going to look at all the new features over these pages, as well as give a quick run through on how to actually use them. Hopefully, you’ll agree that these additions make the site better than ever. Read on and discover more about the new and improved features on the Official Corel Painter Magazine website Getthemostfrom ourwebsite One aspect of the site that had to change was the Latest Images function. Previously, only the past six images were displayed. Obviously, if more than six people added images, or one person uploaded more than six images, these squares would quickly fill up. However, we now have a nifty Images pane to the side of the website. Click Latest Images and you will see a great big list of the latest images to have been uploaded. There are 20 displayed at any one time, and you can access earlier images by clicking the numbers at the top of the area. Get ‘em while they’re hot New imagesNew images Make friends with members All the peopleAll the people Sometimes it’s good to just browse through different galleries, maybe catching up with some people you have noted from previous visits, or just to see what everyone else is up to. With the Browse All Galleries function, you can open a page displaying each and every gallery on the site. Under each thumbnail is a summary of how many images that gallery holds, as well as how many comments and the average rating for that member’s images. Simply click the name to be taken to that person’s gallery and use the top arrows to navigate through them. Featurefocus Getthemostfromourwebsite Getthemostfrom FEATURE FOCUS Don’tforget torate Whenyouareadding comments,don’tforget togiveanimagea rating.Simplyselect aratingfromthepull- downmenuandthen clickRate! THE CRÈME DE LA CRÈME Check out the Picture of the Week and Feature Galleries links and see which members we think have produced some exceptional Corel Painter artwork. LATEST ISSUE The home page displays a brief outline of what’s in the current issue, plus there’s a link at the bottom that will take you to our online shop where you can order back issues. BROWSING IMAGES There is a new Images section on the left- hand panel that allows you to view the images in various ways. The Galleries area also has a couple of new features, such as the Browse All Galleries link. 048-050_OPM_05_featurefocus.indd48 48 1/6/07 11:32:12
  39. 39. 49 FeaturefocusGetthemostfromourwebsite Generating interest Talk of the townTalk of the town To see which images or galleries have struck a chord with the rest of the members, click the Most Commented link on the left-hand side panel (there’s one under the Galleries section and the Images section). You’ll now see a list of returns that have received comments from other members, going from the most to the least. Even though the comments are obviously aimed at a specific image, this is a great way of getting some good ideas for your own work. Plus, it will hopefully inspire you to leave some of your own messages on images. What the stars mean on the website Getting awards 01Numberofimages If you have uploaded between 10 and 49 images, you get a bronze star. Between 50 and 99 will get you a silver, while over 100 gets the gold star. 02Rateanimage The above parameters also applies to getting stars for number of comments you’ve posted, as well as the number of comments you’ve received. You can also get stars for your average rating. Between 3 and 3.9 gets you bronze, 4-4.7 gets you silver and 4.8-5 grabs the gold. 03Pickupatrophy In addition to the star ratings, you can also be awarded a virtual trophy if you get selected as Pic of the Week. There’s no limit to how many times you can be awarded this, and there’s no limitation on what you can do to get awarded one! You may have noticed a few stars appearing next to your name – these are to show members who have reached a certain number of posts. Here’s a guide to getting your awards MANY COMMENTS Here you can see the Most Commented Images area, which lists all the artwork that other members have left comments for. It is accessible using the link on the left. GO TO THE GALLERY Each thumbnail has a link that will take you to that image, so you can read all of the comments. From here you can leave your own musings, or check out the other works by that particular artist. BY CATEGORY If you’d rather search for images that follow a particular genre, use the new Category drop-down menu and submerge yourself in your favourite type of art. IN ORDER The images appear in the window according to how many comments they have received, going from the most commented through to the ones with least comments. 048-050_OPM_05_featurefocus.indd49 49 1/6/07 11:32:55
