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Issue nine
USE THE
CLONE TOOLS
ART STUDY
How to
paint hair
Easy methods for painting
realistic hair without
getting in a tangle
26
CREATE
CONCEPT ART
Master
digital art
Over
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INSIDE
001_OPM_9 COVERFINAL.indd 1
Edit photos
Unearth the tools to edit and
correct photos in Corel Painter
Colour theory
The hows and whys of using
colour in your artwork
ISSUE NINE
ISSN 1753-3155
6.00
09
771753 315000
www.paintermagazine.com
19/9/07 17:46:24
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Have fun!
Pg 44
Edit photos
See what tools and
commands can help you
perfect your photos
Pg 26
Impressionist
landscapes
Use cloners to turn
photos into amazing art
Pg 66
ISSUE NINE
Drawing 101:
Capture motion
005_OPM_09_welcome.indd 3
21/9/07 16:01:57
Sumi-e
pg 60
Create ice-cool
Pg 56 PAINT HAIR
Pg 48 CONCEPT ART
14 Interview
25 Painter showcase
74 Art class
92 Readers gallery
Discover more about what a
fellow reader is getting up to
96 Readers challenge
98 On the disc
Original artwork by
Jan David
portraits
pg 32
WIN!
YOUR
WORK
PRINTED
TO CANVAS
pg 96
Reviews
82 Corel Paint Shop Pro Photo X2
Looking for an affordable imageediting program? We test out the
latest version of Corels popular
product to see what it offers to the
Corel Painter user
86 Book reviews
To be the best artist you can, you
need to immerse yourself in a world
of creativity and load your brain
with ideas and techniques. Each
issue we look at the best books to
instruct, inform and inspire you. See
the latest ones here
006-007_OPM_09_contents.indd 6
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Colour theory
pg 20
pg 48
Concept art
Feature
pg 56
Art study:
Paint hair
tutorials
Drawing 101
Traditional artistic techniques
66 Drawing motion
Movement in art is a very tricky subject to approach, but weve
put together some helpful techniques and ideas to inject some
dynamism into your artwork
48 Concept art
Join one artists journey into
the world of concept art
60 Sumi-e brushes
Take quiet and measured
steps with these brushes
Visit our
website now!
www.
painter
magazine.
co.uk
Primers
Feature focus
006-007_OPM_09_contents.indd 7
21/9/07 15:54:20
y
t
i
n
u
m
Com
Tutorial xxxx
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
nthusiastic photographers
looking for an editing program
with professional features in
an easy interface will love Corel
Paint Shop Pro Photo X2. With this new
version, Corel has taken suggestions
directly from the users and produced
a program that is packed full of
creative functions.
10
010-011_OPM_09_news.indd 10
21/9/07 11:55:29
ts
info n ews eve n ts res our ces letters web site info n ews eve n
RESOURCES
HARDWARE
New consumer
Wacom tablets
Bamboo range brings tablets to
the masses
In short
Creative happenings from
around the world
The 16-megapixel
pictures are perfect
for anyone wanting
to improve their lifedrawing skills
Dead good
For quality, free photos, you would
have to go a long way to beat
the choice on morgueFile (www.
morguefile.com). This is a massive
online depository of photos that are
free for personal or commercial use. It
is embraced by creatives as a place to
find and share useful photos.
Pick of textures
The results
will display
educational
videos and
artists works
NOV
10 of
OPM on sale!
08 Issue
11
010-011_OPM_09_news.indd 11
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s
r
e
t
t
e
L
r
u
o
e
Welcome to the part of the magazine where you can com
and share your thoughts on anything you fancy!
Send your
letters to...
Readers tip
Feeling dynamic
I have been using Corel Painter for quite
some time, but it was only recently that I
started to take advantage of dynamic layers.
I cant recommend them enough. They
allow you to make changes and apply effects
without harming the original image. Lots of
commands can be used as a dynamic layer, so
I really do urge you to try them.
Simon Mallard
Featured gallery
Dee Slavinskas
Patty Nice
Patty Nice
Patty Nice
www.paintermagazine.co.uk/
user/majikat
user/majika
Patty is one of the most recent members
to the Featured Galleries set on our
website and got her place thanks
to her incredible use of patterns.
Its a technique that a lot of people
forget about, but Patty shows that they
can be used to create great artwork.
As her username suggests, Patty
is a fan of the felines, and her gallery
comprises of a combination of animals
and a variety of patterns and textures to
create striking images.
12
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Natalies cloud image makes perfect use of the Impressionist cloner and its recognisable effect
Making an impression
Natalie Moore
www.paintermagazine.com
bsi te info
we
s
ter
let
ces
our
res
ts
n
eve
s
ew
n
o
inf
te
bsi
we
s
ces letter
ENTER T
WEBSITHE
CHALLE E
NGE
Dont be
shy
welcome everyones
www.pa to enter! Go to
co.uk/co intermagazine.
mpetitio
ns.php
Irve Seacrest
Patty Nice
Do you agree with Irve? Are you after the Q&As as
they are, or would you prefer a barrage of tips?
13
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WEBSITE
JOB TITLE
CLIENTS
An interview with
Rebecca Parker
[RIGHT]
Together
Parker created this
stunning image for
a competition
A Ray Of Light
This image was created
with source images from
friends and admirers.
Some images I work
with have been given
to me to use by very
generous photographers
who have approached me
or vice versa
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Seascape
Parker used model
Fritha for this portrait.
I take my own photos
from time to time.
But this is sometimes
fraught with difficulties,
for example living in a
remote area, finding the
right model and getting
model releases
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Sunset
Parker used a stock image
from Sitara-LeotaStock,
part of the deviantART
community, as the basis
for this portrait
[ABOVE]
Tangled
Parker sells prints like
this via the deviantART
shop. When you are
doing something in
Photoshop, or whatever
application you use,
take the time to hop on
over to Corel Painter
and see how it tackles
the job there
16
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Hope
Parker again used stock
images for this digital image.
I always use stock images
of the same quality together.
They all have to have the
same sort of size and
resolution. You eventually
find the confidence to put
across what you hope is an
original concept
014-018_OPM_09_interview.indd 17
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[BELOW]
Dont look back
Another great use of light and
textures, once again drawn from
stock photos found from searching
and spending time in online
creative communities
[ABOVE]
Summer Belle
The model Eveliina
formed the central
figure of this wonderful
summery portrait
18
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colour wheel
Having a basic understanding of how
colour works will help you create better
art. Cat Bounds gets you started
ussian abstract artist Wassily Kandinsky once declared
that, colour is the keyboard, the eyes are the harmonies,
the soul is the piano with many strings. The artist is the
hand that plays, touching one key or another, to cause
vibrations in the soul.
