The Complete Guide to Digital Painting Vol 3 - 2010 UK

T H E C O M P L E T E G U I D E T O…

DIGITAL PAINTING CD INSIDE

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

256 pages

for Windows and Mac

of guides

VOLUME THREE

Learn to paint digitally today!

IN-DEPTH GUIDES FOR…

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

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

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

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

76 The secrets of matte painting

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

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

06 The Painter Cheat Guide

88 Create a sci-fi character

Top tips from Painter experts to help improve your paintings

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

14 Clone a portrait in oils

94 Paint steampunk

Learn how to make your portraits look like real oil paintings

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

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

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

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

120 Pen and wash studies

34 Custom brushes for landscapes

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

Perfect your landscape artworks with this in-depth guide

Five-page expert tutorial on cloning a landscape image

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

112 Colour control

28 Draw focus with backgrounds

44 Create a stunning landscape

100 Anime creations

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106 Create an underwater scene

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

Create artwork with classic steampunk elements and colours

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

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

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

04

Digital Painting

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126 Paint a vintage portrait

Use photo references and line art to create a vintage look

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

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

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

150 Cloner’s guide to composition

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How to get your composition spot on when using cloning techniques

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

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

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

176 Paint like: Rackham

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Create illustrations in the style of Rackham over this tutorial

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

188 Paint like: Baroque

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

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

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

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

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

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

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

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

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

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

Create ornate and inventive paintings with this guide

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

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

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

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

Digital Painting

05

Feature The Painter Cheat Guide

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

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

6

Digital Painting

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

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

Odwin Rensen

Wen-Xi Chen

Jeremy Sutton

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

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

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

The complete guide to

Digital Painting

ADD TEXTURE

HES S U R B M O USE CUST

Digital Painting

7

Feature The Painter Cheat Guide

CLONING AND COLOUR

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

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Dodge

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01 Dark clone

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8

Digital Painting

back the light parts 02 Clone

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The complete guide to

Digital Painting

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

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Digital Painting

9

Feature The Painter Cheat Guide

BRUSHES AND PAPER

You may find one or two surprises in this section…

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01 Create a new variant

02 Save your new variant

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10

Digital Painting

The complete guide to

Digital Painting

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

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the image 01 Select

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02 Save

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to canvas 03 Apply

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16 Paint the background

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18 Mask the background

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19 Dodge and burn

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20 Details

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

18

Digital Painting

21 More depth

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22 The final step

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DEREK BURNS    

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Tutorial Improve your portraits

20

Digital Painting

The complete guide to

Digital Painting Tutorial info Artist

Tutorial

Wen-Xi Chen Time needed

Two hours

+ORTQXG[QWT RQTVTCKVU

Skill level

Intermediate

Improve your portraits

On the CD

Final image

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

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

01 The sketch

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02 The eyebal

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03 Pupils and iris

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Digital Painting

21

Tutorial Improve your portraits

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

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

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

22

Digital Painting

04 Skin colour

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05 Shadows and highlights

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07 Iris

08 Catchlight

09 The fleshy bits

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vessels 10 Blood

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06 What’s your eye colour?

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11 Bottom lid

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The complete guide to

Digital Painting Tutorial

Get your curlers

Improve your portraits

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

13 Shadows? Here? 12 Bottom lashes

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01 Brush creator

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14 Upper lashes

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15 Eyebrows say it

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02 Painting

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16 Skin folds

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03 Grouping

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Digital Painting

23

Tutorial Paint skin texture

24

Digital Painting

The complete guide to

Digital Painting Tutorial Paint skin texture

2CKPVUMKPVGZVWTG

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

Tutorial info Artist

May Yeoshen Time needed

2 hours Skill level

Intermediate

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

02 Colour correction

01 Prepare the photo

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

03 Let the cloning begin

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

Digital Painting

25

Tutorial Paint skin texture

5VCTVRCKPVKPIUMKPVQPGU Get into the tones and textures

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

04 The colour palette

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

05 Paint the skin tone

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

06 Shadows and light

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

08

Bring up the details6JGTGCTGFGVCKNUVJCVCTGEQXGTGFYKVJ

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

26

Digital Painting

07 Blend the colours

%QNNCRUGVJG5MKPNC[GTUVJGPVCMGCUQHV DNGPFGTYKVJCNQYQRCEKV[CPFIGPVN[DNGPFKPVJGEQNQWTUVQ CEJKGXGCUWDVNGGHHGEV6JKUYC[VJGUMKPYKNNUVQRNQQMKPIUQJCTUJ

09 Colour correction

9G¶XGPQVKEGFVJCVVJGKTUMKPVQPGUCTG PQVSWKVGTKIJV(QTKPUVCPEGVJGIKTNNCEMUEQPVTCUVCPFVJG DCD[KUVQQDTKIJV#SWKEM¿ZEQWNFDGVQUGNGEVGCEJRCTVYKVJVJG .CUUQVQQNCPF(GCVJGTCDQWVRZ1RGPVJG$TKIJVPGUU%QPVTCUV YKPFQY 'HHGEVU 6QPCN%QPVTQNCPFOCMGVJG$TKIJVPGUUNQYGTCPF VJG%QPVTCUVJKIJGTHQTVJGDCD[%QTTGEVVJGIKTN¶UUMKPVQPGCUYGNN

The complete guide to

Digital Painting (CEKCNHGCVWTGUCPFFGVCKNU

#PGCU[YC[VQCFFXCTKGV[ VQUMKPVQPGUKUD[WUKPI%QORQUKVGOGVJQFU%TGCVGCPQVJGT NC[GTYKVJXGT[NQYQRCEKV[QPVQRQHVJGUMKPCPFUGVVJG%QORQUKVG /GVJQFVQ1XGTNC[9KVJCUQHVGFIGFDTWUJNKMGVJG5QHV#KTDTWUJ RKEMCDTKIJVRKPMCPFCKTDTWUJQXGTVJGEJGGMUVKRQHVJGPQUGGCTU CPFEJKP$WVVJGTGCTGQVJGTRCTVUQHVJGHCEGYKVJFKHHGTGPVVQPGU NKMGVJGG[GDCIUYJKEJVGPFVQDGNKNCEQTITGGP