  40. 40. 50 Drop-down browsing Search categoriesSearch categories You’ve always been able to search for other members on the site, but you can now also search according to specific genres. When you are in any of the Images areas, you will find a drop-down menu underneath the Search box. Use this to find images belonging to a specific category. And to add your images to a category, either choose one when you are uploading an image, or edit an existing image. These categories try to capture the most popular forms of artwork, and there’s a Work in Progress section to encourage people to post their current doodlings. Featurefocus Getthemostfromourwebsite 03Viewtoachange You’ll see the information you’ve given, as well as the comments. Basically it’s what other member see when they view the image themselves. If you want to edit the text, click the Edit link. Your guide to the new tools for managing your profile Apply the new featuresApply the new features Wanttogetstuck inwiththenew featuresadded tothesite?Here’s aswiftguideto applyingthemto yourimages,giving youbetteraccount management. FEATURE FOCUS 01Thefirstedit Your first step in tweaking your account is to log in and then click the View Your Profile link at the top of the page. This is where you can edit the profile you’ve given, or scroll down the page to the Awards and Images area. 02Starttweaking Now you are into your profile, start adding goodies to your images. The easiest way of doing this is to click the image thumbnail to open the editing options. 04Textchanges To begin with, let’s change the text and title of the image. This involves nothing more than highlighting the text you want to alter and then typing in new words. 05Putinabox The other major edit you can make is to set a category for the image. This means that if people search using the Category menu, your image won’t get left behind. To set one, simply pick a suitable category. You can also add an Adult Rating and then click Update Image Info when you are done. 06Outoftheway When you have updated your image, a little message will appear to say if it’s been successful. You can then return to your profile to carry out other tasks. For example, you might click the Delete link to get rid of an image that has been updated or you’ve grown tired of. Click the Delete It button to remove it from the site. Avoid offending anyone Not in front of the children Avoid offending anyone Not in front of the children If your artistic endeavours see you indulging in images or subject matters some may take offence to, you can now give a little warning before people view the larger version. When uploading an image, there is the option to apply an ‘Adult Rating’, which will bring up a notice page when people click the thumbnail. And we promise that we are not doing this to deter any of you uploading life drawings or explicit images. We’ve done this to try and make sure people don’t get an unexpected surprise when they view images full screen! 048-050_OPM_05_featurefocus.indd50 50 1/6/07 11:33:21
  41. 41. Tutorial Create,loadandsavebrushes 52 ArtworkbySamGilbey 052-055_OPM_05_brushes.indd 52 1/6/07 10:20:00
  42. 42. orel Painter X features over 450 unique brushes in over 30 different type of brush categories, but sometimes you may �ind that you still want to create your own custom brush or import into Corel Painter from a friend or website. One of the great things about Corel Painter is its �lexibility and power when it comes down to customising. Not only does it feature unique brushes, art materials and textures that mirror the look and feel of their traditional counterparts, but it also offers you the ability to customise and create your own. This article is going to provide you with a step-by-step guide to answer those common queries of how to create and save new brushes, and how to import new brushes. So, you may now be wondering why you would want to create more brushes if you already have such a spectacular array within Corel Painter, and most people will certainly be able to create amazing art using the default brushes and variants, but sometimes you may want to adjust the default settings of a brush and save it. From creating a softer, broader stroke, to adjusting the Wind direction on a watercolour or creating your very own brush stroke or effect, brush customisation offers a world of possibilities that can really enhance your work. We are going to look at three different ways to change and create a brush within Corel Painter, along with saving, importing and sharing your creations. An in-depth look at the ways you can create, save, import and share brushes within Corel Painter X. Get ready to open up a whole new dimension to your digital art Create,loadand savenewbrushes Artist Time needed Skill level Chris Boba 30 minutes Beginner Tutorial info 53 The easiest way to create a brush is to change an existing one Adjusting the preset options 01Changingandsavingavariant Choose a brush category and variant. You can adjust all or any of the settings. Opacity controls the degree to which a stroke covers or builds up. Resaturation can make your brush quite unique, as it determines how much of your chosen colour is used in the brush stroke. 02Makingthechanges With Resaturation turned to 10 or below, we can have a brushstroke that is more blending than painting and allows you to move existing paint off and around the canvas more. By moving the Jitter and Bleed, you can take a bristle brush stroke like this and make it more of a dab than a stroke, and also adjust the amount of colour pulled or applied in the stroke. TutorialCreate,loadandsavebrushes 03Makingityourown When you are happy with your brush, you just need to click the Tracker palette menu arrow and choose Save Variant. You have just created your new brush. You can also change the brush you used to make this one back to its default by choosing Restore Default Variant. 052-055_OPM_05_brushes.indd 53 1/6/07 15:32:12