We think in colour, communicate in colour and many of us
dream in colour. We have preconceived ideas about colour. What
colour are the leaves on the tree outside your window? Green,
you say? But if you decide to paint that tree and dip one of your
leafy digital brushes into green, or even several shades of green, it
may not look like your tree at all. So one morning you walk outside
and more closely study the leaves and realise that in addition to
green, there are yellows, blues, browns and so on. If you decide to
go back in the evening and check on your trees colours once more,
they may be quite different. This is a discovery the Impressionists
were quite keen on. Oftentimes a painter would go out into a ield
to paint a landscape or stack of hay in the morning and only get to
work on it for a short time, pick up a new canvas and begin again
because the colours had all changed. The painter would move to
a new canvas at intervals throughout the day, as the sun moved
across the sky. The next day, he or she would take the canvases
back to the same spot and begin to paint again on them in order.
How lucky we are that our forefathers created a set of logical
and universally accepted instruments, like the colour wheel, for
describing and working with this fabulous, elusive by-product of
spectral light called colour. Although, studying colour schemes is
a bit like when we learned to write in grammar school; day after
day, we studied the elaborate cursive letters upon the chalkboard
and painstakingly practised drawing them on our notebooks,
and then we all grew up, went off and developed our own unique
handwriting styles. The same goes for colour. By all means,
become familiar with the rules, but never be afraid to try your own
combinations or experiments.
Colour is energy. Studies have shown that blind people are
able to identify colours easily with their ingertips. We only have
11 basic colour words in the English language, and yet literally
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Nautilus colours
Rock colours
21
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Using opposing
colours in
your work
Pick strong complementary
colours and youll have a
vibrant painting
This painting is all about colour, patches of vibrant
hues that intermingle and flit across the canvas
like a butterfly in afternoon sunlight and shadows.
When you paint abstracts, start out with a colour
palette, possibly one image element and little else.
A painting works out best when you let the brushes
take the lead. This often calls up images with no
intrinsic relationship and allows the viewer to
create their own connections and their own story.
BUILDING UP TEXTURE
The background here is made up of lots
of tones but with similar hues. This is a
very good way of making interesting
backgrounds that help add depth to the
overall image. A plain colour would
have made the image less interesting and
more clinical.
COLOR SET
This colour palette is vibrantly
complementary, using teals and aquae
with shades of orange and burnt sienna.
A great place to begin choosing colours
is the annotated Color Set, which if
you havent discovered it, lives in your
Resources folder. We nd having the
colour names very helpful.
COOL VS WARM
The interplay of warm blues and cool
aquas in the buttery give it life, but do
we still have colour perspective? Yes,
because the reds in the background
lean toward cool, receding shades, and
the red seal that suggested itself to us
advances, describing layers of depth.
22
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Use Color
Sets for
atmosphere
Warm Glow
Analogous
Cool Shades
A Neutral, Complementary
colour Scheme
of that colour. Its very intuitive once you get the hang of what
goes where, meaning your colours always shine through in your
paintings, thanks to a little thought.
The Color Sets are also useful for picking your hues, and as we
demonstrate in the examples above, creating your own is a great
way of capturing the perfect mood of a painting. To see how to
create your own set, check out the PDF guide on this issues disc.
Over these pages we will show how different colours affect
an image, but if you want to find out more about colour theory
and delve into different rules and systems, there are lots of
great websites. One interesting site that allows you to play with
colour schemes can be found at http://poynterextra.org/cp/
colorproject/color.html. To generate colour schemes from
colours you choose, pay a visit to www.wellstyled.com/tools/
colorscheme2/index-en.html. And for a community feel, head
over to www.colourlovers.com/blog/2007/06/20/colorinspiration-from-the-masters-of-painting, where members
create colour palettes in a forum setting.
23
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Feature
e
ok at thnd
o
l
a
e
k
a
Ta r wheel
coloue to picking
guid ur in Corel !
colo r on the CD
Painte
COMPLEMENTARY COLOURS
24
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showcase
TITLE
WEBSITE
JOB TITLE
Boy At Beach
www.steamtree.net
Digital artist
Impressionist landscapes
Using the Impressionist Cloner, we can trace the brushstrokes of Monet and friends
Tutorial info
Artist
Cat Bounds
Time needed
40 minutes
Skill level
Beginner
On the CD
Source photo
26
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Tutorial
Impressionist landscapes
27
026-029_OPM_09_impression.indd 27
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01 Letsbegin!
02 Enhance detail
03 Create an underpainting
05 Grass strokes
Loosen up!
Painters often say
they want to loosen
up, to paint more
freely. Spending time
with the Impressionist
Cloner is an excellent
way to connect with
your inner free spirit.
It might help to know
that Monet, too,
was a perfectionist
and was known to
burn his canvases,
but he sought to
capture the essence
of what was between
him and the object
he was painting,
the instantaneity
of nature. Toward
the end of his life,
the objects in his
paintings almost
disappeared, giving
way to light, shadow,
shapes and colour,
and we all learned a
lesson in seeing.
04 Find an outline
07 Water
Brushstroke
directions in the sky are a matter of
preference, but for us vertical or slanted strokes
work best. Sometimes we get carried away with
the lines and swirls, and our skies take on more of
a Van Gogh look, but its all fun. Because of our
underpainting, we dont have to ll every pixel
with strokes.
08 On land
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Tutorial
A prominent
part of this painting is the grass, and
weve gone back, adding teal strokes over the lime
green and off-white and pale yellow highlights
overall. It has enough shadow of its own. Weve
also added additional highlights using the Glow
brush set to an Opacity of about 2%.
10
recover realistic detail, but you must resist. Its far more interesting
to paint an indication of something going on. Is that a building up there?
Perhaps. That curving bit of white, is it a meandering road? It could be. Leave
something to the viewers imagination, and youll both be richer for it.
Impressionist landscapes
11 Monet sun
12 Add a boat
As you
near the end, look at your painting
without colour. This allows you to see the shapes
youve made and the movement of paint strokes
better. Despite the elements youve added,
the grass and sky are still the focal points in the
painting. An interesting website showing Monets
work without colour is http://webexhibits.
org/colorart/monet.html.
In order for your brush strokes to have depth and texture, choose Color and
Depth from the drop-down list under Impasto and Artists Canvas in the
Papers palette. Choosing Direction under Color Expression lets you alternate
between two colours, depending on the direction of your stroke.
29
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BRUSH CATEGORY
Charcoal
Put the colours away grey is in with
our brush category feature this month!