11 Texture on the skin

#ITGCVYC[VQUJQYVJGRQTGUQHVJGUMKP KUYKVJCURGEMNGFDTWUJNKMGVJG5RQPIG&WRNKECVGVJGUMKP NC[GTCPFVCMGVJG.QCFGF9GV5RQPIGYKVJCP1RCEKV[QHCTQWPF WUGVJG'[G&TQRRGTVQQNVQRKEMWRVJGWPFGTN[KPIEQNQWTCPF UVCTVCFFKPIVGZVWTG$CDKGUCTGYGNNMPQYPHQTVJGKTUKNM[UMKPUQ [QWOC[YCPVVQCXQKFVJKU.QYGTVJGQRCEKV[CPFEQNNCRUGVJGNC[GTU

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

Paint skin texture

10 Add variety to the skin tones

Tutorial

The colours of skin tone

Use a variety of tools to make your skin realistic

12 Add details

 9KVJVJG 1RCSWG&GVCKNDTWUJ QTVJG9GV&GVCKN DTWUJ HQTNQYGT QRCEKV[FTCYVJG FGVCKNUQHVJGOQWVJ G[GUGCTUCPF PQUG6JKUKUCITGCV QRRQTVWPKV[VQTG¿PG VJGUMKPCFFKPIOQTG EQNQWTUNKMG[GNNQY CPFQTCPIGCTQWPF VJGG[GYKVJVJG %CRVWTGF$TKUVNG+H VJGVGZVWTGHTQOVJG URQPIGKUVQQTQWIJ [QWECPDNGPFKPUQOG CUYGNN

13 Freckles

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Brushes for the skin

15 Last touches

14 Let it shine

6QCFFUJKPGVQVJGUMKP VQPGYGECPWUGVJGWPFGTTCVGF)NQY DTWUJ WPFGTVJG(:ECVGIQT[+V¶UITGCV HQTG[GUOQWVJUPQUGUCPFEJGGMUVQIKXG OQTGNKHGVQVJGUMKP;QWEQWNFWUGKVQPVJG UCOGNC[GTQTQPCUGRCTCVGQPGUGVVQ5ETGGP %QORQUKVG/GVJQF

 0QYNGV¶UFG¿PG VJGHQTIQVVGPEQPVQWTU QHVJGUMKPNKMGVJG EJKPNKPGPGEMCPF GCTUWUKPIVJG1RCSWG &GVCKNDTWUJ6JGUG CTGVJG¿PCNVQWEJGU CPF[QWUJQWNFPQY DGCDNGVQEQPUKFGTVJG UMKP¿PKUJGF

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

Digital Painting

27

Tutorial Draw focus with good backgrounds

&TCYHQEWUYKVJ IQQFDCEMITQWPFU Tutorial info Artist

Marta Dahlig Time needed

6 hours Skill level

Advanced On the CD

Reference files

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

KPCP[UV[NGQTOGFKWOKUMPQYKPIPQVQPN[JQYVQGZGEWVG UQOGVJKPIVGEJPKECNN[DWVCNUQYJCVVQRCKPVCPFYJGPKPQTFGT VQCEJKGXGUVTKMKPITGUWNVU +PVJKUYQTMUJQRYGGZRNCKPUQOGDCUKEVJGQTGVKECNRTQDNGOU EQPPGEVGFVQRCKPVKPIDCEMITQWPFUUWEJCUVJGNQIKEQHETGCVKPI EQORQUKVKQPUEQNQWTRCNGVVGUCPFWPFGTUVCPFKPINKIJVKPVGTCEVKQP DGVYGGPXCTKQWURCKPVGFQDLGEVU9G¶NNNQQMCVVGZVWTGUCPFJQYVQ WUGVJGOVQCFFXCTKCVKQPVQ[QWTDCEMITQWPF/QTGQXGTKPVJKU YQTMUJQR[QWYKNN¿PFUQOGRWTGN[VGEJPKECNVKRU±GURGEKCNN[ VJQUGTGICTFKPIDTWUJWUCIGHQTVJGGZGEWVKQPQHRCTVKEWNCT GNGOGPVUCNNQHYJKEJ[QWOKIJV¿PFWUGHWNYJGPRCKPVKPI DCEMITQWPFU9GGZRNCKPJQYVQGCUKN[CEJKGXGTGCNKUVKEGHHGEVU YJGPRCKPVKPINGCXGUUMKGUQTTQEMUWTHCEGUCUYGNNCUFKHHGTGPV YC[UQHRCKPVKPIXCTKQWUVGZVKNGUCPFFGUKIPKPIRCVVGTPUUQVJCV [QWECPETGCVGUVWPPKPIUGVVKPIU

%QNQWTVJGQT[CPFEQORQUKVKQP Plan your composition carefully

composition 02 General

01 Colour palette

'XGT[RCKPVKPI DGIKPUYKVJRCNGVVGFG¿PKVKQP +H[QWEQPEGPVTCVGQPDCEMITQWPFUVJKU RCTVKUKORQTVCPVCU[QWJCXGVQRWNNVYQ UGRCTCVGRCNGVVGU EQNQWTCPFDCEMITQWPF VQIGVJGT(QTUJCFKPIGCEJGNGOGPV[QWPGGF CJKIJNKIJVOKFVQPGCPFUJCFQYJWG7UG UKOKNCTVKPVUHQTJKIJNKIJVKPICPFUJCFKPI

28

Digital Painting

 .C[KPIQWVEQNQWTU KUCNUQKORQTVCPV YJGPRCKPVKPI DCEMITQWPFU $CEMITQWPFEQNQWTU UJQWNFPQVUVCPF QWVOQTGVJCPVJG EJCTCEVGTKVUGNHCPFCNN QDLGEVUJCXGVQQDG[ VJGUCOGNKIJVUQWTEG +PVJKUECUGYGJCXG VYQNKIJVUQWTEGU QPG¶UCFKTGEVKQPCN DQNFNKIJVEQOKPIQWV QHVJGYKPFQYCPF VJGQVJGTKUCFKHHWUGF CODKGPVNKIJVHTQO WRHTQPV5GVWRC PGYFQEWOGPVCPF ETGCVGDCUKEUJCRGUCU UJQYPJGTG

03 Focal path

+H[QWYCPVVQEJGEM YJGVJGT[QWTEQORQUKVKQPKU UWEEGUUHWNFKXKFG[QWTRCKPVKPIKPVQHQECN CTGCU'XGT[RCKPVKPIUJQWNFJCXGCOCKP HQEWURQKPVYJKEJKUVJG¿TUVGNGOGPV VJGXKGYGTPQVKEGU7UGDQNFGTEQNQWTU QTUVTQPIGTNKIJVKPICPFTGOGODGTVQ EQPEGPVTCVGVJGOCTQWPFQPGURQV

