Offical corel painter tutorial 02


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Offical corel painter tutorial 02

  1. 1. IssuetwoVisitusonline–® PainterTM Magazine Learn to paint digitally today! Artistic advice and inspiration Precise colour selection Using the Airbrush options Creativetipsandtricks Philip Straub DiscoverhowthisPainterMaster createshisamazingartworks The art of glazeThe art of glaze Quicklyadddefinitionandzingto yourworkbyapplyingaglaze RealBristle brushes Achieverealisticbrushstrokeswith thesephenomenalnewbrushes FEATURED IN THIS ISSUE Free CD inside Official Magazine Learn to paint digitally today! Artistic advice and inspiration Precise colour selection Using the Airbrush options Creativetipsandtricks Official MagazineOfficial Magazine brushesb ush Takecontrolof Learnhowtoselect,editanduse thebestbrushesin CorelPainter PC and Mac ISSUE TWO £6.00ISSN 1753-3155 9 7 7 1 7 5 3 3 1 5 0 0 0 0 2 PHOTOS | GUIDES | FONTS | TRIALS Tonal control The options available for correcting colour in images Tonal control Edward Hopper We reveal how to paint in the style of this iconic American artist Composition Learn how to arrange objects for maximum effect OPM_02-Cover.indd 1 6/3/07 16:40:00
  2. 2. 5 Jo Cole Editor Welcome Nodoubtalotofyouwillhave triedCorelPainterXbynow andnodoubtyouwillhave beenveryexcitedbythenew RealBristlebrushcategory. ThismakesCorelPainteract evenmoreliketraditional mediabecauseitallowsyoutomakethebrush behaveasifitwasarealbrush.Ourtutorial onpage38showshowitworksusingarather lovelyseascapeasanexample. Andkeepingwiththebrushtheme,our featurethisissueexploressomeofthebest brushesforcreatingcertainartisticeffects. Whileamerefeaturecouldneverhopeto capturethecompletepowerofCorelPainter’s brushesandcontrols,it’senoughtogiveyou somecreativeideas!Andforevenmoreideas, turntoourPaintLike…tutorial(page56) anddiscoverhowtore-createoneofthemost iconicmodernpaintingsofourtime–Edward Hopper’s Nighthawks.Alsolearnabout compositiononpage66andseehowitcan improveyourartwork. Happypainting! ThisisTHEmagazineforanyonewantingtofurthertheir CorelPainterskillsorlearnhowtobecomeabetterartist ISSUETWO Visitourwebsite! Ifyoufindthatthemagazineisn’tenoughtosatisfyyourCorel Painterappetite,youcanalwaysvisitourwebsite.Poponoverto outoftheway,explorethepagesandenjoygreatcontentsuchas… •Downloadableresources •Onlinegalleriestoshareyourwork •SpecialforumformeetingotherCorelPainterusers Cloneandglaze Pg 30 Buildupaglazeeffectby manipulatingtheclone commandandproducea gloriousportrait Brushes: Airbrushes Pg 64 Discover how these brushes work and use them in your art Paintlike: EdwardHopper Pg 56 UseCorelPaintertore- createthisclassicimage ofAmerica 003_OPM02_Welcome.indd 3 12/3/07 09:45:05
  3. 3. Regularsineveryissue Pg34 08 Subscriptions Sign up to subscribe to the magazine and save yourself up to 40%! 10 Paintershowcase Look out for the special pages presenting some of the best work from Corel Painter artists 12 Letters The newest addition to the mag – this is where you can send your art and comments 76 ArtClass A hotbed of solutions to creative queries, as well as specific software questions 94 Reader’sGallery Jennifer Miller shares some of her exquisite work in the latest Reader’s Gallery Reviews 6 97 Reader’s Challenge Load up the supplied images and enter our regular challenge 98 On the disc All the content found nestled on this issue’s special CD-ROM 84 FujifilmFinePixF31fd We take a look at the Fujifilm FinePix F31fd and see whether its face-detection technology is pure gadget or sheer genius 86 HPPhotoshosmartProB9180 Big artistic ideas require a big printer to let others see them. We try this A3+ printer and see if it’s good enough for your work 88 Books Three more fantastic titles that will inspire you and expand your working knowledge of traditional art techniques 90 TheBigPrintCompany Learn more about this professional printing company and then see how you can order an MDF block mounted print WIN! YOUR WORK PRINTED TO CANVAS Pg97 PhilipStraub Regulars P38USINGTHE REALBRISTLEBRUSHES SPECIALTUTORIALONUSINGTHIS FABULOUSNEWCOLLECTIONOF BRUSHESINCORELPAINTER X P99GETSTARTEDWITH DIGITALPAINTING FREECD-ROMPACKEDWITH ESSENTIALRESOURCESFORCREATING DIGITALART ONTHEFRONTCOVER Discover more about this artist and how he creates his awe-inspiring art Cloneandglazepg30 Learn more about this professional how you can order an MDF block Interview Pg14 The newest addition to the mag special CD-ROM Pg97 006-7_OPM02_Contents.indd 6 9/3/07 17:26:25
  4. 4. RealBristlebrushes pg40 7 66 Learnaboutcomposition Applying the tried and tested rules of composition is a good way of ensuring that your work is as pleasing as possible to the eye. We look at the best and show how to use them 30 Cloneanimageandgeta glazeeffect Emulate the look of an old master by cloning an image and applying glaze effects 38 RealBristlebrushes Discover how this new brush category in Corel Painter X can be used to produce art 52 Createyourowngallery We reveal how to set up your own gallery on the magazine website and also see what else you can do there 56 Paintlike:EdwardHopper His paintings became cultural icons of America. Re-create his Nighthawks painting and learn more about his style Primers Getupandrunning… 36 Effects:TonalControl Use this menu to unearth the commands for colour correcting your photos and artwork 64 Brushes: Airbrushes The best options for using these delicate and smooth collection of brush effects Featurefocus Gettoknowyourtools 48 Selectcolour You have a few choices when it comes to setting a hue to work with – we show you what they are Traditionalartistictechniques Drawing101 PaintlikeEdwardHopper pg56 20 GetstartedwithCorelPainterbrushes Read this guide to discover which brushes work best for which style of artwork and guarantee yourself great pictures every time Specialcreativeguides Feature Getstartedwithbrushes pg20 www. painter magazine. Visitour websitenow! tutorials Createinspirationalart 66 Learnaboutcomposition Applying the tried and tested rules of composition is a good way of ensuring that your work is as pleasing as possible to the eye. We look at the best and show how to use them TraditionalartistictechniquesTraditionalartistictechniques Drawing101 006-7_OPM02_Contents.indd 7 9/3/07 17:27:12
  5. 5. showcase 010-11_OPM_02-artspread.indd 10 9/3/07 15:02:22
  6. 6. KATARINASOKOLOVA TITLEChio-Chio-San JOBTITLEProfessionalartistandphotographer CLIENTSCorelCorporation,privatecollectors Katarinacomesfromabatikandgraphicsbackground,whichhashelped shapethebeautifulfabricdetailyouseeineachandeveryoneofher paintings.Wecouldn’tresistputtingherChio-Chio-Sanpaintingonour cover,asitexemplifiesthequalityoffinishachievablewithCorelPainter. YoucanseemoreofKatarina’sdigitalpaintingsintheComputerGraphics sectionofhersiteandifyoufallinlovewithone,youcancontactherto seeifit’spossibletopurchaseaprintofit! 010-11_OPM_02-artspread.indd 11 9/3/07 15:03:03
  7. 7. 12 news events resourcesevents resourcesevents letters websiteletters websiteletters info news events resourcesevents resourcesevents Buying artwork I’ve wanted to get into digital art for a while now and �inally have the time now that I am retired. The thing is, I feel as though I have missed the boat in terms of �inding helpful online resources – I just want somewhere that I can visit from time to time to get some inspiration. Also, can you give me the contact details of any artists who sell prints of their work? By the way, congratulations on a great magazine. It’s already help me get the hang of Quick Clone, so I am more than pleased that it has come out. Please keep up the good work! Steve Marchent our Letters Hello Steve, thanks for getting in touch and for the praise! In fact, thank you to everyone who has written in and said how much they enjoy the magazine. It’s exciting to think about how the title can develop – with your help, of course! Now onto your question. A lot of artists offer prints of their work from their site, but by far the best way to shop for some digital art is to visit the deviantART site. It might be that you’ve already found it but if you haven’t, it is a bubbling cauldron of talent of artists covering all disciplines. The shop allows you to buy prints (canvas and paper) of your favourite work, as well as calendars, puzzles and various other novelty items. Find it all at Famous paintings I’vejustboughtissueone–greatstuff!I particularlylikedtheVanGoghtutorial andwonderedifyou’llbedoingmoreofthe same?I’vealwaysbeenfascinatedwith copyingmasterpieces. Dave Ridgely It sounds like you could have a career in the art forgery business, Dave! Just keep our names out of it… You will be delighted to hear that we’ll show how to re-create a famous painting each and every issue. We get a big kick out of deciding who to decode and will be looking at classic works as well as more contemporary artists. This issue we look at Edward Hopper, p56. Welcome to the part of the magazine where you can come and share your thoughts on anything you fancy! FeaturedGallery Our favourite reader’s gallery this month LynneMitchell user/LynneMitchell Lynne impressed all of us with the images she posted on the website, especially the still life studies. She has a flawless application of paint, and the brush strokes are think and luxurious. Her eye for lighting is also excellent and manages to enhance the painterly elements even further. Visit the site to see Lynne’s work or pay a visit to her main website, found at Our favourite reader’s gallery this month with the images she posted on the website, especially the still life studies. She has a flawless application of paint, and the brush strokes are think and luxurious. and manages to enhance the painterly Visit the site to see Lynne’s work or pay Reader’stipReader’stip Share your Corel Painter wisdom… Keepyourimpastocanvaswet forlateredits I always change my mind, so find it invaluable to save work in the RIFF format, because this means I can keep my impasto layer editable, and open up to change surface texture or play with depth. Sandra Choi If you have a creative tip you’d like to share with others, send it in to us and we’ll print it! LynneMitchell user/LynneMitchell a flawless application of paint, and the brush strokes are think and luxurious. Her eye for lighting is also excellent and manages to enhance the painterly elements even further. Visit the site to see Lynne’s work or pay a visit to her main website, found at Garlic and Onions A fine still life that would do Cezanne proud Formal Betty Check out how Lynne has applied textured strokes to all areas Zoe Portrait A great example of Lynne’s brush work 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-publishing. Send your letters to... For some very reasonably- priced artwork, make your way over to the deviantART store http:// 012-13_OPM02 letters.indd 12 9/3/07 17:12:20