PRIMER
SOFTLY SOFTLY
We found that the Charcoal Pencil
was perfect for rendering both
some of the softer shading on
the face (with a large brush size
and low Opacity) and some of the
tighter areas too (with a smaller
brush and higher Opacity)
Essential papers
Opacity controls
30
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HIGHLIGHTS
Charcoal in the real world is messy stuff, and rather than erasing,
its best to leave gaps where you want the paper to show
through. In the digital realm though, you can easily erase in the
later stages, adding bright highlights that bring everything to life
Primer
Charcoal Pencil
Soft Charcoal
Gritty Charcoal
Charcoal
Charcoal
CHARCOAL OPTIONS
Here is a full list of all the
Charcoal options that you
have open to you, some of
which are illustrated in the box
to the right. Experiment with
the tools to nd the right one
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32
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Tutorial
Gracjana Zielinska
Time needed
2 hours
Skill level
Intermediate
On the CD
Start sketch
Back ground
C: 95%
M: 77%
Y: 45%
K: 41%
C: 70%
M: 37%
Y: 31%
K: 2%
C: 56%
M: 24%
Y: 25%
K: 0%
C: 60%
M: 72%
Y: 57%
K: 54%
C: 2%
M: 58%
Y: 29%
K: 0%
C: 33%
M: 99%
Y: 65%
K: 34%
C: 36%
M: 93%
Y: 71%
K: 47%
C: 81%
M: 65%
Y: 41%
K: 24%
C: 53%
M: 24%
Y: 15%
K: 0%
C: 23%
M: 4%
Y: 1%
K: 0%
C: 50%
M: 35%
Y: 30%
K: 1%
C: 31%
M: 37%
Y: 36%
K: 1%
C: 54%
M: 62%
Y: 56%
K: 31%
C: 88%
M: 69%
Y: 53%
K: 53%
Brushes
SCRATCHBOARD TOOL
AIRBRUSH
LEAKY PEN
Blenders
Skin tones
C: 4%
M: 11%
Y: 8%
K: 0%
TINTING
C: 64%
M:75%
Y: 58%
K: 68%
GRAINY WATER
BLUR
33
032-037_OPM_09_snowqueen.indd 33
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Rotating the
canvas
a marvellous
little feature
One of the best
features in Corel
Painter is the
ability to simulate
rotating the canvas.
I dont know about
you, but when Im
drawing something
traditionally I rotate
a piece of paper very
often to draw at the
angle I feel most
comfortable with.
In Painter, when
you hold together
Space+Alt, you can
rotate the canvas and
paint at any angle
you like without
changing the actual
picture. Holding
Space+Alt+Shift will
rotate the canvas 90
degrees, so its quick
and easy to go back to
the initial state.
Preparing
02
your
workspace to start
I placed the sketch on a
new layer and changed
its composite method
to Multiply so all the
white parts become
transparent. I created a
custom-made palette
by dragging a brush
into the main area. Add
more brushes to this by
dragging them into it.
I used my general set,
adding Pens, Blenders,
Tinting, Airbrushes,
Palette Knives and
Photo. Then I lled the
background layer with
some dark blue to get
the general tone of
the picture.
We already have a
background colour, so use any brush with low Opacity; try other
ones to see how they blend with the whole picture. I tested various shades of
blue for her clothes and some beige, orange and pink for the skin, although all
of them will eventually have a slightly blue tint, otherwise theyll be in contrast
with the rest. This is why I created a colour palette with half transparent
brushes, so the colours can take over a bit of the blue from the background.
Adding
06
details to
the face
I usually use
Airbrushes for this as
theyre really precise.
I work with them like
I would with a pencil,
drawing lots of lines,
crossing them and
blending colours.
I used one of the
Blenders afterwards,
but only to touch
things up. The colour
mixing happens here
with the Airbrushes. I
also outlined a bit more
of the lips and eyes.
34
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Getting
08
started
with the hair
Its easy
to get carried away with the Blenders
and to make everything look at and smudged, so
beware. I always use more than one, constantly
changing their Opacity to get more texture. The
two I used most here were Just Add Water and
Grainy Water. After that I added some more
details, including highlights, using an airbrush.
For the
hair, I used the Basic
Round brush from
the Tinting category.
It mixes colours really
well, a bit similar to
traditional pastels. To
begin, I blocked in the
shape using dark blue
not black and then
marked a general shape
of how the strokes will
ow outwards.
Tutorial
Blur great
for achieving
good realism
10 Detailing
the hair
To
nish the hair, I used
various blenders to
make them look more
uffy. A nice idea is
to add some single
strokes in various
directions at the end.
It will give the whole
haircut more depth
and it will seem more
realistic. Very often
in photos, you can
see that the hair as a
whole seems blurred,
yet there are just some
single strokes visible.
12 Working on folds
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14 Queens
fur coat
Color
Correction
lends a hand
Corel Painter offers a
wide variety of tools
under Effects>Tonal
Control. Whenever
you feel something
goes wrong with the
colours, you dont
necessary have to
repaint it. Sometimes
using the tools there
will fix everything
thats wrong with the
tones in a second.
Remember, you
can also always use
the Selection tools to
choose exactly which
parts on any layer
youd like to change,
if the piece that needs
to be adjusted is
merged with some
other you want to
remain untouched.
I thought that
it was a bit illogical that shes in winter
scenery wearing a dress with an opened bust, so
I added a white blouse. Since its made of a lighter
material, I painted many folds on it as it crumples
easily. I also wanted it to be shinier, therefore I
added many highlights to the more convex parts.
16 Corsets pattern
In this picture I
wanted her corset to have quite a delicate
pattern. I invented my own patterns, later drawing
something similar on the picture and copying and
pasting it to get the whole design. When nished,
I erased it where needed and lowered the Opacity
to blend more with the corset.
Using the
Airbrush tool, I added some more strokes
of fur, using some Blenders and Blur to give it a
softer effect. I also painted icicles pointing out
from her fur collar to emphasise her role as Snow
Queen. As for jewellery, I sketched some ideas out
before applying them with the Airbrushes.
19
Background
To add some
shadows underneath the jewellery, I
copied the layer with it in, checked this new layers
Preserve Transparency option and lled it with a
dark blue colour. After that I changed its blending
mode to Multiply and lowered the Opacity.
While holding Ctrl/Cmd, I moved the shadow
below the jewellery and unchecked the Preserve
Transparency box.
The
background not a
key feature here, as
the focus is on the
character, therefore
I left it in a more
painterly way, using
Tinting and Blenders
mostly. After nishing,
I thought it looked
too desaturated, so
I used Effects>Tonal
Control>Adjust Colors
to saturate it a bit
more, so the whole
picture looks unied
with regard to tones.