Tutorial Draw focus with good backgrounds

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

6QIGV PCVWTCNRQTG UVTWEVWTGFTQEM[ UWTHCEGUUKORN[ ETGCVGCDCUKUYKVJ VJG%JCNMDTWUJCPF C%QCTUGCKTDTWUJ CPFTWPVJGO QP CJKIJQRCEKV[ QXGTCPCTGC1PEG [QW¶XGFQPGVJCV VCMGC$CUKE4QWPF VQQNCPFVJGPRCKPV KPUGRCTCVGDNQDUQH EQNQWTJKPVKPICV UQOGFGVCKNQPVJG UVTWEVWTG NKMG OQUUQTITCUU HQTGZCORNG

05 Smooth stone surfaces

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and silk 07 Velvet

06 Textiles

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 &KHHGTGPEGUDGVYGGP VGZVKNGUUJQY VJTQWIJFTCRGT[ 8GNXGVKUQPGQHVJG GCUKGUVVQRCKPV ±KVUJKIJNKIJVU CTGFKHHWUGFCNQPI JWIGEQPXGZCTGCU ,WUVDNQEMKPVJG EQNQWTUYKVJCVQQN QH[QWTEJQKEGCPF DNGPF5OQQVJVJG VTCPUKVKQPUYKVJ,WUV #FF9CVGT(QTUKNM[ OCVGTKCNU[QWECP WUGCPCKTDTWUJ

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

30

Digital Painting

08 Apply patterns

6QGCUKN[RCKPVKPCVGZVWTG¿TUVFGUKIPKV UGRCTCVGN[QPCPGYNC[GTYKVJVJG+PMVQQN*CXKPITQWIJ YGNNFG¿PGFGFIGUKUGUUGPVKCN0QYUJCFGVJGFGUKIPUNKIJVN[CPFCFF UQOGFCTMGTUJCFGUVQVJGDQTFGTQHVJGFGUKIPVQIKXGKVUQOGXQNWOG 6JGPEJCPIGVJG.C[GT/QFGVQ1XGTNC[QT*CTF.KIJVCPFFQFIG UQOGJKIJNKIJVGFCTGCUVQWPFGTNKPGVJGIQNFGPINQY

The complete guide to

Digital Painting 6JGHKPGTFGVCKNU

 ;QWOKIJV YQPFGTYJ[YG¶TG EQPEGPVTCVKPIUQ OWEJQPHCDTKEU! 9GNNVGZVKNGUCTG QPGQHVJGGCUKGUV YC[UVQSWKEMN[ CFFCPKPVGTGUVKPI DCEMITQWPFGNGOGPV +H[QWFQP¶VMPQYJQY VQ¿NNUQOGGORV[ URCEGLWUVRCKPVKP UQOGYTKPMN[HQNFU VQIGVUQOGPGWVTCN NQQMKPIFGVCKN

10 Satin

6JGFTGUU[QWUGGJGTGKUCEQODKPCVKQPQHUCVKPCPF EJKHHQP2CKPVKPIUCVKPKUCUKOKNCTRTQEGUUVQRCKPVKPIXGNXGV WUGJCTFGFIGFDTWUJGUHQTDGUVGHHGEVUCPFVJGPDNGPFVJGOUVTQPIN[ YKVJCDNGPFGT1PEG[QW¶XGFQPGVJCVWUGCPCKTDTWUJQPVQRQHVJG RTGRCTGFDCUKUVQUQHVGPWRVJG¿PCNNQQMCPFTQWIJHQNFU

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

Draw focus with good backgrounds

enrichment 09 Textile

Tutorial

Hint at details

Introduce textiles and foliage into your background

leaves 12 Detailed

11 Leaves

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Brush usage

touches 13 Finishing

6JG GUUGPEGQHCEJKGXKPI CTGCNKUVKETGUWNVNKGU KPVJGFGVCKNKPINKMG RCKPVKPIUGRCTCVG NGCXGUD[JCPF 5OGCT[DTWUJGUUGGO VQDGDGUVHQTVJKULQD UQRKEMC$CUKE4QWPF QTUQOGVJKPIQKN[CPF RCKPVKPOQTGFG¿PGF NGCHNKMGUJCRGU

CICKPDGNQY CPFCDQXGVJG CKTDTWUJGFDCUKU

14 Bounce off colour

.KIJVKPVGTCEVKQP DGVYGGPQDLGEVUKPCEQORQUKVKQP JCUCXGT[KPVGTGUVKPITGUWNVVJGDQWPEGFQHH EQNQWTGHHGEV'ZGEWVKQPQHVJKUGHHGEVEQOGU FQYPVQRCKPVKPIVJGEQNQWTUQHUWTTQWPFKPI QDLGEVUQPVQVJGQDLGEVQHKPVGTGUV5JKP[ QDLGEVUTGÀGEVEQNQWTUKPCDQNFYC[YJKNG OCVVGUWTHCEGUJCXGCFKHHWUGFVKPV

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

Digital Painting

31

Tutorial Draw focus with good backgrounds

#FXCPEGFVGZVWTGUCPFURGEKCNGHHGEVU Pay attention to shadows, light effects and details

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

15 Torn fabrics

#FFKPIPCTTCVKXGSWCNKV[VQCP[RCKPVKPIECP DGFQPGGXGPVJTQWIJVJGUOCNNGUVEJCPIGU+PQWTECUGVQ SWGUVKQPVJGIGPGTCNµG[GECPF[¶SWCNKV[QHVJGRKGEGCPFWPFGTNKPG CUGPUGQHFTCOCYGCFFGFUQOGVQTPWPUVKVEJGFGODTQKFGT[CPF UMGVEJGFKVKPYKVJCPCKTDTWUJ

16 Airbrush

6JGTGKUQPGGNGOGPVVJCVCKTDTWUJGUCTGCDUQNWVGN[ KTTGRNCEGCDNGCVRCKPVKPIENQWFUCPFCP[MKPFQHHQCO[ VGZVWTG UWEJCUUPQYUGCHQCOGVE5KORN[VCMGC5OQQVJCKTDTWUJ EJCPIGKVU,KVVGTUNKIJVN[CPFRCKPVKPUQOGDNQDU#HVGTYCTFU TQWIJGPVJGNQQMWRD[OKZKPIEQNQWTUYKVJVJG$NGPFGTDTWUJ

and form 18 Cast

17 Detailed clouds

5QOGVKOGUVJGRTGRCTGFDCUKUYKNNDG GPQWIJDWVKH[QWUVTKXGHQTOQTGTGCNKUVKETGUWNVUVJGPVCMGVJG CKTDTWUJCICKPNQYGTKVUUK\GCPF,KVVGTCPFTWPQXGTVJGDCUKUCFFKPI UQOGUOCNNEQNQWTDNQDUQPVQRQHVJGENQWFU9JGP[QW¶TGFQPG[QW ECPCNUQWUGVJG&QFIGVQQNVQDTKIJVGPVJGOQUVJKIJNKIJVGFCTGCU