  8. 8. 13 The latest from our forum and website User:cgntoonartist Subject:Work in Progress section A ‘Work in Progress’ section on this forum would be great! A place where we can share and post images (step-by-step), how we create our artwork or just to show what we have been creating with Corel Painter and have image progressions on how we got there. What do you folks think of this? User:editorjo Subject:Re: Work in Progress section Great idea – consider it done! es letters websiteletters websiteletters info news events resources letters websiteletters websiteletters info CorelPainterportfolio Hello, I was wondering if you’d be interested in printing my images in the magazine? They are titled Fall and My Love. Since I was a child, nature has inspired me more than anything else to create arts. Autumn in Canada is one of the most beautiful seasons. When it comes to colours, nature is the best inspiration. So in the Fall image, I was trying to duplicate some of the colours that nature offers and I did my very best to get it right. I always wanted to paint portraits and with My Love, I had some inspiration to paint the portrait of a lady that I love. This image was painted in Corel Painter IX and the Artists’ Oils brushes were used for the medium. I used Adobe Photoshop for the �inal touches like tonal and the odd bit of colour correction. It took me 16 hours to complete it. Ata Alishahi Thanks for sending in those images, Ata. We love seeing what readers are creating, so never be shy about sending stuff in. If you’d like to see more of Ata’s work, get yourself over to And on the subject of showing us your work, make sure you pay a visit to our website at We’re going to keep plugging this because the gallery feature makes it a perfect place to show off your portfolio. You have to sign up as a member to create your own gallery, but this only takes a few moments. Once it’s done, you’re free to upload your images for all to see. For a full guide on how it works, turn to page 52 for a tutorial. Camellias and Old BoxA lovely still life with rich colours and a texture you can almost feel Ata finds inspiration in the natural colours of Canada, which is clearly expressed in this beautifully serene image Ata’s portrait of his love works because of the strong colours and also the unusual pose. Of course, the brush strokes don’t hurt either! There’s lots to do on the magazine website, but don’t forget the website challenge. Every two months or so we will post a new set of pictures. It is then your task to take these and do something with them! The winner will receive a subscription to the magazine and worldwide adoration! It’s early days yet, but here are our two favourite entries so far. The top is by Stephen Salmon, while the bottom is by Karen Bonaker. Don’tbeshy–there’sstilltimetoenter! ENTERTHEFORUMCHALLENGE Website challenge Some of the best so far… Forum highlights The best topic of conversation Head over to the forum to see what’s the topic of conversation today!’s portrait of his love works because of the strong colours and also the unusual pose. Of course, the brush strokes don’t hurt either! Ata finds inspiration in the natural colours of Canada, which is clearly expressed in this beautifully serene image 012-13_OPM02 letters.indd 13 9/3/07 17:12:43
  9. 9. Interview PhilipStraub 14 Silent Morning Using a mixture of Corel Painter and Photoshop, Phil has managed to create a beautifully evocative piece that perfectly captures the stillness of a new day website jobtitle ArtdirectorforNCSoft,freelancedigitalartist clients Corel,Disney,WarnerBrothers,UniversalStudios 014-18_OPM02_Interview.indd 14 9/3/07 18:50:38
  10. 10. 15 hilip Straub lives and breathes creativity. Over his professional life he has been creative director at Electronic Arts, as well as his work appearing in over 30 children’s books. His list of clients include Corel, Disney, Mattel and Warner Brothers and he also has a set up a licensing business with his �iancé. In terms of style, Philip covers a dazzling range of looks, from bright and colourful children’s illustrations, to intricate concept art and fantasy landscapes. We recently spoke with Philip to discover how he works and to �ind out more about how he uses Corel Painter to create his masterpieces. We caught up with the phenomenally talented Philip Straub to find out more about how he works and what inspires him PhilipStraub How did you manage to become involved with Ballistic Publishing’s Painter book? Did you find it difficult to judge other people’s work? I’ve had a relationship with Ballistic for many years now and they’ve always been very generous in including me in such products. I worked with them on the �irst D’artiste book as one of the four authors, I’ve judged two of their CGChallenges and also teach a workshop annually through the CGWorkshops brand. I’ve judged a number of competitions in my career and it’s always a challenge to go through the thousands of entries ultimately choosing a fraction of the entries as �inalists. In my experience, the top pieces usually just jump right out at you for their excellence, it’s picking those last few �inalists that becomes dif�icult. Tell us a bit about the children’s books you are currently working on. Do you plan to release them worldwide or will it just be limited distribution? It’s based on the Secret Places brand I’ve been working on for a few years. Currently, a few images are available as massive wall murals through Brewster Wallcovering and I’ve been negotiating with a few different companies to have puzzles made as well as stationery. Once Aninterview with… well as his work appearing in over 30 children’s books. His list of clients include We caught up with the phenomenally talented Philip Straub to find out more about how he works and what inspires him PhilipStraubPhilipStraub 014-18_OPM02_Interview.indd 15 9/3/07 14:01:25
  11. 11. Interview PhilipStraub 16 I �inish the book the goal is to distribute it worldwide eventually. I have to �inish two other book projects I’m working on before I can complete this one though. What is your proudest creative moment so far? I don’t know… that’s a really tough one! Probably winning a Silver Medal in the Society of Illustrators annual illustration competition. I really feel like I still have so much to contribute to the art �ield and am just getting started. How do you start a digital painting? Do you have a typical workflow process or does it differ according to the particular piece you are doing? The answer is yes and yes! I have a couple of different work�lows I use depending on my mood and the project. For my more free-form personal concept illustrations the process is usually quite chaotic. I just simply start throwing down shapes and colours onto the canvas and see what happens. Usually after a short while something takes shape and I re�ine down from there. “I always try to bring my personal touch to all the professional work I produce” [ABOVE] The Hive “This was the first painting I created using only the Artists’ Oils in Painter IX. In this situation, I worked on only the canvas layer, building up the texture, color, and composition as I worked” [MIDDLE PAGE] Enchanted Evening This image won an award at the Society of Illustrators Los Angeles 2005, as well as being featured in The New Masters of Fantasy III When working on a commissioned painting the process is usually a bit more precise. First, I do some research on the subject matter by gathering all kinds of visual reference so I can have as complete an understanding of all the elements in the painting as possible. Next, I usually begin sketching in black and white at a fairly low resolution so that memory limitations don’t sti�le the creative process. During the sketch phase I’m primarily focused on basic shape construction, overall composition and positive negative space. Once I’m happy with the overall composition, I usually begin re�ining down the technical aspects of the painting, focusing on perspective and/or anatomy. Once I’m feeling comfortable with the drawing, I’ll begin adding colour to the image. How did you make the leap from digital artist to home decor products? I really like the idea of diversifying my portfolio and the work that I produce. When I began working with rep. she suggested I begin tailoring some of my work towards the licensed market. She 014-18_OPM02_Interview.indd 16 9/3/07 14:01:58
  12. 12. 17 felt that my more whimsical children’s book style could �ind success on licensed products so I began to expand that out into the �latter, more graphic style seen in the scrapbooking, stationery and wallpaper products I produce. I can’t take all the credit though, my �iancé helps me out with a lot of the brand development. Did you find the move from traditional painting to digital painting smooth or was it a bit of a jolt? I’d say it was a bit of jolt! I was trained as a traditional oil painter and at the time I thought that was how I would produce paintings for the rest of my life. It’s important to keep in mind computer illustration was still in its infancy when I was in school. There were a few classes just being offered to the Graphic Design and Interior Design majors but many artists still hadn’t made the transition. I was introduced to digital illustration at my �irst real art job working for children’s book illustrator Mercer Mayer. I’d played around with computer-aided design with a variety of programs before but never thought of it as a ‘real’ illustration tool. I wasn’t alone, very felt that my more whimsical children’s book style could �ind success on licensed Afternoon Light (above) “When I set up my files in bothPainter and Photoshop I always breakdown the structure by placing thebackground, middle ground, andforeground objects on separate layers.This ensures that they can easilybe edited. Towards the end of thepainting process, I’ll usually place apost layer at the top of the layerhierarchy and paint in atmosphericperspective using either an airbrushor cover pencil.” - Philip Straub few illustrators were using it to ‘paint’ and much of the computer-generated illustration at that time was �lat and graphic. When I started at Mercer’s studio I remember thinking how dif�icult Photoshop 1.0 was – it’s kinda funny looking back on those days. Are you thinking of expanding the products for sale on your website? I’m currently not set up for e-commerce simply because I’ve just not found the time. As most illustrators will tell you, depending on how much you want to do with your site, maintaining an online presence can become very time consuming. I try to post regular updates on my site as well as post as much of the imagery I produce once it’s available or I have clearance. Right now I currently have some of my images available as �ine art archive quality prints through Imagekind but I may expand that down the road. What inspires you? So many different things. Films, artists contemporary and classic, television [ABOVE] Nightmist This image is part of Philip’s Concept series, and shows how he uses Corel Painter and Photoshop to create intricate scenes 014-18_OPM02_Interview.indd 17 9/3/07 14:02:51
  13. 13. Interview PhilipStraub 18 shows, books, music, and every day life. I �ind there’s inspiration to be found everywhere you look! Is your personal work different to your professional art? Absolutely. Although I try to always bring my personal touch to all the professional work I produce, after all that’s what my clients expect! My personal work tends to be almost therapeutic and an extension of my subconscious. While some of my paintings are simply exercises, experiments trying out new techniques, many are also for my fantasy projects. Why did you start using Corel Painter and when did you start? I’ve been using Corel Painter almost as long as Photoshop. I can’t even remember the �irst version I used but I think it’s been in my work�low for around ten years. Corel Painter has always been really amazing at reproducing traditional media and it’s just a blast to experiment with. What’s your favourite Corel Painter tool? My absolute favourite is the Rotate Canvas tool, it really allows you to re- create the rotating of your canvas/paper in traditional media. I’ve also used the nozzle tools within Corel Painter quite extensively to quickly create different types of foliage, leaves, and rocks. The cover pencil is a mainstay of my work�low, especially in the early sketch stages. If you’d like to see more of Philip’s work or buy one of his posters or prints, pop over to “I feel like I still have so much to contribute to the art field and am just getting started” Cohabitation (above) “Originally sketched in Painter 8 using a variety of different brushes and experimental techniques. During the creation of this piece I made a ton of new brushes in Painter and really learned a lot more about the flexibility and power of the brush generation tool in Painter. As I regularly do, I bounced back and forth between Photoshop and Painter as I worked, using some of my favourite brushes in both packages.” - Philip Straub 014-18_OPM02_Interview.indd 18 9/3/07 17:48:52
  14. 14. Original artwork by Philip Straub Feature GetstartedwithCorelPainterbrushesFeatureFeatureFeature GetstartedwithCorelPainterbrushes 020-27_OPM02_feature.indd 20 9/3/07 15:48:53