36
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Tutorial
Here I
decided human eyes would suit her
better than demonic ones. I started with blocking
in the white part; the best place to pick up the
colour for it is the brightest spot on the face, as it
wont ever be just pure white, it all depends on the
general lighting. I blocked in the eyeballs shape
with a dark colour and worked on it with Tinting
brushes, nishing up the details using an Airbrush.
After
nishing the picture, its always good
to check it. One of most useful is converting the
image to greyscale to see if the tones are properly
saturated. Flipping it horizontally often uncovers
aws in anatomy not usually visible while viewing
the picture normally. Add some additional details
and if everything looks okay, youre done!
GRAINY WATER
SCRATCHBOARD TOOL
One of my favourite tools for,
well, everything. It doesnt
blend by itself as well as other
brushes, but because of that,
it lets me control the lights
and shades Im drawing.
Used almost everywhere,
especially when beginning
painting and dening the
general shape of the picture.
LEAKY PEN
TINTING
Tinting is another of my favourite tools
to paint with in Corel Painter. It gives
you the often sought-for painterly look,
while still allowing you to mix colours
in a really smooth way without using
additional blenders.
37
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38
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Tutorial
Tutorial info
Artist
Hannah Gal
Time needed
3 hours
Skill level
Intermediate
On the CD
Final piece
Pressure
From the initial drawing to the final Impasto layer, the use of the Pressure setting is
a major plus. Adjust the tablet or stylus settings as you go along. Take advantage of
the Pressure option and move the stylus along the canvas with sensitivity
Soft Brush
The paint in the first
colour layer is very soft.
Use Airbrush or any low
Opacity paint. This is a
reference layer that is
fully covered later on.
Apply this even if you
feel it can be skipped
39
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Getting started
Observe the original and create your own masterpiece
01
02 Drawing
03 Airbrush
05 Acrylics
once more
04 Acrylics
Delve deeper
Go to www.
mystudios.com/art/
modern/matisse/
matisse-joy.html.
Here you will access
the National Gallery of
Art collection.
There is a great
insight into Matisse
in general and this
piece in particular.
Most importantly
though, it includes an
excellent rendition
of the painting. Click
on the Detail Images
option for a detailed
look at this piece. You
can clearly see the
paint, brushstrokes
and texture. This is
particularly helpful
when trying to work in
the style of the artist.
06 Darker shade
07 Pre-centre strokes
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09 Filling in
An often-overlooked
Painter option is the
ability to record your
work. To record a
stroke, open the Brush
Selector bar. Click on
the little triangle on
the right to display it.
Choose Record Stroke.
The next brushstroke
you apply will be
saved for you.
To play it back,
click on the little
triangle on right of
Brush Selector bar
and select Playback
Stroke. Each time you
click on the image,
the stroke will now
be replicated to your
precise specifications.
From the same
location on the Brush
Selector bar, you
can activate Auto
Playback to apply the
same stroke randomly
until you stop it.
08 Centre strokes
Tutorial
Record
your work
10 Filling
more in
11 Camel hair
13 Missing gaps
12 Thick oils
Continue
with Round Camel
Brush until the inside
of the windows is
painted. Short brisk
strokes that are full of
life and character. In
Brush Creator choose
Acrylics>Wet Acrylic
30. Use this brush to go
over the entire image
and ll in any areas that
were missed or left
incomplete. Use a 40-45
per cent Opacity.
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Nearing completion
Will this be your fauve-rite piece of art yet?
14
16
Zoom out Use the Hand Grabber tool to move from one area of the
image to the next. The stroke is deeper with any repeat application so
use cautiously to the degree you see t. To judge the effect properly, zoom out
when you have nished. Admire your work so far by observing the painting at
25 per cent for an overall impression.
15 Get closer
17 Impasto
19 Depth
18 Repeat stroke
Go
back to the
one per cent Opacity
setting and under
Impasto, set Draw To
to Depth only and the
Depth to ve per cent.
Find strokes in the
original image where
there is an impression
of an empty brush
swiped over a loaded
stroke. The effect
is of a dent in the
paint rather than the
paint being swiped.
We chose Depth
but you might want
to experiment with
Negative Depth (found
under Impasto).
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Tutorial
21 Gritty
Charcoal
Brush power
20 Lighting
DEPTH
Over the heavy oil brushstrokes, we
briskly ran a dry brush. This used the
Depth option only, without colour,
to create a dent in the paint. The
Depth option under Impasto creates a
particularly realistic effect
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Photoediting tools
FEATURE
FOCUS
Equalize
IMPROVE PHOTOS
Corel Painter has many
options for improving
and editing your photos.
You can go for something
as simple as converting
to black and white, to
achieving more complex
tasks such as removing
scratches, sharpening blurred
images or tweaking colours
Brightness/Contrast
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Feature focus
Photo brushes
Edit at the tip of a brush
In addition to the menu commands, the Photos brush category can help
you edit photos. There are lots of options here, from sharpening and
softening to adding grain, but here are three of the most useful.
Photo-editing tools
BOOSTING COLOUR
Enhancing the colour in photos is a
common editing task and the Adjust
Color command is just the tool for the
job. From here you can change the hue,
saturation and value of the colours in your
photo, based on a variety of references.
Give it a try you wont be disappointed!
01 Scratch Remover
DYNAMIC LAYERS
A few photo-editing tasks can be carried
out on a dynamic layer. The advantage
of this is that the original image will be
preserved, so any changes you make
wont damage it. To access the layers,
click on this icon in the Layers palette and
then make your choice.
02 Saturation Add
Adjust Color
Playing about with hue
To give your photo a boost, pay a visit to
Effects>Tonal Controls>Adjust Color. From
here, you can strip colour away completely by
moving the Saturation slider to the left. When
the dialog window opens, a drop-down menu
lets you set what source to use for the colour
change. Wed say to stick with the default of
Uniform Color. There are sliders to adjust the
hue, saturation and value of the photo. The
changes can be seen in the Preview window
and you can move this around to see the
different areas.
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FEATURE
FOCUS
Correcting colours
Apply the techniques youve just read about
You dont have
to jump into
Photoshop every
time you want to
edit a photo Corel
Painter has plenty
of options
02 Moving points
03 Brightness/Contrast
05 Seeing red
06 Feeling green
The
Brightness/Contrast command is also
good for adjusting photos. Here we reduced the
brightness and boosted the contrast to bring out
the reds and greens in the photo. Its made the
photo very rich in colour.
Fade away
When you make any
colour or editing
adjustments, dont
forget about the
Edit>Fade command.
As the name suggests,
it allows you to
reduce the effect of
something. The further
you move the slider to
the right, the less the
change will fade.