  43. 43. 54 One-click wonders One good use of custom brushes is to create a shape so that you can just click this to make up an object. For example, you might be indulging in a bit of Chinese brush painting. Make a brush that looks like a branch and then you can load this and use it to create trees. Get more creative with an entirely new brush Creating a brush from scratch 04AddinganewBrushCategory You can add new brush categories to your default Corel Painter Brushes and populate the new brush categories with custom brushes. To create a brush category, you start by creating the icon that will represent your new brush category. You can create your custom brushes based on the available default brushes or create new ones. 05Createanewbrushicon Start with a blank canvas and create a picture you want to use for the icon, using a brush or brushes of your choice or open a picture you already have. Choose the Rectangular Selection tool from the toolbox, and drag to select an image area around your picture. 06Capturethebrush With the picture selected, click the Tracker palette menu arrow, and choose Capture Brush Category and type a name in the Capture Dab dialog box. Click OK. A new brush category is created in your User folder and you are now ready to start adding brushes to your new brush category. 07MakinganewBrushDab Select black as your colour and choose a brush variant to create your design. We chose the Pen tool to draw a teardrop splodge; create a design and make a square selection over your dab shape. Choose your new brush category and then Capture Dab and Capture Variant from the Tracker palette menu arrow. 08Adjustingthebrush Make sure you no longer have anything selected on the page (Ctrl/Cmd+D). Now you can adjust your new dab to behave the way you want it and you need to select Window>Brush Controls. Don’t be overawed by the amount of controls, as this example just takes you through the top few. 09Brush Controls With the Brush Controls and a blank canvas open, you can experiment dependingonthetype of brush you want. Start with General and try: Dab Type = Circular, Stroke = Single, Method = Drip, SubCategory = Hard Drip and Expression = Velocity. Tutorial Create,loadandsavebrushes 052-055_OPM_05_brushes.indd 54 1/6/07 10:21:02
  44. 44. 55 TutorialCreate,loadandsavebrushes Shareyour creations If you create brush variants that you are particularly pleased with, don’t be shy – share them with us. We’re hoping to set up a readers’ section on the disc each issue that has various Corel Painter extras to help other readers’ creativity. If you have something you’d like us to include, drop us a line on OPM@ imagine-publishing. Find a great brush online, then follow these steps Importing brushes 12Importingbrushes With Corel Painter X, you can easily load custom brushes without having to create a new workspace. This lets you add single brushes to your default Corel Painter X workspace by simply copying the files associated with a custom brush into the Painter Brushes library. 13Brush location All brushes available in Corel Painter X are stored in the default Painter Brushes library, which is located in the Brushes folder of the Corel Painter system folder. Such as: Documents and Settingsuser nameApplication DataCorelPainter XDefaultBrushes Painter Brushes. 10 Brush Controls2 Choose a brush head such as Watercolor Profile along with a size and Expression = Velocity and Size Step of 22%. Angle allowsyoutoplaywith the start angle of the brush head and the Squeezeslidercontrols the shape of the brush dab. Squeezing a brush changes it from round to elliptical. You use Squeeze controls with Circular and Captured Dab Types. 11Readytosave Once you are happy with your efforts, it’s ready to save. From the Tracker palette menu arrow, select Save Variant and overwrite the default one on creating the dab. Feel free to experiment further and set a default variant for this brush that you can restore to on further customisation. 14Thefiles The Painter Brushes library is organised into brush categories,suchasAcrylics,Airbrushes,etc.Eachbrushcategorymay consist of the following components: an XML file, as well as NIB and STK files, for each brush variant and a JPEG file, which contains the icon representing the brush category on the Brush Selector bar. 15Copyingthefiles First, ensure that you have the necessary files for the custom brush (XML, NIB, and STK) to make sure your imported brush will work. Copy the files associated with the custom brush into the appropriate brush category in the Painter Brushes library. You can add a custom brush to any brush category you choose, or follow the previous steps to create a new one. 052-055_OPM_05_brushes.indd 55 1/6/07 10:21:29
  45. 45. showcase YAPKUNRONG TITLE WarriorofLight WEBSITE JOBTITLE Digitalartist We fell in love with this artist’s use of light and brush strokes, and couldn’t resist including him in the magazine. Although a relative newcomer to Corel Painter, he incorporates its functionality perfectly, creating works of high standard, such as this one. 056_OPM_05_artspread.indd 56 1/6/07 13:34:37