  15. 15. 21 maginebeingletlooseinthe biggest, most well-stocked artshopintheworld,withaunlimited amount of spending moneyatyourdisposal–for any artist, a dream come true indeed!Nowmultiplytheexcitement of that perfect scenario bytenandyou’llcomecloseto the experience of stepping intotheartists’heaventhatisCorel Painter! WithinCorelPainter,everypainting and drawing tool and every paintinganddrawingmediumisat your �ingertips, with a mind- bogglingselectionofbrushesthatno paint box could ever hold. It’s truetosaythatthiscollectionoftools is so vast that, for the novice CorelPainteruser,itcanbequiteoverwhelming and that was the inspirationforthisfeature,toleadyou by the hand through this mammothcollection.Ofcourse,even if we hijacked the whole magazineforthisfeaturetherestill wouldn’t be enough space to giveyouthefulllow-downonallthe brushes. But we’ll give you the basicssoyoucandiveintothewonderful world of Corel Painter brusheswithmorecon�idence. CorelPainter’sbrushesaredivided into categories which relate totraditionalpaintinganddrawing media, so before you choose anactualbrush,youneedtochoose the category that relates to the mediumyouwanttosimulate,such as Oils, Pastels, Watercolor, Charcoalandsoon.Theactualbrushes that relate to the chosen mediumresideinsidethecategory, and there are many brush variantstochoosefrom.Abrushvariant is a particularly shaped brush,withanumberofpresetsettings applied to it. We’ll look at thesesettingsinmoredetailthroughout this feature. Youcancompletelychangetheway a brush behaves, and the marksitmakes,bychangingthesettings applied to it via the Brush Controlspalette(Window>BrushControls>Show General), orvia theBrushCreator(Window>Show Brush Creator). These brush controlsrelatedirectlytoeveryaspect of the brush, including its size,thewayitinteractswithpaint already applied to the canvas, howmuchpaintitcarriesandthekind of strokes it makes, among aplethoraofothercharacteristics. Of course, the way a brush behavesalsodependsonthekindof surface you’re painting on, and beforeyoustarttopaintyouneedto choose this from the Papers palette(Window>LibraryPalettes>Show Papers). At a loss for what brush variant to use? Here’s our guide to the most useful Getstartedwith CorelPainter brushes Getstartedwith At a loss for what brush variant to use? Here’s our guide to the most useful Getstartedwith 020-27_OPM02_feature.indd 21 9/3/07 15:50:23
  16. 16. Original artwork by Philip Straub Feature GetstartedwithCorelPainterbrushes o let’s get down to some speci�ics about these remarkable brushes! First, we’re going to take a look at the brushes within Corel Painter which use opaque, gloopy mediums such as Oils, Acrylics, and Gouache. These are the category of brushes that you’ll use to create paintings with rugged paint surfaces, body and texture, where the marks made by the brushes can either be wonderfully oily and wet, or where thick, opaque areas of paint can be laid on to the canvas, creating stunningly realistic impasto effects. As far as the speci�ic categories of these brushes are concerned, they consist of: ACRYLICS ARTISTS OILS OILS GOUACHE Within these separate categories are a huge number of Brush Variants which are designed to apply the virtual paint in many different ways. So, for instance, within Artists’ Oils, you’ll �ind variants that range from soft blender brushes, which apply very wet paint in a very soft way, through to dry and grainy brushes which react strongly to your chosen painting surface. You even get heavy impasto brushes which apply lots of nice thick paint that holds marks made by the brush and produce impasto effects where the paint stands proud of the painting surface. On the whole, all of these brushes paint with opaque colour, but each of the variants within each category can behave quite differently. It’s worth taking some time to look at the individual Brush Property settings that can signi�icantly affect the way the variants work, how they interact with paint already applied to the canvas and how they react to your choice of painting surface. Broadly speaking, within each of the above categories, you’ll �ind a selection of brushes which can be divided into four distinct types: Dry Brushes: These brush variants, although they still apply opaque paint, are rather dry, and tend to deposit paint roughly over your painting surface, catching just the high point of the paper grain and texture. Wet Brushes: These brushes give the appearance of applying lots of very wet paint, which can mix and blend with any paint already applied to the canvas. These types of brush are great for quick, gestural lines and large, painterly areas of colour. Impasto Brushes: Here we’re dealing with brushes which apply very thick paint which stands proud of the painting surface and create impasto. You will often see this effect used in many traditional oil and acrylic paintings. Most of the active dynamic categories for the brushes contain an Expression control section. This control determines how the particular characteristic of a brush responds to your graphics tablet stylus GLOOPY,OPAQUEMEDIABRUSHESGLOOPY,OPAQUEMEDIABRUSHES Build up a painting full of texture and gloopy goodness by using this selection of brushes for the wet and loaded look Original artwork by Philip Straub 020-27_OPM02_feature.indd 22 9/3/07 15:51:00
  17. 17. 23 Soft, blending brushes: This group of brushes apply wet paint which readily blends with paint already applied. Marks made with these brushes blend together as you paint, creating very subtle transitions between different colours and tones. As you can see from the painting above, by choosing your brush variants carefully from these categories, super- realistic effects can be achieved. One great way to get used to exactly what these brushes can do is to use the Brush Creator (Window>Show Brush Creator). Within this panel, you can see and modify Acrylic – Thick Acrylic Bristle AO Clumpy Brush AO Dry Brush AO Impasto Oils AO Soft Blender Brush Gouache – Broad Cover Brush Gouache – Fine Bristle Gouache – Opaque Smooth Brush Gouache – Wet Gouache Round Oils – Bristle Oils Oils – Fine Feathering Oils Oils – Smeary Round Oils – Thick Oil Flat Oils – Thick Wet Oils Opaque Acrylic Thick Acrylic Flat Wet Acrylic In the detail, you can clearly see the dramatic difference between areas of smooth, wet paint and accents added using impasto brushes. Brushes that use impasto can add a real three-dimensional quality to you opaque media paintings Gloopy, opaque brushes Layer the paint on nice and thickly all of the attributes applied to the brush, and test its appearance in the large white scratchpad. Any brush characteristics that are applied to the current brush are shown in black down the left hand side, while any properties which don’t feature in the brush are greyed out. For instance, if you click on Impasto, which is often a very important characteristic of these opaque media brushes, you’ll be able to control the extent of this Impasto effect via the Depth slider. The same applies to changing any other brush characteristics within the Brush Creator. For any of these brushes to work properly, it’s vital that you �irst set your Brush Tracking via Edit>Preferences> Brush Tracking, so that the Corel Painter brushes know how to respond to the unique way you use your stylus. Within the Brush Tracking dialog, simply make a few representative strokes on the scratch pad as you would normally use your stylus and Corel Painter will adjust the brushes responsiveness accordingly. All of the usual brush shapes appear within these categories, including round and �lat brushes, pointed and �ine detail brushes and rough bristles for real texture and dynamism. To the right, you see a selection of brushes from these categories that create the range of techniques and effects that you’d expect to see with opaque media. Remember, many of these brushes create impasto effects and this can be switched on and off via the small button at the top right of the document window. You can also control the depth and shine of the impasto effect via Canvas>Surface Lighting. Within the dialog you can also modify the direction and intensity of the light that falls across the image and create the highlights and shadows that describe the surface of the impasto. 020-27_OPM02_feature.indd 23 9/3/07 15:51:32
  18. 18. Feature GetstartedwithCorelPainterbrushes hen it comes to dry media, such as Charcoal, Pencil, Chalk and Pastels, the drawing medium itself, and the surface you draw on work hand- in-hand together and in terms of the effects achieved. By their very nature, dry mediums work by depositing themselves on, or within, the surface texture of the drawing surface, unlike paint or ink, which sticks to, and is absorbed by the painting surface itself. Dry media depend on their particles of pigment being shaved off and held by the paper texture. If you were to try and use charcoal on a completely smooth surface, for instance, it would not make a single visible mark. However, in a stark contrast to this, if you were to use the same piece of charcoal on a piece of rough sandpaper, just the lightest strokes would create a gloriously dense, black mark in an instant. The exact same rules apply within Corel Painter when you are using dry media brushes. However, a slight difference is the fact that the result of the marks you make is governed not only by the surface you choose to work on, but also by the unique settings you apply to the particular brush variant you are using and we will look at these variables here. The Dry Media categories within Corel Painter consist of: CHALK PENCILS CONTE PASTELS OIL PASTELS COLORED PENCILS CRAYONS Although these categories are distinctly different, they are all dependent on particular characteristics when it comes to controlling the marks the brushes within the categories make and the effect you can achieve with them. When you’re using any of the variants within these categories, one of the most vital setting you will come across is the Grain slider. This setting determines how much effect the surface of your chosen paper has on the strokes made with the currently selected dry media brush variant. At relatively low values, the marks made by the brush penetrate the paper grain very little, so the paper texture is very obvious within the strokes of colour. At high grain values, the dry media penetrates deeply into the paper grain, so and the surface you draw on work hand- in-hand together and in terms of the effects achieved. By their very nature, dry mediums work by depositing themselves on, or within, the surface texture of the drawing surface, unlike paint or ink, whichdrawing surface, unlike paint or ink, which sticks to, and is absorbed by the paintingsticks to, and is absorbed by the painting surface itself. Dry media depend on theirsurface itself. Dry media depend on their particles of pigment being shaved off andparticles of pigment being shaved off and held by the paper texture. If you were to tryheld by the paper texture. If you were to try and use charcoal on a completely smoothand use charcoal on a completely smooth surface, for instance, it would not makesurface, for instance, it would not make a single visible mark. However, in a starka single visible mark. However, in a stark contrast to this, if you were to use thecontrast to this, if you were to use the same piece of charcoal on a piece of roughsame piece of charcoal on a piece of rough sandpaper, just the lightest strokes wouldsandpaper, just the lightest strokes would create a gloriously dense, black mark increate a gloriously dense, black mark in an instant. The exact same rules apply within Corel Painter when you are usingCorel Painter when you are using dry media brushes. However, adry media brushes. However, a slight difference is the fact thatslight difference is the fact that the result of the marks youthe result of the marks you make is governed not onlymake is governed not only by the surface you chooseby the surface you choose to work on, but also by theto work on, but also by the unique settings you applyunique settings you apply to the particular brushto the particular brush variant you are usingvariant you are using and we will look at theseand we will look at these variables here.variables here. DRYMEDIABRUSHESDRYMEDIABRUSHES When it comes to traditional real media effects, the dry brushes are very hard to beat. Here’s a look at the best… 020-27_OPM02_feature.indd 24 9/3/07 15:52:27