04
We decreased the
red slightly to make what was there
stronger. Now its a case of clicking the green
square and decreasing that as well. By decreasing
a colour, you can sometimes make it stronger. In
this case, dampening the green has made the reds
become resplendent!
Correct Colors
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Create a concept
piece of art
Daniel Cox talks you through creating a
concept piece of art that references famous
illustrators from the Sixties and Seventies
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Tutorial
Create a concept piece of art
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Tutorial info
Artist
Daniel Cox
Time needed
3 hours
Skill level
Intermediate
On the CD
01 Reference
02 Thumbnails
03 More
reference
04 Tell a story
This is
still the planning stage. Here I wanted to
see if I get the thick, bold brushstrokes of Berkey
and the scientically accurate rendering of McCall.
I used the Acrylic brush to lay in my paint and
immediately pushed and pulled it with the Dry
Palette Knife set at very low opacity. I also focused
on the planet, trying to capture the inferred detail.
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07
08 Setting it up
When I thumbnail I nd
it easier to work in a rough way and just
approximate the nal canvas. That way, I dont
feel constricted painting inside a box. So I make
a new le and then paste my thumbnail into it. I
move it around till it feels right, and then make a
few quick modications like shrinking the moon
and rene the composition.
09
11 A great photo
Blocking
10
in the big
shapes
06
Tutorial
The work of
John Berkey
12 Using photos
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14 More
texture
13 Using photos as texture
Next I nd some
mechanical looking
texture for the closer
spaceship and mask it
on top, this time using
the Soft Light layer
composite method, as
I just want to use the
shadow area to create
some texture.
Small is big!
If you keep the canvas
size small, itll force
you to focus on
composition first. This
is always essential to
creating an effective
painting. You could
either draw them, or
what I do is block in
enough colour and
tone information so
that it reads. Youll
be surprised how
many ideas you can
quickly generate, and
because its so fast,
youll come up with
new compositions
that you probably
wouldnt have thought
of otherwise. Once
you have chosen your
thumbnail, continue
working like this and
block in as many of
the bigger shapes.
Avoid the temptation
to zoom in and your
painting will be much
better for it. After all,
if it doesnt read to
the eye small, then
it still wont read no
matter how much
you render.
I do the same
again for the circular space station. Again,
its really just a mechanical looking texture and
you can really use anything (which I why Im not
showing you the texture). Its not really specic
other than having some mechanical looking
detail. An engine, a circuit board try a few things
and see what result you get.
18
16 Blocking in
17 Drop all
19 More blending
I continue doing
this all over the satellites, following the
form, so for curved areas I use a curved brush
stoke, and use horizontal strokes over the areas
like the solar panels.
We have form
now, so we just need to add a strong
highlight on the metal satellites. I mix a bluish-grey
colour and apply using the Square Conte 15 (size:
12.5 6%) brush to areas that would be catching
the Sun. An important note to remember: be
consistent! Dont just add highlights to areas you
think look nice, or youll lose realism.
52
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the
21 Deepen
shadows
22 Repeat after me
In the distance
The spaceship looks real, but what about the surroundings?
I purposely left
the solar panels on
the satellite blank,
knowing that painting
them straight would
be really hard. So
instead I went back
to Photoshop, made
a new layer and
then painted them
flat. I then used my
manipulation tools
to skew four of them
into the appropriate
perspective. Dont
be afraid to do this
it saves a lot of
time trying to paint
something mechanical
like that and if you
dont get them
even and in the
correct perspective,
it can detract from
the image.
Tutorial
Dont be
afraid to
manipulate
24 The horizon
23 Keep repeating...
Im just going
to focus on this area for
the time being, so you
can see in detail whats
being done. I actually
do all these steps with
the whole canvas on full
screen, which stops me
from going too far with
any detail. Im dragging
the paint away from the
earth using the Artist
Oils Dry Palette knife (size:
127 opacity 38%).
Its perfect for this type
of effect!
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Referring back to my
thumbnail, this area is going to be on re
from a laser blast, so I use the Acrylic brush and
Conte, to lay in the warm tones. Dont go over
saturated and red, or the effect will look fake. I try
to create volume by placing the strongest reds,
next to a dark brown. Use the Flat Grainy Stump to
blend and create edges.
I like to
create the lasers on a new layer, using
the acrylic brush at high opacity (size: 6.6, opacity
68%). Just build it up with two or three strokes
at the most, then use the manipulation tools to
skewer it into the areas indicated in my thumbnail.
Berkey
30
paints
great moons
I work
over my placeholder
for the moon,
increasing the size, and
base it on something
like Berkey would have
done. I use the Conte
brush, and just build
up the forms, and then
the Acrylic brush to
create the strong edge
at the top. I also paint
in some ICBMs, using
the reference as a
guide, and then create
the missile trails using
the same technique as
I did with the lasers.
I
dont want to waste the satellite I created
in the concept piece, so I just cut and paste it into
the empty area on the left. I use the same Acrylic
brush settings to paint the detail back in, and
also the blender to soften some of the edges so it
doesnt look cut out. That saved about an hour.
Colour
correction
I always like to go in
and do some final
colour adjustments
after the painting is
complete. I felt that
some of the reds were
a little strong, so I
desaturated them
and shifted the hue
slightly more magenta
so the lasers and
explosions sat better.
I also shifted some
of the blues into the
cyan, and then slightly
desatured everything.
A small change, but a
big difference overall.
32 Details
33 Final details
I now add details to the solar panels (see the side bar
for how I did those) and form to the space station by strengthening
the highlights. I then add a human gure, and the appropriate lighting from
his backpack (I have to stop myself, before I over work it!). This painting is
dedicated to John Berkey and Robert McCall.
54
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How to
pa in t ha ir
Stra ight ha ir
Dry medium (chalk)
Chalk is a natural for quick, expressive,
volumetric rendering and the method used
here is one of drawing in loose gestural
details followed by blending. Start by
drawing the basic outline of the hair using
the darkest value and a Tapered Artists
Chalk 30, using a broader line for the
outer edges. Block in the two darkest
values with a Dull Grainy Chalk 30 using
directional strokes following the hairs shape,
keeping it loose. Use the Smudge tool set
to a Size of 40 to blend the two values.
Use the Tapered Artists Chalk 20 to add the two lightest values
(darkest rst and lightest smaller and on top) at the highlights.
Switch the Size to ten and add more hair strands. Smudge as before.
Open another
Watercolor layer. Take a
Wash Pointed Flat sized
to 30 to dene hair
shape. Resize the
Dry Eraser to 40
and lighten the
lines in places.
Merge down.
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01
02
03
On a separate
Watercolor
layer, use the
Runny Camel 30
to add darker
values to round
the form. Leave
some lighter
areas, especially
on the side of
the head.