  46. 46. Tutorial Combineresourcestocreateart 58 f all the fantasy �igures, the mermaid surely has to be one of the most enduring and appealing. Creating the illusion of an underwater scene inhabited by one of these gorgeous creatures may seem like a lot of work, but if you try to photograph one for reference, you will be in for a long wait! The blending of 3D �igures into a fantasy scene is quick, easy and great fun to do. The construction of a believable underwater environment is just a matter of choosing the right elements and textures to work with, and with so many free resources available, you will never have a problem doing this. It is possible to create the image entirely from scratch in Corel Painter. To create a scene quickly and easily, however, I propose to use two programs. Those of you who use Corel Painter probably already use Adobe Photoshop as well, just as I do, and �lip back and forth between the two to produce your �inished piece. I shall also be pointing you in the direction of some of the best free resources available throughout the tutorial. It takes a little effort to search for the right image if you have something particular in mind, but it is worth your time. You could, of course, purchase stock images from some of the excellent online libraries. Our aim here, though, is to complete the task as quickly as possible, with no money changing hands. Throughout, I have deliberately avoided using complex procedures and too many brushes wherever possible, and used only the minimum amount of layers. So without bene�it of an aqualung, let’s go diving for a mermaid! Usefreeresources tocreateart Usefreeresources tocreateart Artist Time needed Skill level Pat Brennan 2 hours Intermediate Tutorial info Use colour and texture to create your backdrop Water world 01Thefirsttexture After deciding on a texture from my own freebies at http:// (an account I created to supply my own free textures and photos), I copy, paste and stretch to fit a new canvas in Photoshop (307mm high by 240mm wide). I could have painted a texture the right shade to start with, but I thought it might be of more interest to show how easy it is to re-colour an existing one. 02Re-colouring Next, I go to Image>Adjustments>Channel Mixer. In the Red channel, I push the Green slider left to -138 %. In the Blue channel, I move the Blue slider right to 112%. In Image>Adjustments>Color Balance, I ensure Midtones is selected and adjust the Green slider to 20%. There are literally dozens of ways to re-colour an image using Photoshop or Corel Painter, but this is my preferred ‘quick fix’ method. Water world 03Applythesecondtexture Searching around, I discovered a nice swirly pattern from http://enchantedgal-stock., another free use stock provider. I copy and paste it into the newly re-coloured layer; I then grab the re-sizing handles and stretch the pattern to fit the canvas. Using simple techniques and free resources, we will show you how to create a mermaid- inhabited underwater scene with the power of Corel Painter READER’S TUTORIAL 058-063_OPM_05_underwater.indd 58 1/6/07 11:08:22
  47. 47. 59 TutorialCombineresourcestocreateart 058-063_OPM_05_underwater.indd 59 1/6/07 11:08:57
  48. 48. 60 Findingmermaids JLStock, aka Jenny’s 3D Stock (http://jlstock., provides stock, with most of the images in both PNG and JPEG formats. Jenny has many 3D items, including fairies and mermaids, plus photographs, high-resolution backgrounds and brushes. She provides all of these resources free for starving artists. Jenny is an accomplished web designer and much more. After I subscribed to the online community at, I quickly became aware of the astonishing generosity of the stock providers on there. I had never thought of integrating 3D objects with painting and manipulation before seeing Jenny’s images on this site. I first met her when she hosted a competition to encourage members to use her stock items, which I am so pleased to say I won using one of her PNG mermaids as the focal point. It’s time to bring some life into your work Adding the mermaid 04Integratingandmerging Working on the second layer, I set it to Soft Light at 33% Opacity. This simple action gives the look I’m after. I could, of course, carry on tweaking all sorts of things at this point such as Hue/Saturation, Levels, etc, but sometimes less is more! Adding the mermaid 05Dropby drop This is a fun bit: not exactly bubbles as you would expect in a scene like the one I intend, but water drops created in the Alien Skin Eye Candy plug-in. You could alternatively overlay a photo of water droplets over the background (with the later set to Overlay). 06Nowcaptureyourmermaid I have obtained a beautiful PNG mermaid from There is a JPEG available in the same file if you require it, as Corel Painter does not support PNG (Portable Network Graphics). A PNG can be ten times the size of a JPEG, but preserves all the sharp edges, so I am going to use the PNG and stay in Photoshop. 07Colourthe mermaid After dragging and dropping the PNG of the mermaid into the background, I resize and position her. To re-colour her, I click on the mermaid’s layer and go to Image> Adjustments>Channel Mixer. In the Red channel, I move the Green slider to -94%. Then, under Image> Adjustments>Color Balance, I move the Green slider to 24 with Highlights checked. 08Somethingfishy! I found a fish I liked at, kindly donated by ‘alexbruda’. Unfortunately, some of the details had been cut off. This is a perfect opportunity to use Corel Painter and paint back in the missing bits. I open the fish in Corel Painter, roughly cut it out and apply to a dark blue background. I needed the background to be large enough to accommodate the new fins. 09Revivingthefish Next I zoom in, chose Block Eraser 20 at full opacity, with Expression set to Pressure. I select Layer 1 and erase the unwanted background, making the eraser size smaller the closer I get. Tutorial Combineresourcestocreateart Findingmermaids 058-063_OPM_05_underwater.indd 60 1/6/07 11:10:12