  19. 19. the surface texture itself will be much less obvious in your �inished drawing. The Resat slider controls the amount of colour that replenishes within the stroke. At 100% the colour will be at maximum saturation all the way through the stroke, this saturation within the stroke will reduce at lower Resat values. You’ll also see a Bleed slider when using dry media variants, which is pretty important in determining how your brush behaves. Essentially, the Bleed value determines how much a current stroke of the brush blends with any other colour already applied beneath it. At high values, colour from your brush will blend readily with any colour beneath it. At low Bleed values it will blend very little. A practical demonstration of this is that any dry media brush variant that contains the word ‘soft’ in its name will automatically have a medium to high bleed value, whereas for the brush variants labelled ‘hard’, the Bleed value will quite often be set to zero. Of course, the settings within the brush is not the only thing that determines the look of the strokes made with the brush. The actual look of the brush is also dependent on its footprint. You can easily see the individual footprint of the brush, simply by making a single click with the brush on your canvas. You’ll see from this footprint that some brushes contain texture within their footprint, while others have either hard or soft edges. Here we come to another feature of dry media brushes which should not be overlooked, namely Jitter. By default, the stroke of a brush will be made up of multiple footprints of the brush, placed closely together and in line with each other. The Jitter slider adjusts the placement of these footprints, scattering them either side of the central line of the brushstroke to a lesser or greater extent dependent on the value of the Jitter slider. This feature can be very useful to avoid the edges of your brushstroke being too uniform and is worth experimenting with. Remember that all of the variants within the dry media categories here are Dull Grainy Chalk Variable Chalk Square Chalk Sketching Pencil Oily Variable Pencil Dull Conte Charcoal Gritty Charcoal Soft Charcoal Soft Vine Charcoal Artist Pastel Chalk Soft Pastel Square Hard Pastel Chunky Oil Pastel Soft Oil Pastel Waxy Crayons Using the Square Hard Pastel variant, the difference between a 10% Grain setting and a 100% setting is hugely dramatic Dry media brushes For brilliantly-textured papered effects The surface you choose to draw on is vital with dry media brushes. You can also adjust the scale of the paper grain, its Brightness and Contrast “Dry mediums work by depositing themselves on, or within, the surface texture” drawing media and as such, the kind of marks you make with the brush variants is key to replicating the effect of a traditional drawing. It’s good to bear in mind that drawing is an exercise that depends very much on building up tones with lots of linear shading and crosshatched strokes. As well as this, many of these variants also respond to the pressure you apply to your drawing stylus, in regard to size, opacity and grain, so it’s vital that you consider this as you draw. In the boxout to the right you’ll see a selection of examples of some of the best brush variants from each of the dry media categories available within Corel Painter. Try each of them and vary the paper surface you use with them to see the different effects that can be created. One �inal point; remember that dry media brushes often work very well on a coloured ground, so experiment with �irst �illing your canvas layer with a solid colour rather than automatically choosing a white canvas. paper surface you use with them to see the media brushes often work very well on a coloured ground, so experiment with �irst �illing your canvas layer with a solid colour rather than automatically choosing 25 020-27_OPM02_feature.indd 25 9/3/07 15:53:00
  20. 20. Original artwork by Philip Straub Feature GetstartedwithCorelPainterbrushes atercolour painting is often seen as synonymous with the very best in British art. There is a charm, delicacy and directness associated with water-based transparent media that simply cannot be replicated by any other techniques and this fact holds true within the realms of Corel Painter. This is one area where Corel Painter particularly excels, and some of the most realistic results can be achieved. Here are the categories which can be regarded as transparent media: SUMI-E WATERCOLOR DIGITAL WATERCOLOR LIQUID INK The Sumi-e category features variants similar to those traditionally used in Chinese brush painting techniques and can create beautiful, effective watercolour- like paintings. The variants within this category vary from broad bristle brushes through to small detail Sumi-e brushes. Each of them feature the Resat setting mentioned in the previous section and another brush property, namely the Feature slider. This slider, common in many of the brushes in the watercolour-like categories control the density of the hairs, or bristles within the brush. Low values here create strokes where the individual hairs are densely packed, producing more solid strokes. High values produce strokes where the bristles of the brush are more sparsely packed, leaving unpainted gaps between them. The Digital Watercolor category contains a wealth of brushes which can be used on the Canvas layer, or normal �loating layers to create effective watercolour paintings. Although these brushes are a less advanced version of the Watercolor category brushes, they can still yield super results and are dependent on very particular brush property settings. The brush variants in this category include broad mop brushes, which apply beautiful wet, broad washes of colour, dry When you use Watercolor variants, notice the special Watercolor Layer that appears in the Layers palette Original artwork by Philip Straub WATERCOLOURANDTRANSLUCENTMEDIABRUSHESWATERCOLOURANDTRANSLUCENTMEDIABRUSHESWATERCOLOURANDTRANSLUCENTMEDIABRUSHESWATERCOLOURANDTRANSLUCENTMEDIABRUSHES When you need a bit of subtlety in your work or just the bearest hint of colour, the watercolour and translucent options are well worth investigating. Try these suggestions to start with… 020-27_OPM02_feature.indd 26 9/3/07 15:53:28
  21. 21. is the Water section of the Brush Controls palette. The settings in this category of brush properties allow the colour you apply with the brush to diffuse and �low across the painting surface and in this section you can control how wet the paint and paper is, how far it runs and diffuses and even the direction in which colour applied by the brush �lows. There is a vast range of variants within the Watercolor category of brushes and all of them are directly comparable to traditional techniques. The variants themselves include runny brushes which apply pools of really wet paint that will �low over the paper; dry brushes which can create areas of texture that take advantage of the surface texture of the paper; sponge effect brushes and wash brushes that can be used to apply broad, diffused washes of colour. The Liquid Ink group of brush variants imitate the effect of inks, which can range from thick, gloopy ink to �ine, almost pen- like calligraphic lines of ink. Again this group of brush variants work on a special layer, added as soon as your begin to use one of the brushes. This group of brushes is fantastic for spontaneous sketches and bold, graphic images. With these variants, you’ll also �ind two new brush property settings; Smoothness and Volume, which allow you to control the amount of ink on the brush and the smoothness of your strokes. 27 brushes which will give the impression of a fairly dry brush just brushing the surface grain of your painting surface and even brushes which appear to spatter colour and water across your canvas. All of these brush variants feature two very important brush properties to create the feel of watercolour. The �irst of these variables, Diffusion, essentially controls how wet the surface is that you’re painting on. Traditionally, working with a watercolour, if you apply paint to wet paper it spreads and diffuses as soon as you make a mark. This setting creates exactly the same effect. Low Diffusion values mean that the brush you use keeps its distinct edges, but high values mean that the edges of the colour you apply diffuse into the surrounding area. The Wet Fringe setting is great for simulating the effect of watercolour paint ‘pooling’ around the edges of a brushstroke, the effect intensifying at higher values applied to this slider. The Watercolor category group of brush variants deserve special attention, as the stunningly realistic effects you can achieve with these brushes equal those of real-world watercolour effects. They also rely on some very speci�ic settings. These Watercolor brushes require a special type of layer, which will be added to your image as soon as you begin to use one of the brushes. The feature of these brushes which deserves special attention Sumi-e Dry Ink Flat Wet Sumi-e DW – Diffuse Water DW – Spatter Water Watercolor – Diffuse Camel Watercolor – Grainy Wash Bristle Watercolor – Runny Wet Flat Watercolor – Sponge Wet Watercolor – Smooth Runny Camel Watercolor – Wet Wash Flat Watercolor – Watery Soft Bristle Watercolor – Spatter Water Liquid Ink – Smooth Bristle Liquid Ink – Sparse Bristle Liquid Ink – Velocity Sketcher Liquid Ink – Clumpy Ink Transparent brushes Use for subtle washes and calm landscapes Liquid Ink – Calligraphic Flat The Water section of the Brush Controls allows you to bend and twist the Watercolor brushes for exceptionally realistic results. From soaking the paper to creating a drip effect, it has it all “There’s a charm associated with water-based transparent media that cannot be replicated” 27 Liquid Ink –Liquid Ink – Clumpy Ink 020-27_OPM02_feature.indd 27 9/3/07 15:54:19
  22. 22. Tutorial Cloneandglaze 30 eing a restless sort, I am given to trying every way I can discover to achieve my ends. I am even likely to learn a few things in this tutorial! Corel Painter is so versatile that effects can be achieved in many ways and I encourage everyone to approach painting digitally with that in mind. The project at hand should leave us with a very nice emulation of a character painted in oil, using the technique of slowly building up light, shade and colour harmonies with semi-transparent layers of digital paint. Because I have spent so much time gawking at masterworks from the Renaissance, there will be a �lavour of that look in the �inal piece. We will begin by doing a few necessary things to a photo reference, including adding parts of the body. We will then transfer the �igure to a background we will prepare together. After establishing a light source, we will build up the kind of atmospheric effects that one associates with oil painting. Because the process is a gradual one, it is also forgiving. It is evenly matched by the forgiving nature of digital painting in general. If a muddle-head like myself can do it, so can you! In this tutorial, Jeff Johnson walks you through how he cloned a photo and applied a glaze effect to create a digital masterpiece Cloneandglaze In this tutorial, Jeff Johnson walks you through how he cloned a photo and applied Cloneandglaze Painter master Time needed Skill level On the CD Jeff Johnson 2 hours Intermediate Starter photo and sketch Tutorial info 01Scalingthereferencephoto Wow, what a nice thing to have to stare at for the next few hours! I copied and pasted the photo onto a new canvas (37cm high by 23cm wide). Via Effects>Orientation>Scale I resized it. Using Canvas>Compositions>Show Layout Grid I placed the eyes on line with the upper third of the canvas, a common practice in portraiture. If you haven’t got Corel Painter X, do this by eye. 02Alteringandrotatingthe photograph With the photo still selected and on a separate layer, I rotated the head two degrees via Effects>Orientation> Rotate. I also pinched the left side on top and bottom via Effects>Distort to fix some minor lens distortion. Using the Lasso tool, I copied and pasted her mouth and resized it to 98%, as it felt slightly too full for the period flavour I wanted. I then dropped both layers and saved as a RIFF uncompressed. 03Createareferencestudy On a new layer set to 45% opacity and toned slightly brown, I began to draw in the rest of the figure, using a medium brown tapered artist chalk 10. I traced around the head and features lightly and did some early shading. After saving that layer as a new document, I worked side-by-side with the original to create the study on the right (it’s on the disc). It expresses some of the shading I will add to make the forms rounder. The two starting elements Photo and sketchPhoto and sketch Original photo Jeff Johnson shows you how to Starting sketch 030-034_OPM-02-glaze.indd 30 9/3/07 12:46:17
