Achieving Harmony with Corel Painter X3
Now guys, I think we're just about ready to introduce our instructor he's an independent artist who's been working with coral painter for over twenty years since version one was released he is a master painter for carell and on the painter advisory council and he's done some pretty amazing stuff I'm going to bring him up here and we'll talk a little bit more about that but why don't you head on up here? Jeremy hello the online audience out there very sort of appreciative that you've made the time to come and join us and for the gentleman from philippines I wish you and your family and everybody else well they're surviving this storm andi thank you, my in person audience I'm absolutely thrilled to have you here in a I haven't you know we have some pretty expert people are paying to write in this audience so they will be keeping me on my toes, by the way, thank you. Creative life for inviting me to be here on providing a dance floor I certainly didn't expect that, but hear me there's som...
ething that I didn't mention when I was introducing you, but I think it's worth noting for all of us the people online you were recently invited teo the de young for an exhibit and I just thought that was pretty fascinating and we've really got one of our top notch experts right here with us yeah, she was great fun. It was the david hockney exhibit on I was invited to do life ipad painting that they're opening andi so it's an amazing exhibit actually and very inspiring for me both then why do you know not just on the iphone but in painter and I actually brought along one of the works that I took along there and displayed and david haunt me a lot of his work is about scale and when you do it for anybody who's in the bay area or visiting between now and january twentieth and can go to that exhibition really worthwhile because when you all can you see these digital prints and by the way, this is very relevant to what we're doing this week because we're working with grow painter x tree working from photos making digital paintings but the question is, what are we going to do with them? What are we going toe? You know where we're going to take him on when you walk into the exhibit and you see sort of twenty foot high sort of fifteen for a ten foot high digital prints in one of the world's top museums it's just like whoa, well, it's really incredible and I know you have a lot to cover, so I'm gonna hand this over to you and let you take it away great thank you so I brought along of course my palette and brush on dh won one of the early paint cans it was the paint program that came and still does come in a can on dh one of the reasons I wanted just tio I have a few sort of natural media materials around is because you know painter is about painting is about using your hands it's about getting down and dirty having fun and sort of just experimenting and exploring on dh you know, no matter what your aim whether you're a commercial sort of photographer artist or whether it's a hobby or whether they're you know just experimenting and fulfilling your creative self painters is simply the most amazing sort of out studio in your computer I'm going tio take on a just a little introductory journey here before we dive in and actually get messy with those pictures by the way the people in the front row you better watch out is going to be pictures flying everywhere they need to provide you with some overalls but so while I'm sort of going through this introduction one of the things I would really appreciate from the online audience out there which evelyn's also already referred to I would love to get a sense off your you know, experience some of you brand new to painter if not how long have you been using painter on dh what do your sort of main goals that you want to get out of this workshop because I'm here to help you you really want to make sure that everybody gets something out of this? It is an introductory workshop but I'm gonna work at many levels we have many levels of experience attending, so um want to share a little bit of a story s o many many years ago very simply I was actually a physicist came toe from england london came to live in california happened to be in silicon valley I happened to have obsessive hobby of drawing people pastel drawings mostly and he cut a long story short someone saw me drawing so oh, you should meet a friend of ours who makes painting software said sure that sounds interesting on dh nineteen ninety one I just dive in to this world of digital painting and it was the same time that mark zimmer on dh this is one of my early sketches of him. I was thinking about how he could take hiss sketches and the things he loved to do andi sort of reproducing or reproduce effects emulate the natural media digitally he hada wacom tablet wok um was just introducing the tablet technology on so it was all coming together the macintosh computers were getting fast enough this software was there so very special time and I want to just read out a story that mark shared with me that is on my website so one of you have the little handout pdf that the bottom is a link and so there's a whole story of history of painter but this is what mark said, he said for years I've bean an incessant sketch I've used felt pens, ebony pencils, pens and other media I realized that there just wasn't a program anyway, so this was nineteen, ninety, ninety one that could allow me to to draw on have the results actually look close to traditional results? So I literally put a microscope to pencil sketches on dh measured the colors of felt pen combinations. I formed theories for how I could create a digital analog for paper textures on that word analog very important in what we're going to cover the next three days three days, because when you think about it, where everything we're dealing with here in some respects is a metaphor or an analog on, we have to start to get our way around over this terminology and language paper texture well it's not really paper texture, but it acts like it it looks like it, but you can do some really neat things with it so lots of other things so it's a wonderful thing that mark and then tom hedges and john derry created um I want to share one of