Clean up any
edges with a size
20 Dry Eraser.
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Apply
skintones
Curly ha ir
Wet medium (watercolour)
Hair
contours
Erase to
the edges
01
Apply chalk to
build up the effect
02
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Work up
to highlights
Art study
01
02
03
04
Load a Fine Feathering Oil Brush 30 with the darkest value. Use
directional strokes to darken shadows and use the next value to
lighten. Create a new layer. Take the Fine Feathering Oil with the
darkest value. Use it to add denition to shadows throughout. Do
the same with the Detail Oil 15. Erase with a 40 Eraser to soften.
Erase parts
to add texture
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Charlene Chua
Time needed
1-2 hours
Skill level
Intermediate
On the CD
Customised
brushes and more
Detail Sumi-e
Digital Sumi-e
Sumi-e Brush
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Tutorial
Sumi-e brushes
61
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01 Lets begin
Create a new
le (ours is 30cm high
by 24cm wide). In the
Color palette, doubleclick the main colour
swatch. Input Red:
219, Green: 203 and
Blue: 187. Next, select
the Paint Bucket tool
from the toolbar, and
click on your Canvas
layer to ll it with the
selected colour.
Behaviour
Value
GENERAL
Subcategory
Soft buildup
Grain
23 per cent
Minimum size
14 per cent
Expression
Pressure
Resaturation
24 per cent
Expression
Bleed
60 per cent
SIZE
WELL
Stem2
Use sharp
diagonal strokes
for the stems
Stroke outwards
with a bit
less pressure
The Stem2 custom brush was specially customised to draw the thick
stems of the bamboo plant. It is based on the Flat Wet Sumi-e brush,
and makes use of the custom colour palette included in this tutorial.
Category
Behaviour
Value
GENERAL
Subcategory
SIZE
Minimum size
45 per cent
Expression
Step size
Spacing
Minimum spacing
1.5
Damping
15 per cent
Continuous time
On
SPACING
Deposition
Sumi-e Leaf
This custom brush was created specifically for
drawing the bamboo leaves. It is based on the
original Sumi-e brush variant.
Category
Behaviour
Value
GENERAL
Dab
Static bristle
Subcategory
SIZE
Minimum size
20 per cent
SPACING
Spacing
9 per cent
Cubic interpolation
Thickness
40 per cent
Hair scale
Clumpiness
60 per cent
Scale/size
60 per cent
BRISTLE
ANGLE
Replicate the
leaves with short
sharp strokes
COLOR VARIABILITY
Squeeze
78 per cent
Angle
132
Expression
Direction
Leave spaces
between strokes
for the bumps
Apply pressure,
followed by a
quick stroke
out and down
Apply pressure,
then stroke quickly
outwards for the
best effect
62
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the
06 Draw
bamboo
07 Creative fakery
08 Add texture
05 Starting to draw
Sumi-e brushes
Loading
03
custom
colour sets
Tutorial
The Tao
of Sumi-e
63
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Drawing
10
a bamboo
leaf
Other uses
Apart from
reproducing
traditional sumi-e
strokes digitally,
Corel Painters Sumi-e
brushes can be used
to create interesting,
textured brushes
that can be combined
with other brushes
and paper for some
truly amazing effects.
Because the Sumi-e
brushes are generally
quite textured,
they are great for
customising into hair,
fur and other natural
fibre texture brushes.
Using the Brush
Creator found through
Window>Show Brush
Creator, you can
adjust the settings
for any brush variant.
New variants can be
saved by clicking the
arrow next to the
Brush Preview and
choosing Save Variant.
Create a new
layer and select the
custom brush Sumi-e
Leaf. Choose the light
brown swatch from
the Color Set, and
reduce the brushs
Opacity to 29 per cent.
To draw the bamboo
leaves, you want to
make short, sharp
brushstrokes. Press
down with your stylus
for a half-second, then
make a quick stroke
towards or away from
you to achieve this.
12 Paper texture
14 Finishing
touch
13 Extra effects
And
there you have it, your
own digital sumi-e
art piece! We added
a couple of Japanese
cranes with the custom
brushes to complete
the picture. You might
want to do the same,
or add in a seal with
your name in Chinese
or Japanese characters
to give your artwork a
further touch of
Asian authenticity.
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How to
capture motion
Being able to create dynamic images full of movement and interest is a
valuable skill to have. Pick up some handy hints here
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Drawing 101
The background is
utilised well to show
movement, as the
carriage brings up dust
The movement of
the clothes helps
give the impression
that the figures are
running forward
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Free-flowing sketches
Create movement in your drawings through a series of sketches, each
differing marginally as time lapses by a fraction of a second
o practise motion for yourself,
choose an object thats at hand and
make some fast-working drawing
sketches that overlap as your object
moves ever so slightly each time. Below
STAGE 1
STAGE 1
STAGE 2
STAGE 2
In this image, the photographs we used were better quality and we chose to draw the falling motion with
more detail and less expression. It almost gives the effect of a group of boys falling down like dominoes.
The drawing style works to a point, but it looks static. We could quite conceivably have rigged up some
boys with wires and drawn them from life. So it seems that this is a good one for observational skills but
less so for an effective sense of movement!
68
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Drawing 101
Boccioni was good at using a photograph as source material but using a long
exposure to capture the movement of the figure, however momentary. The working
drawing from this photograph is done with inks and pencil crayons to aim for a
more fluid mark; ballpoint seems to have a sharpness that isnt as fluid. Having a
single viewpoint gives the eye a strong source to focus on and the lines moving in
the direction of that point brings the sense of dynanism and forces the viewer to
focus there. The figures are almost redundant as the surroundings are so packed
with speed and fluid movement.
BLURRING OBJECTS
Alternatively, by blurring and adding dynamic perspective, a real sense of rushing forward
or away can be given to static figures. Again, a long exposure was given to the source
photograph. Once more, a basic pencil drawing and a thin wash of inks create real energy,
covered with a top layer of darker ink where necessary and dynamic whooshing lines of
perspective. The unusual angle and horizon enhances the sense of depth. The mark-making
is decisive but not completely freely expressive or experimental, although a few happy
accidents did begin to emerge with the ink.
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Dynamic drawings
The next set of illustrations all draw, so to speak, from the ideas that we
have previously covered in this tutorial
his tutorial needs careful
consideration over the quality
of your paper and a really good
source to draw from. We used a large
black-and-white photograph, cartridge
paper, a clean rubber and a range of
Sketch the shape of the position with a light H pencil, to make sure its
as proportionate as possible. Then fill this out to include the head,
hands, feet and muscles. Use a watery ink wash for the shadows. Use
a fine liner to enhance the outlines and certain features to give the
figure definition. Keep the colours of the materials in the same range.