  23. 23. 31 TutorialCloneandglaze 030-034_OPM-02-glaze.indd 31 9/3/07 12:46:35
  24. 24. 32 Softlight layerfor modifying mid-tones andshadows Say what? One day I was experimenting with the Soft Light layer and discovered that if I painted onto it with a dark colour, it would subtly darken the area painted. I felt pretty clever until I learned that a number of Corel Painter users have stumbled upon this useful application. It has become a staple in my bag of tricks, because it takes advantage of the operative term, namely ‘soft’. Using this layer combined with a fairly large soft-edged brush set to less than 100% opacity creates wonderfully luminous effects with very little modification of the edges needed. Get that traditional look Merge photos and sketch 04Transferringthereference I then used the Lasso tool, copied and then pasted our doctored reference right over a copy of our study. Here I am in the process of erasing the unneeded parts. I have set her layer at roughly 70% opacity, so I can see where to erase. I have a plan! Once I cobble together the basic picture, I am going to transfer it to a prepared canvas via an oil cloning brush that will give me the opportunity to finesse every part of the painting. Merge photos and sketch 05Paintinginthefigure Next I painted out the hair. Using the Eyedropper tool I borrowed some of the reference’s colours to roughly paint in the new hair, body, black dress and a very rough background. I used the largest Airbrushes possible for each part of this step, set to 60% opacity, in order to create fairly smooth transitions on the first pass. 06Finishingtheblocking After flattening the image, I created a new layer set to Darken and blocked in the basic tones for the whites of the eyes, hat and frills. This is a snap, as the fields bordering these areas are darker than the goal values. I set this layer at 80% opacity. I then spent about three minutes with a Soft Blender Stump enlarged to 60 smoothing out some rough edges. 07Preparingabackground Open another document, the same size ad before. We’re going to do a refined background. I have used the Eyedropper tool to match colour between the rough background and started by using the Paint Bucket tool to fill the canvas with the darkest value. Using a size 180 Digital Airbrush set to 60% opacity, I gradually worked from dark to light. The greenish hue compliments the flesh tones nicely. 08Creating aguide forcloning I had in mind all along that I would want to use an oil brush cloner directionally over forms to create a hand- painted feel. I needed a guide for my strokes, so I simply copied our latest version onto the enhanced backround and reduced its opacity to 25%. 09Cloningthefigure This step was a hoot. I felt like I had a magic paintbrush. Using File>Clone Source I selected our cobbled together version as the source. After a few experiments, I decided the Smeary Camel Cloner was the ticket and I began to clone directly onto the background. Note how my brush strokes follow the contours of the forms. I then zoomed in and using a Straight Cloner, brought back some of the details of the original. We now have our basic underpainting and will begin to modify it. Tutorial Cloneandglaze Softlight 030-034_OPM-02-glaze.indd 32 9/3/07 12:46:54
  25. 25. 10Add highlights, mid-tonesand shadows The next three steps help define our light source coming from in front of and above her right eye. First, I created a new layer set to Soft Light and using a size 27 Digital Airbrush, made a pass of dark brown in areas away from our light source. I then selected a medium brownish-orange and added a few mid-tones to the nose and around the eyes. Finally, I increased the size to around 70 and selected a yellowish-white for passes over highlights. 33 TutorialCloneandglaze Soyoujustpaintedanapple.Youpainstakinglyobservedeverycolour youcouldseeandmixedupaslewofseparatehuesandvalues.Thenyou meticulouslyappliedthemtoyourcanvas,blendingthemseamlessly.You justemployedthedirectmethodofpainting. Theindirectmethodtakesadifferentapproach.Anindirectpainter beginswithanunderpaintingthatisthenmodifiedbysuccessivesemi- transparentlayersofpaintthataffectbutdon’tcompletelycoverthe previouslayer.Intraditionaloiltechnique,glazingusuallyinvolvesvery littlepigmentsuspendedinathinningmedium,usuallysomemixof varnish,thinnerandoil.Putapieceofbluecellophaneoverapatchof yellowandyouseeimmediatelythatyouhaveagreenthathasoptical propertiesthatcan’tbeachievedbymixingpaint.Thatisindirectpainting inanutshell. CorelPainterplacesanumberoftoolsatone’sdisposalthatcanbeused topaintindirectly.Simplyreducingtheopacityofalayerorabrushworks. CompositelayerslikeGelandMultiplyareparticularlywellsuitedforan indirectapproach.Idiscovernewmethodsallthetime. The shining light from the darkest shadows Understand glazes 11Broadenthevaluerange I created a new layer and, using various Digital Airbrush brush sizes, reintroduced some hand- painted detail around the eyes and eyebrows. I also continued rounding out areas like the far cheek with mid-tones. 12Adddepthandnuanceto shadows After creating a new layer set to Gel at 16%, I used the largest brushes that would fit the various areas to paint a medium reddish-brown into selected mid-tones to add variation and depth to the areas not in direct light. This included the entire left side of her face. 13Usinga Multiply layer I added to the shadows and mid-tones around the nose, mouth, eyes, and cheeks on a Multiply layer set to 25% opacity, picking my colour from the lightest area in the forehead. I opened a default layer, corrected some areas and began to draw in details of the hair. The truly astute observer will notice that I nudged the entire mouth up a fraction. I offer this side-by-side for comparison. Without glaze With glaze 030-034_OPM-02-glaze.indd 33 9/3/07 12:47:15
  26. 26. 34 On-line resources Here are a couple of websites that offer valuable insights: www.noteaccess. com/materials/ indirectP.htm has a synopsis of Reed Kay’s excellent notes on indirect painting techniques. It is written for natural media, but most of it holds true for digital painting as well. The page also has links to other insightful articles on painting. http://forums. has a thread devoted to Corel Painter and its art techniques forum has handy tutorials and top advice from some of the most skilled digital painters out there. Going from good to great Lighting and colour tweaks 14Addinginsomedetails Working with a Soft Light and Darken layer open, I alternated between them and the painting itself to finalise some forms and modelling. I painted in selected details throughout the painting, focusing on creating rhythms of spot detail versus finishing everything completely. Lighting and colour tweaks 15Apply lighting 1 This step and the next will help create an atmosphere and put our subject into it. I copied and pasted our image on top of itself and via Effects> Apply Lighting, I chose warm globe. Note how I modified the sliders and placement of the source. I used the separate layer in case I wanted to dab a bit of the effect off in places, but it did the trick. 16Apply lighting 2 After merging and saving, I repeated the procedure and chose Gradual Diagonal, altering only the direction and placement of the source. This time I changed the opacity of the affected layer to 50%. Using a 130 eraser set at 60% opacity, I gently dabbed back some highlights, merged and saved. 17Colourcorrectlayer I copied our image onto itself again and this time worked on the lower layer. Via Effects>Correct Colors I opened the Color Correction dialog box and chose Curve>Auto Set. Then, working on the top layer with my 130 sized eraser, I gently brought some of those cooler but lighter blues into the picture, focusing on the highlights and the clothing. The last two steps had, as is the case when glazing traditionally as well, made the picture a bit too dark and it brought in a little colour balance as well. 18Flippingthepicture It is good practice to flip the picture a few times, as imbalances tend to pop out. I saw several small areas that needed attention and created a Multiply layer for darkening, a Soft Light layer for some subtle highlights, and a Lighten layer to get rid of a few annoying marks along the frills. 19Cleanup Now I zoomed to 200% and, with a Soft Blender Stump as large as I could fit in each area, began to softly blend out marks that either didn’t look man-made or detracted from the picture. I like to leave some dither and dash, so I didn’t spend too much time smoothing. Tutorial Cloneandglaze On-line Don’tget paintonyour nose I worked through this tutorial without zooming in to near 100% until the very last step. The majority of my work is done with the entire painting visible on the screen. Owing to the size of my digital canvas, that usually translates to roughly 25% magnification. This prevents me from losing track of the overall impact of a step on the painting. Indirect painting is a process of harmonising elements together, and one has to see the whole painting at one time to tell if any one step is working towards that end or not. 030-034_OPM-02-glaze.indd 34 9/3/07 12:47:38
  27. 27. 36 ur next stop on the journey down the Effects menu is the Tonal Control group. As you can guess by the name, the options in here allow you to edit the colours in an image. To many people, Corel Painter is just a tool for creating digital art, but it also has an impressive set of tools for editing photos and the Tonal Controls effects play a major part in this. From here you can perform tasks such as adjusting brightness and contrast, editing selected colours and applying posterisation effects. Some of the edits will work as dynamic layers, allowing you to make changes without permanently affecting the original image. This is a great way of experimenting with different looks without having to worry about running out of Undos and ruining your original image. For more on dynamic layers, see the right side panel. In addition to edits that improve the colour of an image, it is also possible to use some of the controls to create wild, outlandish results. These are great if you want a certain look and can be used to kickstart the colour scheme of a painting. In fact, we’d suggest that if you are painting from a photo that you always �irst pay a visit to the Tonal Controls options. By boosting saturation or enhancing shadows, you can make a photo more ‘painterly’. The Adjust Color command allows you to determine the hue, saturation and value of an image. Once selected, a dialog window will open. The Using drop-down menu allows you to control how the colour is adjusted; Uniform Color will tweak all pixels; Paper will take the current paper grain and use as the adjustment; Image Luminance will take the luminance in the image as the starting point for adjustment; Original Luminance uses the luminance in the clone source. Once you’ve set the Using menu, use the sliders to alter the hue, saturation or value. Enjoy complete colour control Adjust ColorAdjust Color Overall colour edit Brightness/ContrastBrightness/Contrast The Brightness/Contrast option allows you to alter the, erm, brightness and contrast across an image, using RGB values. Unless you make a selection, the edit will be applied to the whole of the currently selected layer. Making adjustments with this tool is intuitive and is based around sliders. Once you select the Brightness/Contrast command from the Tonal Control set, a window will appear with a Contrast slider (top) and a Brightness slider (bottom). Move the sliders right to increase the effect or left to decrease. If it goes wrong, hit Reset. Primer Effectsmenu VideoLegal Colors One Tonal Control option is very useful to movie-makers and that’s the Video Legal Colors command. This ensures your image’s colours are compatible with either the NTSC or PAL video colour. Open the dialog, choose your format and press OK to set. VideoLegal PRIMER UsethisEffectsgrouptomakesurethe coloursinyourimageareloudandproud EFFECTS MENU TonalControl Before After DIFFERENT OPTIONS When you open up the Correct Colors command, you see a window with a big area for curves and then a drop-down menu below it. There are four options in the menu; Contrast and Brightness, Curve, Freehand and Advanced. The sliders change according to the option selected in the menu. 036-37_OPM02_effects.indd 1 9/3/07 15:09:02