9JGP EQORQUKPIUGXGTCN GNGOGPVUVQIGVJGT KVKUKORQTVCPVVQ TGOGODGTVJGNKIJV KPVGTCEVKQPDGVYGGP VJGOCPFVJGNKIJV UQWTEG6JGTGCTGVYQ V[RGUQHUJCFQYUECUV UJCFQYUYJKEJCTG ETGCVGFD[CPQDLGEV UVCPFKPIKPHTQPV QHVJGNKIJVUQWTEG

[GNNQYCTTQYUCPF HQTOUJCFQYUYJKEJ µEQXGT¶VJGUKFGQHCP QDLGEVVJCVHCEGUCYC[ HTQOCNKIJVUQWTEG

TGFCTTQYU

flip 19 Horizontal

9JGP [QWYCPVVQGPUWTG [QW¶XGEQORQUGF[QWT YQTMYGNNÀKRVJG KOCIGJQTK\QPVCNN[ &QKPIUQDGPG¿VUVJG KOCIGCPF[QWOC[ PQVQPN[FKUEQXGT UQOGCPCVQO[GTTQTU DWVKVYKNNCNUQJGNR [QWWPFGTUVCPF VJGNQIKEQH[QWT EQORQUKVKQP9GXKGY HTQONGHVVQTKIJVCPF UQRWVVKPICHQECN RQKPVQPVJGTKIJVUKFG JCUVQDGFQPGYKVJ JWIGECWVKQPCUKV OCMGUWUUMKRJWIG RCTVUQHVJGKOCIG

32

Digital Painting

20 Finish it up

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Feature

Custom brushes

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Digital Painting

35

Feature

Custom brushes

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36

Digital Painting

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The complete guide to

Digital Painting

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Cloud v ariations

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Digital Painting

37

Feature

Custom brushes

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

38

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Digital Painting

The complete guide to

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Digital Painting

39

Feature

Custom brushes

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40

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OILY ROCKS

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Digital Painting

The complete guide to

Digital Painting

9CVGTEQNQWTU

SPLASHING AROUND

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

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Digital Painting

41

Feature

Custom brushes

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Digital Painting

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The complete guide to

Digital Painting

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Digital Painting

43

Tutorial Create a stunning landscape

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

Alberto Guillen Time needed

Three hours Skill level

Beginner On the CD

Start file

44

Digital Painting

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The complete guide to

Digital Painting Tutorial Create a stunning landscape Digital Painting

45

Tutorial Create a stunning landscape

%NQPKPIYQTMHNQY Transform a photograph into a beautiful painting

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

01 Setting the stage

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02 Creating a clone is easy

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Create a tinted 04 canvas

03 The Colors palette

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Discover the Oils brushes sketching 05 Reference

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46

Digital Painting

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

The complete guide to

Digital Painting Tutorial

Tracking your brushes Practise strokes 07 that mix paint

06 Underpainting

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Create a stunning landscape

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

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09 Introducing the Smeary Round brush

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Rotating your canvas

10 Shaping your image

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11 Blending brushstrokes

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

Digital Painting

47

Tutorial Create a stunning landscape

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

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

12 Working the background

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14 Painting the foreground

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16 Final touches

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48

Digital Painting

17 Adding texture

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18 Saving your painting

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Tutorial Complete guide to oil brushes

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Create a dreamy landscape from a cloned photomontage and bring it to life through the use of oil brushes in Painter KNRCKPV QTQKNUHQTUJQTVKUCV[RGQH UNQYFT[KPIRCKPVEQPUKUVKPIQHUOCNN RKIOGPVRCTVKENGUUWURGPFGFKPC FT[KPIQKN6JG[YGTGWUGFKP'PINCPF CUGCTN[CUVJGVJ%GPVWT[HQTUKORNGFGEQTCVKQP DWVYGTGPQVYKFGN[CFQRVGFHQTCTVKUVKERWTRQUGU WPVKNVJGVJ%GPVWT[ /CP[CTVKUVUVQFC[EQPUKFGTQKNRCKPVVQDG HWPFCOGPVCNCTVOGFKCCPFUQOGVJKPIVJCVC UVWFGPVUJQWNFNGCTPVQCRRTGEKCVGDGECWUGQHKVU RTQRGTVKGUCPFKVUWUGKPRTGXKQWUXGT[RQRWNCT CTVYQTM6[RKECNSWCNKVKGUQHQKNRCKPVKPENWFGC

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Preparing the canvas

Create a collage that will be used as a guide

01 Put everything together

02 Erase the bits

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Digital Painting

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03 Colour adjustment

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The complete guide to

Digital Painting Tutorial info Artist

Tutorial

May Yeoshen Time needed

3 hours Skill level

Beginner

Complete guide to oil brushes

On the CD

Photo pack

Digital Painting

51

Tutorial Complete guide to oil brushes

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

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

06 Paint the sky

04 Clone elements

05 Set the mood

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07 The distant mountains

08 Keep on with the mountains

09 The pine trees

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10 The foliage

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Digital Painting

11 The lake

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Digital Painting #FFVJGFGVCKNU Tutorial

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

Adding details

15

Add foliage 6JGTGCTGOCP[YC[UQHRCKPVKPIHQNKCIG9GWUGF

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Add texture to the mountains

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14 Reshape the pine trees

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16 Define the water

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17 Sky and fog

18 Final touches

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Digital Painting

53

Complete guide to oil brushes

13

12

Prepare for details &TQRCNNVJG

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

Tutorial Complete guide to oil brushes

The essential oils tools

Everything you need for great results

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

Round Camelhair

Details Oils brush

Painter’s Oils brushes

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

Flat Oils

Tapered Oil

Bristle Oil

Fine Feathering

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

Thick Wet Camel

Detail Oil

Fine Camel

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

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

Tapered Round Oils Thick Wet Oil

Opaque Flat

54

Digital Painting

Tapered Oil

Smeary flat

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

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

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Tutorial Paint a cityscape from photos

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Digital Painting

The complete guide to

Digital Painting Tutorial Paint a cityscape from photos

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

Tutorial info Artist

Dawn Austin Time needed

16 hours Skill level

Intermediate On the CD

Creative pack

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Digital Painting

57

Tutorial Paint a cityscape from photos

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03 Introduce the figure

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04 Composition

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06 Add background

09 Turn on the lights

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Digital Painting correction 12 Colour