70
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Drawing 101
How to capture motion
Now its time to really play. Think scribbly marks, think messy splatters and
smudges. Think anything except control and just let your hand and your gut
feeling go for it. We began with a thick brown wash brushed on in streaks and
stripes. Then we used a stylus that splatters beautifully just when you least
expect it, aiming for dynamic scribble to suggest speed. We then randomly
splattered and smudged with thin washes and ripped paper to merge it more.
We used an H pencil to draw a light stick-man that we later pumped up with blockedin shapes. We used a soft, flat-ended brush for our thin and thick brown washes of
drawing ink and a small thin one for details and splattering. The scratchy, spluttery
stylus gave us nice messy marks using permanent black ink, which also turns slightly
blue when it dilutes. The fine liner refines the outline of our figure, but this isnt
entirely necessary.
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showcase
LINNEA JALANDO-ON
TITLE
WEBSITE
JOB TITLE
Yuki
http://linneart.deviantart.com
Student
Despite her young age, Linnea has produced an
incredible portfolio of work, using Corel Painter
to create artwork thats full of strong graphic
images. We predict great things from her, so
make sure you visit her gallery often!
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072-073_OPM_09.indd 31
21/9/07 11:40:04
Your
questions answered
Thick and luxurious
How do you get the look of really
thick, textured paint?
S W
Your experts
Cat Bounds
Cat is a much-loved
member of our magazine
website and shes been
kind enough to share her
vast knowledge of art
techniques and how to
achieve them in Painter
Tim Shelbourne
Tim has been using Corel
Painter for many years
now, and is on hand
to fix any problems or
quirks you have with the
program. If you need
help, hes your man!
Fine art
When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out
Illustration
Make sure
your illustrations are in top form
by following our advice
SHARE
YOUR
PROBLEMS!
Compose yourself
I need your help and guidance! Ive
been struggling to ind out what the
most useful composite method is.
D MC
The best composite method depends
on its intended use. At one time or
another they all come into play, but
the top group of methods, which are unique
to Corel Painter, offer some wonderfully
creative options. Colorize offers a wealth of
possibilities. This method replaces the hue
and saturation of the canvas pixels with the
hue and saturation of the layer pixels. We can
use this feature to convert a colour image to
greyscale, or a greyscale image to colour. A
black layer turns the underlying colour image
into a greyscale image. A coloured layer adds
colour to an underlying greyscale image.
When working in layers, Colorize allows us
ABOVE
It was great fun, painting
the grapes and glass
shapes in this image. Once
the paint was laid in with
Wet Impasto, spreading
it around with the Dry
Palette Knife was so
realistic we were afraid we
would get wet paint on the
inside of the monitor!
LEFT
We sketched this horse in
sepia tones, then painted
a transparent watercolour
wash layer and changed
the composite mode to
Colorize. Too bold? Reduce
the Opacity of the wash
layer for a more subtle
change. Too subtle? Just
keep playing!
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Art class
H W
Q&A
S S
There are many brushes and brush
variants that will give us beautiful
backgrounds for any image,
composition or atmosphere. It requires a little
experimenting and some patience but as
artists, weve already discovered that place
within where time stands still while we create,
and nothing is tedious if it moves us closer to
expressing our vision. The process is simple;
open a new file and begin painting on white
or choose a colour fill brush. Pick one or
two colours and begin filling the space with
random brushstrokes. Now bring out a Blender
brush, make it large and set it to less than 50
per cent Opacity and soften, leaving traces of
brushstrokes here and there. Then just repeat
the process until youre happy with your
brand-new background.
01 Remaining neutral
02 Borrowing colour
ABOVE
Here we used the Variable Oil Pastel brush, with Color
Expression set to Direction to apply variations of two
colours, softening using the Just Add Water blender
Loosen up
Many of my paintings look too
photographic and tight. Id
love to be able to make really
spontaneous, sketchy paintings. Any tips?
03 A bit of contrast
And nally, we go to
the opposite side of the colour
wheel and splash these blue
tones around the daisy. If colour
combinations could sing, then this
one would. Each painting brings a
new set of choices about the story
we want to tell.
F MK
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Adjusting size
When painting, I often ind I run out of canvas space. How do I resize
my canvas once Ive started painting, and is there a way to alter image
size and resolution?
M L
In the Canvas Size window, youll be presented with a dialog where you can add
any number of pixels to any or all of the four sides of the canvas. To change the
image size on the other hand, go to Canvas>Resize. To change the size of your
image but keep the resolution the same, uncheck the Constrain File Size box.
01 Canvas Size
Simply
go to Canvas>Canvas
Size. Then just enter the amount
of pixels you want to add to either
the top, left, bottom or right of
the canvas area and click OK. The
new canvas added will always be
the default size of your original
Canvas layer.
Changing both
02
image size
and resolution
Go to
Canvas>Resize. Choose your
measurement units and make
sure to check the Constrain File
Size box. Enter a new value for
either the Height or Width. Notice
that the Resolution changes with
this. Remember when using this
method, as you increase the
height and width, the Resolution
will decrease, and vice versa.
BELOW
Certain parts of a painting
are less important than
others, such as the sitters
ear in this shot, which
is very simply indicated
with just a few lines and
approximate colour, added
with broad strokes
dimensions,
03 Change
maintain Resolution
Again, go to Canvas>Resize.
Make sure Constrain File Size is
not checked. Now if you enter
new Height and Width values, the
Resolution will stay the same. To
increase just the Resolution, while
maintaining the same physical
dimensions, simply enter a new
Pixels Per Inch value.
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Go to Window>Workspace>
Customize Workspace. Within the dialog,
click the + sign and name your workspace,
choosing the Default Workspace to base it
on. Now click each main category of Media
and hide each one you dont want displayed
by clicking the visibility eye next to it in the
right-hand panel. Click Done to nish.
Art class
Q&A
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Mix it up
01 Enhance detail
03 Find a balance
02 Add some sparkle
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Art class
Smooth operator
P
Bravo Polly, you appear to have very
good instincts. Artists can get the best
out of Corel Painter with a blend of
guidance and pure inspiration, which you have
shown with your question. We can create a base
on which to begin a painting in just a couple of
quick steps. For this example, we will use Color
Overlay. First, either select or mix the colour you
want for your base colour. Then bring up the
Papers palette and select a texture. This time,
use Simulated Woodgrain at 200 per cent. Now
go to Effects>Surface Control>Color Overlay
and there you have it, you have instant texture!