  28. 28. 37 Experiment without any regret! Edit on a dynamic layer 01Starttheedit Open your photo or image and then call up the Layers palette. Go to the bottom of the palette and click the Dynamic Plugins icon (second in from the left). Pick the command you want from the list that appears. We decided to go for Posterize. 02Newlayer,please As soon as you make a choice from the menu, a new layer will appear above your original one, with a little dynamic plugin icon just so you don’t forget which one it is. Primer Edit on a dynamic layer TonalControl For when you need precise contrast edits EqualizeEqualize Dramatic effects with just one click Negative and PosterizeNegative and Posterize Equalizing an image allows you to improve contrast and brightness by setting black and white points. Once you have these set, Corel Painter will then use these two points to evenly distribute the values across the layer or selection. After going to Effects>Tonal Control>Equalize, the image will be adjusted so the lightest colour is white and the darkest is black. You make adjustments by moving the black and white markers – values to the right of the white marker become white, and values to the left of the black marker become – you guessed it – black. Two of the Tonal Control options are particularly good for dramatically altering a photo or image. The Negative setting will create a negative version of your layer or selection and is particularly effective in collages or backgrounds. The Posterize option allows you to limit the amount of colours in an image. Go to Effects>Tonal Control>Posterize and enter a value of 8 or less for the number of levels. Your image will now have a more illustrated look to it and is a great starting point for vector or comic book-style images. You can also posterise using a color set. 03Readytoedit Now the dynamic layer is all set up, you are free to make your edits. When it comes to posterising an image, it pays to stick to eight levels or less. However, this does change according to certain images but if we don’t like the effect we can just delete the dynamic layer. No harm, no foul! Dynamic layers are a fabulous way of trying out an effect without worrying about ruining your original image. By setting a dynamic layer, you work above the original and can set one for the Brightness/ Contrast, Equalize and Posterize commands. ONE COLOUR OR ALL? To the right of the drop-down menu is four coloured squares. The red, blue and green squares relate to the red, blue and green in an RGB image. Click one of these to edit that colour. The black square is the ‘master’ curve and controls all colours equally. SEE THE CHANGES Once you have decided on the colour to edit (red, green, blue or all) you can move the sliders to adjust the curve. You’ll see your edit appear in the main grid in the corresponding colour. If you edit the reds, for example, a red line will appear in the grid. READING THE CURVE As you move the sliders, a line will appear on the curve representing the changes you’ve made. Anything towards the top of the graph will be lighter than the starting point, while anything towards the bottom will be darker. 036-37_OPM02_effects.indd 2 9/3/07 15:10:12
  29. 29. Tutorial Paintperfectskin 38 038-043-OPM-02-bristle.indd 38 9/3/07 13:07:56
  30. 30. 39 TutorialRealBristlebrushes f your primary goal in using Corel Painter is to produce images which are as close as possible to real world oil or acrylic paintings, in version X you have a new super-powerful creative weapon right at your �ingertips, namely the RealBristle painting system. In the following tutorial, we’re going to illustrate and prove to you just how incredible these brushes really are and produce a landscape painting which you would be hard pressed to tell apart from its real-world equivalent! RealBristle brushes are the closest Corel Painter has ever come to actually putting a real, traditional artists brush in your hand! Essentially, these brushes very accurately mimic the shape and behaviour of traditional bristle brushes, with all of the same variability and vitality that artists have come to know and love in these brushes. The brush variants themselves range from short �lats, through to lovely full-bodied round brushes and even include tapered varieties which mimic traditional �ilberts. As well as the selection of preset brush variants you’ll �ind within the RealBristle categories, you’re also able to customise and change every aspect of the particular brush’s characteristic within the RealBristle section of the Brush Creator or the brush controls. You can change behaviour such as bristle length, bristle rigidity and the shape of the brush head, right the way through to the amount of friction between the brush and the surface and the wetness of the canvas. Remember, this project is all about painting, so use the �inished image as you guide, but don’t be afraid to inject some of your own personality and vitality into your brush strokes as you work. Use these brushes with enthusiasm and the rewards will come! RealBristle brushes are new to Corel Painter X and in this tutorial, we demonstrate just how easy it is to use them to create stunning paintings full of brush strokes! Usingthe RealBristle brushes Painter master Time needed Skill level Tim Shelbourne 1 hour Intermediate Tutorial info 038-043-OPM-02-bristle.indd 39 9/3/07 13:42:38
  31. 31. 40 Loadingthe ColorSet We’ve supplied a colour set which features all the colours used in this painting. Once you’ve downloaded it from www. paintermagazine., in Corel Painter go to Window>Color Palettes>Show Color Sets. In the Color Sets palette, click the small right-pointing arrow and choose Open Color Set. Click Load and locate the downloaded colour set on your computer. Once the set is loaded, click the small right- pointing arrow again and choose Sort Order>LHS. 01Openthesketch Download the starter sketch and colour swatch from Open it up and go to File>Save As and save the file under a new name and as a Corel Painter .riff file. Click the Papers swatch and choose Artist Canvas. Click the Brush tool and choose the RealBristle Brushes category. Choose the Real Round bristle variant. Choose a mid brown from the Colors palette. Laying down the base colour From sketch to paintingFrom sketch to painting 02Reinforcethesketch With this brush at around 10 pixel size, reinforce the distant shoreline and landscape simply by roughly painting over the sketch lines. You can leave the sketching in the sky as it is. Change to the Real Flat variant. Increase the brush size to around 60 pixels and in the Size category of the Brush Controls, change the Minimum Size to 65%. 03Lookingskyward Choose a mid blue colour and begin to paint in the blue areas of the sky. Use lots of short strokes here in random directions. Remember this brush loses its colour quickly and starts to blend after being in contact with the canvas for a while so regularly lift you stylus and then begin to paint again. 04Paint some water As you paint the blue of the sky, periodically choose either a slightly lighter or darker shade of the colour to vary the blue here and there. Now choose a darker blue from the colour set and using the same brush at a smaller size, roughly paint in the water using energetic horizontal strokes. 05Thehillsarealive! Choose the Real Oils Short variant. Set Blend to 21%, Feature to 4.4 and Grain to 72%. Choose a very dark blue/green from the swatch and reduce the size of the brush to around 29 pixels. Now begin to paint in the distant hills. Again, use short strokes here at various angles. 06Landscaping Choose a very dark olive green. Reduce the Bleed of the brush to 12%. Now, using the brush at 19 pixels, paint in the hills below the most distant ones. Try and use fairly long sweeping strokes here. Choose a darker shade of the same colour and add some darker accents here and there. Tutorial RealBristlebrushes Loadingthe 07Darker features Choose the Real Flat Opaque variant. Set Bleed to 5%, Feature to 7.1 and Blend to 2%. In the Brush Creator (Window>Show Brush Creator), choose the Color Variabilty category. Set H slider to 10%. Choose a very dark blue/black from the Colors palette. Add a new layer (Ctrl/Cmd+ Shift+N). Now begin to paint in the foreground hills and land mass. 038-043-OPM-02-bristle.indd 40 9/3/07 13:43:05
  32. 32. 41 TutorialRealBristlebrushes 08Suggestingdetail Use short, scribbling movements here, regularly removing your stylus from the tablet. Reduce the size of the brush as you start painting in the narrow areas along the shoreline. Add a few small vertical strokes to indicate trees and areas of interest. 09Darkerclouds Change to the Real Round Bristle variant. Set Bleed to 10%, Feature to 2.8 and Blend to 11%. In the Layers palette, return to Layer 1. Increase the size of the brush to 60 pixels. Now begin to add the darker areas to the clouds. Use nice, random movements here, reducing the size of the brush where necessary. Refer to the finished painting for placement of these areas. 10Moresky Reduce the size of the brush a little and paint the darker areas of the sky just above the horizon line. Again, use short, dabbing strokes, brushing over some areas repeatedly to blend those areas a little. It’s a good idea as you go to choose a slightly warmer or cooler hue of a similar tone from the Colors palette. We’re still applying base colour! Continue with the colourContinue with the colour The sky’s the limit thanks to Corel PainterOur pick of the RealBristle brushes RealFlat–LowBlend With a low Blend setting, the same variant blends less and leaves much more distinct brush marks as you paint. For the initial blue of the sky, we will use the Real Flat variant. This is a great RealBristle brush because it quickly enables you to cover large areas with colour that still maintains lots of visible brush strokes for interest and texture. These brush strokes become visible because of the fairly high Blend value featured in the brush. For the darker cloud areas in the sky, we’re using the Real Round Bristle variant. The attributes we apply to the brush means it has a fairly high Feature setting, which allows the individual bristles within the brush to remain visible in the areas of paint it applies. The low Blend value means that the colour remains for longer as you continue to paint. It’s best to use this brush at a fairly large size and with a distinct scribbling motion. For the lighter parts of the clouds we use the Impasto brush we created, which is a modified version of the Real Oils Short variant. The great thing about this brush is that it paints with impasto and is best used in short dabs in various directions. For all of these brushes one of the most important values is that of Blend. At high values the brushes will create strokes and colours which blend together, at lower values your brush strokes will be more distinct. RealOilsShort–NoImpasto Here you can see the same variant without the Impasto value applied. You can easily achieve a mix between the two simply by using a very low Impasto value. RealOilsShort–Impasto Because we’ve modified the Impasto properties of the Real Oils Short variant, it paints with very realistic impasto, making it ideal for the bolder areas of the sky. RealRoundBristle The Real Round Bristle variant leaves visible bristle marks within its stroke, making it ideal for soft areas such as the darker shades in the sky and clouds. RealFlat–HighBlend With a high Blend setting, the Real Flat variant blends readily and quickly with the canvas and other paint. in the brush. longer as you continue to paint. It’s best to use this brush at a fairly large size and with a distinct scribbling motion. 038-043-OPM-02-bristle.indd 41 9/3/07 18:52:29