Popping the 14 highlights

13 Blending

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Clone and paint a vintage portrait

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

Tutorial

11 Adding local colour

Clone Color and the Soft Cloner

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Cloning in the 17 background

15

Adding punch to the darks 1P

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16 Preparing the canvas

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Digital Painting

129

Tutorial Clone and paint a vintage portrait

(KPKUJKPIQHH A final bit of enhancing and colour correcting

18

Cloning in the drawing 1RGP

19 Enhancing and clarifying

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

The tools you need for this painting

%NQPKPI Painterly strokes

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

130

20 Finalising

Digital Painting

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

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Stay true to your source

A sub-category of Grainy Flat Cover

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

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

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

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Tutorial Use a limited colour palette

132

Digital Painting

The complete guide to

Digital Painting Tutorial info Artist

Time needed

Two to three hours

Tutorial

Brad Sutton

Skill level

Intermediate

Use a limited colour palette

On the CD

Sketch

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Primary colours

A mixture of two

Going neutral

Red and yellow make blue? Not necessarily!

Mixing colour will help to add life to you painting

How to avoid mixing muddy and dull colours

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

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

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

Digital Painting

133

Tutorial Use a limited colour palette

6JG4QCTKPI6YGPVKGU Re-create a poster from a past era

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

01 Sketch time

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03 Block in tones

02 Make some changes

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05 Colour swatches

06 Blocking in

lines 04 Cleanup

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

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Digital Painting

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colours 07 Customise

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The complete guide to

Digital Painting

Same colour, 09 multiple areas

08 Add more colours

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Use a limited colour palette

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

Tutorial

Highlights

up some things 11 Lighten

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10 Add texture to the road

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Directional colour

12

Colour the road7UGVJGUCOGEQNQWTVJCVKUKPVJGENQWFUCPF

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13 Darken buildings

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

Digital Painting

135

Tutorial Use a limited colour palette

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

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

Darken other 15 elements

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14 Darken some more

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17 Add another shadow 16

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19

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

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Digital Painting

Blend and paint0QY

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18 Pump contrast

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time 20 Figure

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The complete guide to

Digital Painting Tutorial

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22 Building’s details

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Use a limited colour palette

21

Driving time6KOGVQVWPGWRVJGECTCPFIGVJGTFGVCKNGF

23 Finalise

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

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

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

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

Digital Painting

137

Tutorial How to use Liquid Inks

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

138

Digital Painting

The complete guide to

Digital Painting

Artist

Luis Diaz

Tutorial

Tutorial info

Time needed

6-8 hours Intermediate On the CD

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

Digital Painting

How to use Liquid Inks

Skill level

139

Tutorial How to use Liquid Inks

%QNQWTCPFNKIJVKPIUEGPCTKQ Choose a colour scheme that inspires you

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

01 Dissecting colour

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02 Finding a colour scheme

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in 04 Fillshapes

03 Cover up the white

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

140

Digital Painting

05

Working the sky 9GWUG&GRVJ$TKUVNGCV1RCEKV[

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06 Opacity settings

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The complete guide to

Digital Painting and select 08 Drop

09 Resizing the image

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10 Sand texture

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How to use Liquid Inks

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Tutorial

07 Shaping the clouds

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11 Softening Liquid Inks

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Drop layers

13 Outlining the form

12 Water patterns

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

Digital Painting

141

Tutorial How to use Liquid Inks

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

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

14 Use highlights to outline

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15 Robot TLC

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rust 16 Adding

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17 Finishing the robot

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

142

Digital Painting

18 Building repairs

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The complete guide to

Digital Painting

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

How to use Liquid Inks

19 Using Soften brushes

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Eraser vs Resist

Tutorial

20

Splash

Taking away with 21 more Resist

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23 Unexpected change

22 Sad beauty

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Working in lower res tweaks 25 Final

24

Treasured belongings 9GPQY

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

Digital Painting

143

Tutorial How Create tometallic use Liquid effects Inks

Create

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

Kirsi Salonen Time needed Tutorial 8 hours info Skill level

Advanced On the CD

Sketch

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

03 Preliminary background 7UG

01 Visualise the result

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02 Fill large areas with pencil

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The complete guide to

Digital Painting

Digital Painting

145

Tutorial Create metallic effects

6QPGCPFEQNQWT Block in strong tones to create a dramatic base

Check some 05 references

a scene 04 Make 

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Finish the drawing 06 phase

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07 Choose your colour scheme

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Choose your 08 shadow tone

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

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Digital Painting

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Give variety 09 to surfaces

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The complete guide to

Digital Painting

10 Multiple colour adjustments

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12

11 Really start to paint

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Colour the wings 2CKPVDQVJ

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Create metallic effects

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

Tutorial

Black and white

13 Construct the metallic wings

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14 Warp the wings

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Digital Painting

147

Tutorial Create metallic effects

9JGPOGVCNOGGVUNKIJV Highlights and glowing edges add magic to almost everything

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

Metallic shine 15 with Dodge

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16 Paint the sky and backlight

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Construct metals 17 and light

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18 Metallic-looking dragons

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cloth and details 19 Paint

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

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Digital Painting

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Important colour 20 adjustments

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The complete guide to

Digital Painting

Refine the metallic 21 objects

22 Refine everything bit by bit

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Create metallic effects

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

Tutorial

Background highlights

the hair 23 Create

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24 Finish the wings

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Final highlights 26 and texture

25 Finish the clothes and patterns

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Digital Painting

149

Feature The cloner’s guide to composition

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

150

Digital Painting

The complete guide to

Digital Painting

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Digital Painting

151

Feature The cloner’s guide to composition

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

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Digital Painting

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

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pth Creating a sense of de TRCKPVKPIKUVQDG

The complete guide to

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

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

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

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

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

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

Orange and blue are the complementary colours used in this painting

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

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

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

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

Digital Painting

153

Feature The cloner’s guide to composition

Get UVCTVGF

Take your start photos, adjust them and start cloning

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

2WVVKPIKVCNNVQIGVJGT Express yourself using compositional theory

01 Let’s start at the beginning

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

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Digital Painting

02 Select an element from another image

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

03 Erase unwanted areas

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

The complete guide to

Digital Painting Does it stay or does it go?