In order to soften your texture, apply the Soften
filter, using either the Gaussian or Circular
Aperture. The effect will be applied the same all
over. Some artists find it helpful to spend a bit
of time creating a number of backgrounds and
saving them in a folder for future use. This works
especially well if certain colours often seem to
find their way into your paintings or if you want
a supply of neutral bases on which to paint your
images in the future.
Q&A
Surface control
T O
In the Gouache brushes folder are the Opaque Smooth
brushes. Gouache interacts with paper like watercolour,
but the colour pigment particles contain fillers like
chalk, thus are more opaque with interesting reflective qualities.
Paint on auto
I love the Underpainting
command in Corel Painter X, but
is there anything else that can
quickly establish the general tone and
background at the start of my painting?
L
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Using the
producoptPrso
Corel Paint Sh
us to
Photo X2 allowed oto
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turn this kitty ca
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BOOK REVIEWS
Feeling a little uninspired? Turn
to page 86 and have a look at
the range of creative books up
for review. Whatever your style,
there is something here to please
Reviews
Discover some of
the best products
out there to extend
and improve your Corel
Painter experience
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If your creative juices run a little too freely, then fear not,
original photos are now automatically preserved when users save
an edited version
colour to your cheeks. If the novelty wears thin,
there are plenty of correction tools including ones
to remove external noise, adjust the perspective,
remove purple fringes, remove objects and tools
to change colours, all of which youll no doubt use
regularly. A new Express Lab mode means you
Time Machine
The Time Machine offers
a tour of photographic
history by letting users
see what their photos
would look like if they had
been taken in another
era, with a range of
based on styles from the
1830s to the 1980s
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Fine-tuning
With One Step Photo
Fix and Smart Photo
Fix, users can apply
a range of suggested
image corrections or
experiment further by
manually tweaking the
settings. These include
adjustments for colour,
brightness, sharpness
and saturation
Website
www.corel.com/
paintshopprophoto
Operating system
PC only
RAM
System requirements
500MB hard
disk space
Microsoft Windows
XP/Vista with
latest service
packs installed
Layers
Paint Shop Pro Photo X2 includes advanced features including
working with layers and adjustment layers that allow for editing
without permanently modifying the image a running theme
throughout many of the new features
What we like
we say
Professional
features at an
enthusiastic
price; offers a
good Photoshop
alternative for PC
users on a budget
Features
verdict
Price
79 including VAT
Upgrade 49
including VAT
specifications
Still minor
performance issues
Lacking in thirdparty resources,
tutorials, guides and
support forums
No native Apple
Mac version
9.0
Ease of use
9.0
Quality of results
9.5
9.5
Effect Browser
The Effect Browser lets users preview a substantial range of effects
before applying them to an image. Results are hit-and-miss, but for
the adventurous, you can create and save your own
Visible Watermark
The Visible Watermark feature lets users add a watermark to their
photos to help safeguard against misuse of their images, especially
on the web
Overall
score
9.3
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Menus
Menus are found via the
icon-based interface,
including a special eBay
Best Shot menu
Memory card
The EX-Z1200 does not come with
a memory card of its own its
internal memory is only 11.4MB
but will happily accommodate one
of up to 4GB
Lens
The 3x optical zoom isnt fantastic,
but combining it with the 4x digital
zoom does let you squeeze a little
more into your close-ups, though
this impacts on the image quality
Menu
Face Recognition
ISO menu
Set button
D-pad control
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Flash modes
Zoom
Dimension
camera specs
Casio EX-Z1200
Price
LCD
S, CW, MS 2.8
Exposure modes
A, P, AP, SP, M,
34 scene modes
Build design
With a classic compact design, the EX-Z1200
isnt breaking the mould but its comfortable
and easy to use, although the large LCD is
prone to fingerprints while youre handling it
Shutter
button
Lens
Batteries
Casios exclusive Super Life lithium-ion batteries are made to be
long-lasting just make sure theyre fully charged before use or
they run out quickly
Playback button
On/off button
What we like
we say
Features
verdict
on the top
Overall
score
Fiddly, slippery
little buttons
Loss of clarity
at maximum
zoom extension
Flimsy USB cradle
8.0
Ease of use
10
Quality of results
10
8.0
9.0
85
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Reviews Books
Perfect layout
3D-based
Although the book leans heavily
towards 3D creation, there are
plenty of illustrative styles to suit
every taste, as well as a range of
different methods to learn from
Illustration genres
The book is split up into different
illustration styles, including
Sci-Fi, Fantasy, Scenes and
Characters, truly appealing to all
avenues of interest, which makes it
accessible to all
Compiled by
3D Total
Price
22.99/$39.95
Publisher
Focal Press
ISBN
978-0-240-52085-8
Image descriptions
Some artists profiles spend more
time exploring image techniques
than others, but the creation
process described by each one is
invaluable to the reader
Artist directory
Unfortunately, artists web details
arent printed throughout the book,
so theres no other way to look up
their websites without having to
turn to the directory at the back of
the book
86
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Geoff Kersey
Price
9.99
Publisher
Search Press
ISBN
1-84448-014-3
In perspective
Perspective is an essential
rule to perfect. There are
some handy tips mentioned
throughout this book that
are relevant to any artist,
digital or otherwise
Colour suggestions
As well as concentrating on compositional techniques, the
book also spends a bit of time discussing colour schemes
and how they alter your image
Small projects
The book is split into small landscape projects. Wellwritten, clear step-by-steps take you through the painting
process from start to finish
Chris Rutter
Price
25.00
Publisher
RotoVision
ISBN
978-2-940378-25-8
A specific
target audience
Mastering Composition is
firmly targeted towards
digital SLR users, so
be warned: some
techniques wont be
achieved with a
compact camera
Inspiration
The illustrative photographs are genuinely inspiring
and complement the editorial superbly throughout the
various sections within the book
Image editor
A small section of the book is devoted to fine-tuning your
shots in Photoshop. Handy for those who want to perfect
the image before importing into Corel Painter!
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Gallery
01
92
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02
03
04
93
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Gallery
05
06
07
94
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08
09
95
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Challenge
ts easy to fall into a creative pattern, where
you have a style or subject matter that you
are used to and that you are comfortable
with painting. Sometimes the best thing is to
leave the norm behind and try something different.
Thats one of the points of our creative challenges.
We provide you with this collection of images and
THE WINNER
WILL GET
THEIR PAINTING
PROFESSIONALLY
PRINTED ONTO
CANVAS!
096-097_OPM_09_comp.indd 96
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Cha llen ge
winner
The best entries that have come
in this month
WINNER!
Anabel
Pappie
2ND
PLACE
Jan David
3RD
PLACE
Adrian
Beamish
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Official Magazine
100_OPM_09_back cover.indd 1
19/9/07 17:22:34