  33. 33. 42 Createthe Impasto brush Choose the Real Oils Short variant and set Bleed to 37%, Grain to 72%, Feature to 1.2 and Blend to 26% in the Properties Bar. Now go to the Brush Creator and click the Impasto category. From Draw To choose Color and Depth, and set the Depth slider to 14%. Click the Artists Oils category and use these settings: Bristling 9%, Clumpiness 95%, Canvas Wetness 50%. In the General category, set Grain Expression to None, and in the Size category, set Feature Expression to None. Once you’re back in Corel Painter, click the small arrow next to the variant selector and choose Save Variant, giving your new brush a name. It’s all in the brush work Suggest detail with subtle shading 11Mixsomecolours Using the Mixer pad, mix a range of very light pinks, yellows and blue/greys. Now choose the Impasto brush you made earlier (see Impasto Brush boxout to the left). In the Mixer pad, choose the Sample Multiple Colours Eyedropper and click anywhere within your mix of light shades in the Mixer pad. Suggest detail with subtle shading 12Paintingthecloudswithsunshine! Begin to paint in the lightest parts of the clouds. Remember, this brush paints with impasto, so the more you paint over one areas, the thicker and more three-dimensional the paint will become. Refer to the finished image for the placement of these highlight areas. 13PaintandBlend Reserve the thickest areas of impasto for the absolute highlights in the sky. For where the lighter areas of the clouds meet the existing dark areas, increase the Blend value of the brush in the Properties Bar so that you get smoother transitions from one tone to another here. 14Another brush Add anewlayer.Choose theRealFlatOpaque variantandintheBrush Controlspalette,set MinimumSizeto75%. SetGrainto64%,Bleed to5%,Featureto1.5 andBlendto17.Now, choosinglightergreens, ochresandyellows fromthesupplied swatches,begintoadd somemorecoloursto thehills. 15Suggesteddetail Use long strokes that suggest the contours of the land and remember that the lightest areas will be on the tops of the hills. As you work further down the hills, use darker shades of greens, browns and blue/greys. In these areas, increase the Blend setting to around 40% so that the brushstrokes aren’t quite as distinct. There are really no definite shapes to paint here, we’re simply adding texture. 16Darkshades,brokencolour Increase the size of the brush a little and begin to add some real darks to the large tree bank on the left of the painting. It’s important to break up this area with stokes of slightly different dark colours from dark browns through to very dark dusky blues. A great range of these colours are in the supplied colour set. Tutorial RealBristlebrushes Createthe 17Refinethedetail Use this same brush at a smaller size to add some small strokes to the top edge of the distant tree mass, to break up its outline and blend it slightly with the sky. Now continue adding dark areas of interest all along the shoreline, still varying the colours you use here and there. Small, random brushstrokes here will work well. 18Suggested trees Small, upward strokes of the brush along the dark of the shoreline can easily give the impression of small trees and objects. Again, at this distance you really only need to be quite impressionistic, but it’s still useful to zoom close in to the image so you can still see the brush when you’re using it at a small size. 038-043-OPM-02-bristle.indd 42 9/3/07 13:44:24
  34. 34. 43 TutorialRealBristlebrushes Controlling theimpasto effect Sometimes, by default, Corel Painter can slightly over-egg the pudding when it comes to showing the impasto effect in your paintings, but you can easily temper this via Canvas>Surface Lighting. Use the Amount slider to reduce the impasto effect in you image. Often, very small values applied via this slider can give a much better effect than more extreme ones. Just click OK to apply the change. 21Letthebrushdothework! The foreground boat is really quite easy to construct as we’re using a flat brush which helps a lot with the shapes. First, set the Blend value to 7% so the paint from the brush does not blend too much. Set the brush size to 9 pixels. Choose a very light blue/grey and paint a long vertical stroke in front of the tree mass to serve as the mast of the boat. 22Painting thesails Increase the brush size to around 22 pixels and paint in the two triangular shapes for the sails. Apply more pressure towards the bottom of the strokes to widen the brush there. You can always reduce the size of the brush to sharpen up the shape of the sails. Make sure to stroke in some thicker highlights, using the brush at a smaller size. But still keep a loose style! Add some extra elementsAdd some extra elements 19Distantboats Reduce the brush to a very small size (around 5 pixels) and choose a very light blue/grey from the swatches. Distant boats along the shoreline can be indicated very easily. Simply make upward strokes for the mastsandsailsandtwoorthreehorizontalstrokes for the main body of the boats. 20Waterhighlights At this stage, you can add a new layer to the image for the final details, or continue working on the existing layer, whichever you’d prefer. Continue to add horizontal strokes of this light colour along the distant waterline to serve as simple highlights on the water. 23Boatbuilding! Choose a slightly darker neutral grey and use horizontal strokes to paint in the main body of the boat. Use short, deft strokes here, before reducing the size of the brush and adding a couple of small highlights here and there. By using the brush at a very small size, you can refine the outline of the boat. Controlling 25Watershadows Increase the Feature setting to 6.3. Choose a deep petrol blue and set the brush size to 39 pixels. Now use this brush to add long horizontal strokes to the water. Also add some of this colour horizontally beneath the boat. 24Darkerdetails Choose a very dark colour and reduce the Blend and Bleed to very low values. Now use the brush at a very small size to add the dark details to the boat. 26Morerefinements This step relies on your own preference. Using the techniques demonstrated throughout this tutorial, refine the painting by adding more areas of indicated detail, such as more distant boats and sharp highlights on the water. Using a range of colours from the swatches, also take the time to add some finer details to the hills and sky. RealBlender brushes The Real Blender brush variants (Real Blender Flat, Round and Tapered), are very useful for refining your paintings. If there are areas of paint where tones and areas of paint don’t blend together as much as you would like, use one of these brushes to brush over these areas with an approximate colour to subtly blend the areas together. RealBlender 038-043-OPM-02-bristle.indd 43 9/3/07 13:47:32
  35. 35. MARKCOROTAN TITLE Manji_TheBladeoftheImmortal WEBSITE JOBTITLE CGI/FXartist,animationdesigner Mark has produced some incredible work covering digital art, traditional mediums and also animation films. His images are always vibrant and dynamic, demanding the viewer’s attention straight away. Also be sure to check out Mark’s The Kindredd Saga animation project. showcase 044-045_OPM_02_mark Corotan.indd44 44 9/3/07 14:45:06
  36. 36. 044-045_OPM_02_mark Corotan.indd45 45 9/3/07 14:45:32
  37. 37. 48 olour is one of the big boys when it comes to creating artwork. Selecting the perfect hue is vital to any artist and it comes as no surprise to discover that Corel Painter has plenty of options for choosing, editing and saving colours. The main colour selection takes place in the Colors palette. As you’d expect from Corel Painter, this is entrenched in traditional art theory and is based around the concept of a colour wheel. This means that you can visually see which colours complement each other or which belong to the same ‘group’. Once you have selected your main colour, you can then adjust its saturation or colour value. If you haven’t got a clue what this means, we’ll be explaining everything over these pages! In addition to the Colors palette, there are various other methods of selecting colours. These include the Dropper tool, the Color squares and the Color Sets palette. Again, we’ll be looking at how all of these work in more detail, including a walkthrough on how to create and save your own Color Sets. When it comes to emulating traditional art techniques, though, the Mixer palette is phenomenal. You can use this to mix up paint as you would with a traditional paint palette and can also set the brush to pick up multiple colours. We’ve got a special walkthrough just on this feature over the page, where you’ll �ind out how to use it and what options are available. The quickest way to select a colour and the most intuitive if you’re used to using an image editing program, is to click the front coloured square in the toolbox. This will call up a Colors window, with a colour wheel and a slider to the right. Click inside the wheel to select a colour and adjust how bright or dark it is by moving the slider up (brighter) or down (darker). There are also icons at the top of the window that allow you to set a different way of selecting a colour. These range from colour spectrums through to web-safe colours. Selecting colour Quick and easy colour selection Select using squaresSelect using squares Two squares are better than one The main man (plus additional)The main man (plus additional) One thing that confuses most people when they move from a program such as Photoshop over to Corel Painter is the two coloured squares in the toolbox. In Photoshop these would be the foreground and background colours, but in Corel Painter they are the main (front) and additional (back). The main colour is the one currently selected. The additional colour only comes into play when you have multicoloured brush strokes, two-point gradients or whenever more than one colour is applied. To set the additional colour, double-click on it and pick a colour as normal. Featurefocus Selectingcolour MAIN AND ADDITIONAL COLOUR The front square here sets the main colour being used. The back square is the additional colour and comes into play when you use dual colour control on your brush. Workwith RGBvalues If you are creating a piece of art that you know has to have certain RGB colour values, you might think that the little readout box in the Colors palette is useless, since it shows HSV values instead. Well, if you click on this readout it will turn into RGB, so you can see how things are shaping up! Selecting Selectingcolour FEATURE FOCUS Colour is at the heart of any painting, so it’s worth mastering how to select it! 048-51_OPM02_featurefocus.indd 48 9/3/07 12:40:48