04

Choosing the subject(QTVJKU

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

05 Flip

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

06 Scale down to size

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

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

and erase 07 Position

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

08 Use elements already there

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

Body language

10

09 Adding the house

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

Add a friend+P

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

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

Digital Painting

155

Feature The cloner’s guide to composition

Choosing layers

4GHKPKPI[QWTEQORQUKVKQP Bring your painting to life

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

12 Rotate tool

11 Adding directional movement

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

13 Change colours

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

14

Paint in details2CKPVKPFGVCKNU

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

Changing what’s 16 there

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

156

Digital Painting

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

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

15 Shadows and details

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

17 The trees

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

The complete guide to

Digital Painting

19 Good brush for grass 18 Sharp and soft

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

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

20 Tonal range

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

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

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

7UGVJG4WNGQH6JKTFUVQMPQYVJGDGUV RNCEGVQRQUKVKQP[QWTUWDLGEVQTHQECN RQKPV+PVJKURCKPVKPIVJGEJKNFTGPCTG RNCEGFKPVJGNGHVDQVVQOKPVGTUGEVKQP WUKPIVJG4WNGQH6JKTFUITKF

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

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

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

Digital Painting

157

Tutorial Paint like Picasso

Paint like:2CDNQ2KECUUQ

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

Tim Shelbourne Time needed

3 hours Skill level

Intermediate On the CD

Final image

158

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

Simple shapes

Isolating elements

Colour and depth

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Digital Painting

The complete guide to

Digital Painting Tutorial Paint like Picasso Digital Painting

159

Tutorial Paint like Picasso

$WKNFHCEKCNHQTOU Establish the geometric shapes for your painting

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

01 Establish the eye shapes

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02 A simple triangle

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rotate and skew 04 Scale,

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

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Digital Painting

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05 Mix and match

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06 Add more elements

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The complete guide to

Digital Painting Tutorial

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08 Shapes in harmony

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

Paint like Picasso

07 More simple shapes

09 Simple blocks

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Multiple perspectives Simple geometric shapes

little 10 Ashading

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Eye in profile

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

11 Collapse layers

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

Digital Painting

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Tutorial Paint like Picasso

%TGCVGFGRVJCPFUQNKFKV[ Add colour and build solidity in your painting

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

12 New layer and brush

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13 Reinforce line work

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Block in the main 15 colours

14 Straight line mode

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Individual voice Creating unique artwork

16 Establish the base

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Digital Painting

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

The complete guide to

Digital Painting

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18 Faces and planes

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Paint like Picasso

17 Model with colour

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

Tutorial

On the surface

colours 19 Contrast

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20 Bold accents

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6JGHKPGTFGVCKNU Put the finishing touches to your Picasso painting

21

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22 Adjust colours

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23 Finishing touches

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Digital Painting

163

Tutorial Paint like Monet

Paint like:/QPGV

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The magic of light

The dancing brush

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Digital Painting

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The complete guide to

Digital Painting Tutorial info

Tutorial

Artist

Tim Shelbourne Time needed

4 hours Skill level

Intermediate

Paint like Monet

On the CD

Start file

Digital Painting

165

Tutorial Paint like Monet

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

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

the tones 02 Mapping

01 Canvas and outline

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03 Supplied sketch

+H[QW¶TGPQV EQP¿FGPVQH[QWTUMGVEJKPICDKNKVKGU QTYCPVVQIGVUVTCKIJVKPVQRCKPVKPI[QWECP CNYC[UWUGVJGUWRRNKGFUMGVEJ5KORN[QRGP KVHTQOVJGFKUECPFEQR[CPFRCUVGKVQPVQC UGRCTCVGNC[GTCDQXG[QWTECPXCUUGVVKPIKVU %QORQUKVGOQFGVQ/WNVKRN[

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

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Digital Painting

04 Underpainting

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

variations 07 Tonal

06 Establishing the lily pads

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

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

05 Base colours

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

The complete guide to

Digital Painting

variability 08 Colour

09 Broken colour

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

Paint like Monet

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

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

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

Tutorial

Gathering colours

setup 11 Brush

10 Blending with the brush

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

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

the trees 12 Into

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

13 Adding form

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

Digital Painting

167

Tutorial Paint like Monet

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

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

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

15 Adding detail

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

the brush 17 Change

16 Gestural strokes

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

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

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Digital Painting

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

Colour in the 18 shadows

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

19 Sharpening and refining

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

The complete guide to

Digital Painting

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

21 Sampling colours

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

22 Defining darks

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

Paint like Monet

20

Dabs and dashes *KIJNKIJVUCTG

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

Tutorial

Dark to light

reflection 23 Light

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

24 Final highlights

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

and clarify 26 Flatten ning touches 25 Refi

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

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

Digital Painting

169

Tutorial Paint like Rococo

Paint like:4QEQEQ

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

Anne Pogoda Time needed

15 hours Skill level

Intermediate On the CD

Start file

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

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¿GF4QEQEQETGCVKQP;QWECP¿PFQWV OQTGCDQWVVJGQTKIKPCNHTQOVJGICNNGT[VJCVJQWUGUKVCV YYYYCNNCEGEQNNGEVKQPQTI

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

170

Digital Painting

Glitter and flowers

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

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

The complete guide to

Digital Painting Tutorial Paint like Rococo Digital Painting

171

Tutorial Paint like Rococo

5VCTV[QWT4QEQEQRCKPVKPI Setting the scene

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

01 The sketch

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

03 The dress

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

1TPCVGXGTUWU #TECFKCP Balancing Rococo elements

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

172

Digital Painting

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

04 Sexy legs

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

05 Shoes!

02 The top

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

The complete guide to

Digital Painting

07

06 More folds

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

08 Complicated folds

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

11

Let’s start on the face 

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09 Folds continued

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Paint like Rococo

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

The back part of the dress 9GUVKEM

Tutorial

Rococo shadows

10 Final steps on the folds

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continued 12 Face

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

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

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Tutorial Paint like Rococo

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

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

for the strings 14 Flowers

13 The hair

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15 Hair

6QIKXG VJGJCKTC OQTGPCVWTCNNQQM YGLWORDCEMVQVJG #KTDTWUJGU7UKPI VJG(KPG6KR5QHV UGVKVVQCNCTIGT UK\GVQUMGVEJKPVJG DCUGUJCRGUQHVJG NQPIGTJCKT0QY UGVVJGDTWUJUK\G FQYPWPVKN[QWHGGN VJCVKV¶UUWKVCDNG HQTCFFKPIUOCNNGT JCKTUQPVQR.CUV DWVPQVNGCUVRCKPV UQOGOQTGNKVVNG JKIJNKIJVUKPVQ VJGUVTWEVWTG