  38. 38. 49 FeaturefocusSelectingcolour Using the Color palette’s Hue ring to set colour Hue’s this then?Hue’s this then? Use the triangle for tints and shade The value of saturationThe value of saturation The best way to select colour is the Colors palette. By default this will display as a ring of colour with a triangle in the middle (although you can make it smaller). This is based around hue, saturation and value colour model. Typically, this model begins with you picking a hue, which is represented by the circle. Hue indicates a colour’s position on a colour wheel, hence why it’s presented in a ring. To select your hue, simply click and drag the small black circle. As you move it around the wheel, the triangle and main/additional colour squares will update accordingly. The triangle in the middle of the ring controls the saturation and value of a colour. Saturation is basically how intense a colour is. By moving the triangle’s circle to the left, you reduce saturation. A move to the right will increase it for a very strong colour. Value refers to how light or dark a colour is and lets you pick tints or shades of colours. By moving the circle to the top of the triangle, you lighten the colour and create a tint. Moving the circle to the bottom of the triangle will darken the colour and therefore make a shade. COLORS PALETTE The hub of choosing colours, this palette allows you to set a hue and also control the value and saturation of that hue. COLOR SETS These sets are a handy way of keeping colours of similar values or uses together. You can use the ones that ship with Corel Painter, or create your own for the perfect control. MIXER PALETTE This palette is one of the most exciting features of Corel Painter and allows you to blend colours just as you would with a traditional paint palette. COLOR INFO If you have to adhere to certain colour rules – maybe you are designing for the web – you can see the colour values for RGB, HSV and Web RGB from here. Group colours for easy location Create color sets 01Openupthesets Start by going to Window>Color Palettes>Show Color Sets. Once the palette appears, click the small right- pointing arrow and then select New Empty Color Set. 02Pickyourcolours Now it’s time to fill your nice, clean color set. Start by picking a colour from the Colors palette and then click the Add Color to Color Set button (second from right). Create color sets 03Repeatandsave Continue until you have all the colours you want and then click the right-pointing arrow again. Choose Save Color Set from the menu and give your set a name in the Save As box. Pick a location to save to and click Save. Color Sets are a fabulous way of grouping colours and creating bespoke colour palettes. Corel Painter ships with several color sets, but it’s worth creating your own. You might make some for portrait painting, landscapes, clothes… it’s completely up to you. 048-51_OPM02_featurefocus.indd 49 9/3/07 12:41:48
  39. 39. 50 Saveyour creations Justasyoumight saveacolorsetfor workinthefuture, youcanalsosave yourcreationsinthe Mixerpalette.Maybe youhavecreatedthe perfectconcoctionfor underwaterscenes. Simplygotothepalette menuarrowandclick SaveMixerPad.Give thepadaname,choose wheretosaveitand thenclickSave.Load itupbypickingOpen MixerPadfromthe palettemenu. Even though the Colors palette is an extremely accurate way of selecting colour, you might find that you can’t get the hue that you need. Maybe you are trying to add text to a painting but can’t get a colour that matches a hue in the image. For times like these, pay a visit to the Dropper tool. Found in the toolbox (or by hitting ‘D’ on your keyboard), it allows you to select a colour from an image. Click the main or additional colour square, pick the Dropper tool and then click the colour you want to sample in your image. As long as it’s a visible colour, it will appear in your square. Sample colour from images The Dropper toolThe Dropper tool Go for preset colours Clone colour from imagesClone colour from images Another way of using colours from an existing image is to use the Clone Color option. This works by letting a brush pick up dabs of colour from the clone source. If you’re using a brush that has dab-based dab types, the colour will be an approximation of the clone source’s colour. Rendered dab types sample various colours, giving very realistic results. Open an image and go to File>Clone. Now go to Select>All and press delete/backspace. Pick a brush and open the Colors palette. Click the Clone Color button and start painting! Featurefocus Selectingcolour 01Openupthepalette If it isn’t already open, go to Window>Color Palettes>ShowMixertoopenuptheMixerpalette. For the shortcut fans, just press Cmd+2 (Mac) or Ctrl+2 (Windows). 02Anewbackground By default, the Mixer pad is on a white background. If you’d rather change this, click on the palette menu arrow and then choose Change Mixer Background. A Colors dialog box will appear, so pick the new colour you want. This is good practice if you are painting onto a coloured background as you’ll see how the colours will appear once mixed. 03Applycolour Togetstartedwiththe Mixerpad,clickontheApplyColortoolat thebottomoftheMixerpalette.Gouptotherowof coloursatthetopofthepaletteandclickononeyou like.ReturntotheMixerpadandpaint.Yourchosen colourwillappear. Enjoy a true real media effect Mix colours with the Mixer paletteMix colours with the Mixer palette 04Secondhelping TheMixerpadwas notmeantforjustonecolour,soreturn tothecolourswatchesandclickonadifferent colour.PaintintheMixerpadasbefore.Ifyoupaint overtheoriginalcolouryouadded,you’llseethe huesstarttoblendtogether.Toreallyworkthem in,usetheMixColortool.Swapbetweenthetwo byholdingdownCmd(Mac)orCtrl(Windows). 05Usethecolour When you are happy with the blended colour, you need to apply it to the canvas. Do this by clicking the Sample Color tool at the bottom of the Mixer palette – it will become the main colour. Now paint with the new colour. 06Allinthebrush With Corel Painter X, you can use certain brushes to mix colour directly on the Mixer pad and then move over to the canvas to start painting straight away. The variants that support this are ones that use these dab types: Camel Hair, Flat, Bristle Spray, Watercolor Camel, Watercolor Flat and Watercolor Bristle. Userswithversion IXoraboveofCorel Painterwillbe abletoenjoythe Mixerpalette.This allowsyoutomix andmergepaint justasyouwould atraditionalpaint canvas,butitcan takeabitofgetting usedto.Here’show itworks… Mix colours with the Mixer palette FEATURE FOCUS 048-51_OPM02_featurefocus.indd 50 9/3/07 12:42:32
  40. 40. 51 FeaturefocusSelectingcolour 07Mixandapply Making sure you have a brush selected that supports direct mixing, move the paint around in the window to get the mix you want. Check that the Dirty Brush Mode tool is selected and then move over to your canvas. The colour you just mixed will be applied. 08Multiple fun On a traditional paint palette, you are able to load more than one colour on a brush. You can do exactly the same in the Mixer palette thanks to the Sample Multiple Color tool. Select this and move the Change Brush Size slider to decide how big the sample area is. Click in the pad to pick up colour and then paint on your canvas. 09Otherswatches The Mixer palette will open with a default set of colours, but you can change these to suit your work. Pick a colour from the Colors palette and then Cmd-click (Mac) or Ctrl-click (Windows) on the swatch you want to change in the Mixer palette. The square will change to your selected colour. 10Savethecolours When you have created your new selection of colours, go to the palette menu arrow and click Save Mixer Colors. Give it a name, a save location and then save! You can load Mixer colours by clicking the palette menu arrow and picking Load Mixer Colors. Navigate to the one you want and the job’s a goodun’! Customise your colours Further afieldFurther afield Ensure perfect control Know your Mixer palette tools If you share your work with others or are collaborating on a project, the ability to annotate colours means everything will always match up. It’s very easy to do as well, although you have to be working from a color set that included names. Paint as normal, picking your colour from the color set with names. Now go to Canvas>Annotations> Annotate. Put your cursor over the colour you want to annotate and then drag out to just beyond the boundaries of the colour. As soon as you let go of the mouse, the name of the colour will appear. Save as a RIFF file to keep the annotations. Pass the information on Annotate coloursAnnotate colours For when things gets technical Get colour informationGet colour information You can call up the Color Info palette and discover the HSV or standard RGB values of the colour you are currently using. If it isn’t already open, go to Window>Color Palettes>Show Color Info. You’ll see some sliders, which you can use to adjust the values, or simply type a new number in the box. Click the right-pointing arrow to swap between RGB or HSV colour values. Any alterations you make can be previewed in the colour squares. Also, if you Shift-click on the HSV/RGB square in the Colors palette, you can see hexadecimal RGB values for when creating for the web. Travel down to the bottom of the Mixer palette and you will find a range of tools that allow you to control how you mix the colours. These are all you need in order to create your own special colour mixes for whatever the job at hand is. In addition to the tools, don’t forget about the settings available from the palette options arrow. It is from here that you can save your Mixer pad workspace. Dirty Brush Mode tool Enable this in order to apply colours mixed in the pad to your canvas Apply Color tool Use this to click on the top swatches and apply a colour to the pad Mix Color tool Mixes colours on the pad and unlike the Apply Color tool, does not add any more Sample Color tool Use this to sample a colour from the pad and set it as the main colour Sample Multiple Colors tool When you have a pleasing blend, use this to load up multiple hues Zoom tool Quickly zoom in and out of areas on the Mixer pad Pan tool If your pad expands beyond the realms of the palette, use this to move about Clear and Reset Canvas tool Get rid of any marks on the pad and reset the zoom level to 100% 048-51_OPM02_featurefocus.indd 51 9/3/07 12:43:09
  41. 41. Tutorial Createyourowngallery 52 n addition to offering users a delicious array of tools and commands for creating outstanding digital artwork, Corel Painter also comes with a ready-made community of loyal users who are only too willing to pass on their advice to others. This sense of community is an important part of this magazine. In addition to bringing you great tutorials for creating modern masterpieces, we also want to provide a place for you to come and get a healthy Corel Painter �ix while you wait for the next issue to arrive! So when we created our website, we wanted to make sure that there was a place for readers to come and post their Corel Painter artwork. As a result, once you sign up to the site you can create a special gallery to display your work. Other members can then comment on your images, plus you can also link to other members’ galleries and support an artist who you particularly admire. One thing that we want to make clear from the outset is that this isn’t a site just for Corel Painter professionals or talented artists. We welcome all users of all abilities and styles, so don’t feel shy if you’ve just started using the program. Over these pages we are going to show you how to create a gallery, upload an image and set an avatar for your pro�ile. At the end, we will also highlight a couple of other features that you may have missed on the site. Createyourowngallery Painter master Time needed Skill level Jo Cole 10 minutes Beginner Tutorial info Share your Corel Painter artwork with other users and become part of a thriving community Newest Member Markie 052-054_OPM_02-web.indd 52 9/3/07 15:42:24
  42. 42. 53 TutorialCreateyourowngallery 01Register Pop along to www. You’ll be taken to the homepage of the website. Go up to the Sign-up link and click on it. Fill in the form and make sure you enter the correct email address. Once completed, click Create User and wait for an email. Click the link and you’re now a member! 02Yourprofile There’s a default avatar, but you might prefer to add your own image. This is easily done. Make sure you are logged in and then click on Edit Profile. Go down to the avatar bit and click Remove This Image. Now click Choose File. 03Setthefile Navigate to where the image is you want to use and select it. For ease of use, make sure it is relatively small, but the image will be automatically shrunk to fit the space. Make sure it is a square format to start with. Inputting profile information and uploading images Register at the site to access the galleries Picture of the Week ‘An Homage to Van Gogh’ Top Rated Gallery painter_fan_75 Featured Gallery Jo Cole 052-054_OPM_02-web.indd 53 9/3/07 15:43:11