16 The branch

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

174

Digital Painting

17

Paint leaves

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the 18 Indistance

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The complete guide to

Digital Painting

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

20 Add more grass

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

Paint like Rococo

the grass 19 Shape

Tutorial

References

last leaves 22 The

21 Add more background texture

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24 Corrections on

23 Last detail on the shoes

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

more interest to the flowers on the strings 25 Add

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Digital Painting

175

Tutorial Paint like Rackham

Paint like:4CEMJCO

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

Aaron Pocock Time needed

12 hours Skill level

Intermediate On the CD

Start file

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Simple washes

176

Line art

Rackham’s trees

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Digital Painting

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The complete guide to

Digital Painting Tutorial Paint like Rackham Digital Painting

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Tutorial Paint like Rackham

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

Thinking of the whole

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

Preparing a working 02 drawing

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03 Let the inking commence

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

178

Digital Painting

04

Varying strokes .KPGCTVECPNQQM

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More and more 07 detail

06 Adding the clouds

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0QYYG¶NN DGIKPVQCFFOQTG FGVCKN6JGVTGG EQWNFOCMGQTDTGCM VJKUKNNWUVTCVKQP %QORQUKVKQPCNN[ VJGDTCPEJGUQPVJG WRRGTTKIJVQHVJG VTGGCTGNGCFKPIWU VQVJGETQYYJKEJKU RQKPVKPIWU VQVJG¿IWTGQHVJG [QWPINCF[+V¶UCNN YQTMKPISWKVGPKEGN[ CVVJKURQKPV

05 Inking around the figure

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The complete guide to

Digital Painting

09

10 Line directions again

11 Roots

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Paint like Rackham

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08 Hair

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

Detailing the tree

Tutorial

Depth of field

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Rooted to the 12 spot

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13 Grass roots

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Digital Painting

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Tutorial Paint like Rackham

%TGCVKPICHCGTKGYQTNF Getting the unique Rackham look texture 14 Surface

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

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

15 Back to front

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

down washes 17 Laying

16 Large blocks of colour

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

19

Working on the figure

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

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Digital Painting

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

18 Light and shade

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

the green 20 Into

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

The complete guide to

Digital Painting

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

Weaving the magic

22 Dodging highlights

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

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

23 Finishing up

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

Paint like Rackham

21 Brightening things up a little

Tutorial

Colours should work well together

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

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

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

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

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

DODGING HIGHLIGHTS 6JG&QFIGVQQNYCUWUGFVQNKHVQWVJKIJNKIJVU

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Digital Painting

181

Tutorial Paint like MC Escher

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

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Digital Painting

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

Tutorial info Artist

Tim Shelbourne Time needed

3 hours Skill level

Intermediate On the CD

Start files

The complete guide to

Digital Painting Tutorial Paint like MC Escher Digital Painting

183

Tutorial Paint like MC Escher

Boundary position

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

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

01 The canvas

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

02 Position the tracing images

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

03 Second hand image!

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

Pencil 04 Charcoal

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

05 Careful tracing

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

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

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Digital Painting

06 Stroked shape

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

07 Rectangular guide

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

The complete guide to

Digital Painting

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

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

10 No overlaps

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

12

Shadow positioning6QOCMGVJG

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Paint like MC Escher

08 Define lines

Tutorial

6JGUV[NGQH/%'UEJGT

09 Sharpen up

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

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

11 Establish the shadows

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

13 Add definition

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

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

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

Digital Painting

185

Tutorial Paint like MC Escher

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

14

Initial modelling0QYUVCTVCFFKPIKPVJGOKFVQPGUCPFDWKNF

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

16 Shadow, midtone and highlight

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

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

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Digital Painting

15 Tone and contour

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

17 Sharp as a tack

;QWECPKPVGPUKH[VJGFCTMGUVCTGCUCVCP[ VKOGD[UJCFKPIYKVJRNGPV[QHRTGUUWTGCICKPWUKPIJCVEJKPI NKPGUVJCVHQNNQYVJGEQPVQWTU/CMGUWTGVQMGGRVJGCEVWCNQWVNKPGQH VJG¿PIGTUPKEGCPFUJCTRTonal Controls>Equalize. To darken the values, grab the Black Point slider and drag it to the right. To lighten the values, grab the Brightness slider and drag it carefully to the right.

Tutorial

Adjust greyscale values

Escher’s other passion – beech wood globes

23 Enclosed area

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Layer upon layer

24 Evaluate and refine

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

Digital Painting

187

Tutorial Paint like Baroque

Paint like:$CTQSWG

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

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

188

Digital Painting

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

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The complete guide to

Digital Painting Tutorial info

Tutorial

Artist

May Yeoshen Time needed

Five hours Skill level

Intermediate

Paint like Baroque

On the CD

Start files

Digital Painting

189

Tutorial Paint like Baroque

5VCTVVJGDCUG Take the sketch and shade in the basic colours

01 The sketch

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

02 Pick your colours

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

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

05 Skin base

03 The brushes

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

04 Block in the colours

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07 The dress

06 Start the clothing

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190

Digital Painting

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The complete guide to

Digital Painting Tutorial

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

Paint like Baroque

01 Drapery 08 Keep on refining

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

09 All about silk

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

11

The hair )KXGUQOGUJCRGVQVJGJCKT

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02 Period clothes

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12 Refine the hair

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03 Portraits

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Digital Painting

191

Tutorial Paint like Baroque

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

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

13 Sunflowers

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14

Colour correction 9GECPCFFOQTG

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

192

Digital Painting

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

The sunflowers’ 16 glass vase

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Erase the contours

15 Back to the background

17 Back to the face

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18 The skin

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

Adding jewellery 19 and details

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

The complete guide to

Digital Painting cast shadows 20 Add

Tutorial Paint like Baroque

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

22 Glazing effect 21 The final touches

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

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

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

BRUSHSTROKES 5QHVDTWUJUVTQMGUYGTGWUGF VQTGETGCVGKPVTKECVGGNGOGPVU UWEJCUVJGHCDTKE

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

Digital Painting

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Tutorial Paint like Pop Art

Paint like:2QR#TV

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

Kyle T Webster Time needed

3 hours Skill level

Intermediate On the CD

Line art and final image

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Art for art’s sake

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

ECNNGFCDGPFC[YKVJCFQVRCVVGTPRWPEJGF KPVQKVUUWTHCEG*GRCKPVGFKPUKFGVJGJQNGU CUKHWUKPICPGPQTOQWUUVGPEKN

194

Digital Painting

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

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The complete guide to

Digital Painting Tutorial Paint like Pop Art Digital Painting

195

Tutorial Paint like Pop Art

2QR#TVHTQORJQVQU Make photos pop quickly and easily

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

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

01 Rough out the composition

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

02 Ink the line art

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

01 Duplicate

 1RGPCP[ RQTVTCKVRJQVQCPF FWRNKECVGVJGECPXCU NC[GT%QR[[QWT QTKIKPCNKOCIGCPF RCUVGKVKPRNCEGQP CPGYNC[GT%JQQUG CHCKTN[URCTUG UVTQPIKOCIG YKVJOKPKOCN DCEMITQWPFFGVCKNU

outlines 03 Create

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

02 Pop Art Fill

0QYIQVQ'HHGEVU 'UQVGTKEC 2QR#TV(KNN 5GVVJG+OCIG.WOKPCPEG5ECNGCV%QPVTCUVCV &CD%QNQTVQ$NCEMCPFVJG$CEMITQWPFVQ9JKVG%JGEM VJG+PXGTVDQZCPFUGNGEV1-

Multiply and 03 Posterize

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04 Close off the page borders

 9JGTGXGTVYQNKPGUTWPQHHVJG UETGGPVJCV[QWYKUJVQJCXG¿NNGFKPNCVGT DGUWTGVQENQUGQHHVJGUJCRGYKVJCPQVJGT NKPGQT[QWT¿NNUYKNNURKNNQWVQPVQVJGYJQNG ECPXCU UGGVJGTGFEKTENGFCTGC

05 Fill in the line work

6QETGCVGVJG ¿NNUUGNGEVVJG2CKPV$WEMGVVQQNCPF ENKEMKPDGVYGGPVJGQWVNKPGUQHVJGNKPGUVJCV PGGFVQDG¿NNGFKPVQETGCVGVJGOCP[XCTKGF DNCEMUVTQMGUVJCVOCMGWRCV[RKECN(KHVKGU EQOKEDQQMHTCOGQPN[OWEJOWEJNCTIGT

The complete guide to

Digital Painting 9JCVCTG[QWVJKPMKPI! Tutorial

Create the thought bubbles that are typically found in Pop Art

06 Fill in large shapes

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Paint like Pop Art

07 Thought bubble

08 Small ovals

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

09 Fillovalsin the

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Richard Hamilton

10 New layer for bubble outlines

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

Digital Painting

197

Tutorial Paint like Pop Art

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

11 Add the thought

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12 Build a city

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and sk 14 Window

13 City fil

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

6JTQWIJVJGYKPFQY Define the background and frame the window

15 Create background colour

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

198

Digital Painting

16 Window frame

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

The complete guide to

Digital Painting (KPCNKUG[QWT2QR#TVOCUVGTRKGEG

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

19 Colour unification

18 Lasso and fill

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

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

21 Pop Art fill

22 Layer properties

)QVQ'HHGEVU 'UQVGTKEC 2QR#TV(KNNCPFWUGVJG HQNNQYKPIUGVVKPIU+OCIG.WOKPCPEG5ECNGCV%QPVTCUV CV&CD%QNQTVQ&CTM4GFCPF$CEMITQWPFVQ9JKVG0QYEJGEM VJG+PXGTVDQZCPFUGNGEV1-

Paint like Pop Art

17 Lights

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

Tutorial

Unify your colours

Make your image pop with colour and effects

20 Pop!

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

Digital Painting

199

Tutorial Paint like Classicism

Paint like:%NCUUKEKUO

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

Kelley Harris Time needed

12 hours Skill level

Intermediate On the CD

Start file

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Digital Painting

Symbolism

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The complete guide to

Digital Painting Tutorial Paint like Classicism Digital Painting

201

Tutorial Paint like Classicism

6JGENCUUKEVQWEJ Create a classical masterpiece

from life 01 Draw

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02 Background

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oily 04 Anapproach

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

03 Colour layout

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7UGENCUUKECNGNGOGPVU KPQVJGTRCKPVKPIU Age-old techniques to enrich your work

05 Lighting

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Digital Painting

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

The complete guide to

Digital Painting

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08 Reflect colour

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09 Know when to fold

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

Paint like Classicism

06 Hair elements

Hard edges

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Tutorial

it up 07 Warm

10 Call in a ref

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shadows 11 Deepen

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Scratch that

12 Soft textures with fruit

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

Digital Painting

203

Tutorial Paint like Classicism

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

the adornments 14 Limit

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

13 Colour interaction

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those edges 15 Soften

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16 Developing the face

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of fancy 19 Flights

17 Grain waves

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Digital Painting

18 More textures

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The complete guide to

Digital Painting

21 Subtle bark texture

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

Paint like Classicism

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Tutorial

20

Find outside resources

Confident foliage

Distance and 23 perspective

22 Cool down

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and finalise 25 Mirror

24 Small touches

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

Digital Painting

205

Tutorial Retro Paint like photo Modern art Realism

Paint like:

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

Tutorial info Artist

Paul Cartwright Time needed

10 hours Skill level

Advanced On the CD

Start file

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-G[GNGOGPVU Establishing the distinctive Edward Hopper look

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Digital Painting

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The complete guide to

Digital Painting

Digital Painting

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Tutorial Retro Paint like photo Modern art Realism

5MGVEJKPIVJGKOCIG Create a solid base to paint over

the style 01 Studying

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02 Planning the scene

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03 Light source and shadow

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Refining the 04 environment

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05 Figure styling

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

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06 Modern modification

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07 Adding details to the scene

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The complete guide to

Digital Painting

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09 Sharpen up the sketch

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

Paint like Modern Realism

08 Correcting the

Tutorial

Swap colours

Choosing brushes 10 and paper

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11 Colour palette

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

12 Colour wash

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13 Curve adjustment

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Digital Painting

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Tutorial Retro Paint like photo Modern art Realism

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

14 Edge clean-up

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15 Zoom out

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16 Faces

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

figure 17 Background

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

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Digital Painting

18 Accessories

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The complete guide to

Digital Painting Tutorial Paint like Modern Realism

details 19 Figure

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20 Window detail

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22 Impasto

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21 Glaze effect

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

23 Light glow

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24 Final adjustments

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Digital Painting

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

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

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

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

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

238 Guide to gouache

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

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

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

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

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Digital Painting

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The complete guide to

Digital Painting

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Digital Painting

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214

Digital Painting

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The complete guide to

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

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

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Digital Painting

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Feature From pencil to Painter

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The complete guide to

Digital Painting

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The complete guide to

Digital Painting

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Digital Painting

219

Feature From pencil to Painter

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