my early paintings done in painter on dh what you're going to see is not just a still painting it's actually a flow it's a flow of brush strokes on one of the great things about working digitally and, you know, I work in all media I still love to draw I still, you know, work on the old fashioned paper and stuff nothing wrong with that, but what I'm able to do and what you're about to see really, I think says what's so special about working with digital media, and that is you suddenly get this access to working with your process in a way that simply doesn't quite exists in the traditional world, and we need the sound for this, thank you. So what you're seeing here just gives you a sense of the richness of marks that you can make with painter, and this is actually a serious of photo paintings, so I had different photographs. I did this eyes from jim brickman, a musician on dh that ended up doing the portrait, but that transition you see there that's one painting, so just so we understand that wasn't I didn't do frames or anything that literally just recording a painting. One of the things that painter has in it is a script function that can record everything you do, but you just get a sense of the freedom on the versatility and the richness that this media offers you one of the things I really also want to emphasize as a lesson for this week that comes out of what we just saw is the importance of transformation sofa and for me as an artist when I saw you working into a canvas whether campuses, digital or traditional I I should enter into a journey a journey of transformation on so I don't I'm due if I'm working in the digital realm I don't undo I keep flowing and you know there's a lot of things that don't work on dh I keep moving forward and then transforming, transforming, transforming on dh, continually enriching the canvas on dh that approach is really what I want to share this week that is what this workshop is really about I'm going to show you lots of techie stuff we're going to go through painter I'm gonna make sure that you've all got the overview of, you know, how do I handle all the hundreds of brushes and how do I not get overwhelmed? You know, with this incredible program we're going to cover or that of course we want it to be simple and easy, but when it comes down to what are we going to do with them, how we gonna paint and that's where transformation is keep because that that's it it's very empowering um the painting that I mentioned and I'm just gonna walk over to it just so you get a sense of scale. This is looking down. It is created from a photograph I took on the last day of the america's cup here in san francisco. A beautiful sunny day it's an eight foot by four thirty eight inch print on canvas. So most of my work is on campus on dh. You know, I just love the impact of scale and that's one of the elements that I encourage you to think about as your printing eyes scale we're goingto towards the end of this workshop, third day we're going to talk more about output and you know what to do on the prince post print painting a little bit, you know, a ll the different ways we can enrich a canvas. This is my painting of john santos, who is a local musician wonderful percussionist on dh this also on campus with acrylic gel and paint on it. What was interesting? I took this as I mentioned to the hockney opening on dh the, uh this is the source image for that painting and actually one of the influences that led to the colors I chose here and that's one of the questions I sometimes get like how how do you choose your colors? I was going to a demon corn exhibit richard even corn at the de young museum on one of the things that I find really inspires and influences me as an artist when I paint in painter is simply exposing myself two different art two different artists different styles to going to shows and galleries on dh I just find it it really does impact my choice is because I get inspired to get excited now you know I've seen the the the hotness oh yeah one of play it a little bit with scale so I definitely encourage you to take advantage off that this is actually if you see here this is that painting in the grand hall of the de young museum on the opening of the hotness so the day before I was there there was a little very short little talk with david hockney sharing some thoughts and uh he shared so many gems he's a very down to earth gentlemen and for those of you who are not familiar with david hockney he's probably right now one of the most famous living british artists on dh he's always exploring he you know went through the polaroid multiple collage phase and he's being exploring ipad painting before that iphone painting and yet he still works in charcoal watercolor acrylic but this was what he said about photography and this is very interesting coming from someone who's actually quite known for his photography in terms of his photo colleges I'll just read it photography came out of painting and it's going back to painting and that's what we're doing that's what we're doing here photography's going back the painting the first cameras were made for painters they weren't made for photographers they want any photographers and he says it is really, really nice yorkshire accent so if you can imagine that I can't do it your tracks and max and I don't know what where it is now it's halfway in the middle of the atlantic but again, what what is the relevance of this to what we're going to do here? The relevance is I'm working with painter and photography I don't sort of see it all is like, you know, separate element for me it's all part of the creative process and it's all to do with fixing marks transforming marks fixing marks, transforming marks when you think about it, you know when we visualize with vision and how god that looks like a painting got to capture that so already we're painting in aa a mind in fact, interestingly enough, part of his reference to photography coming from painting is the fact that the camera obscura the pinhole camera being around for twenty five hundred years what see in china wrote about it two hundred bc leonardo da vinci wrote about it as the whole in a cave being used for painting so what way have eyes also is is somewhat peril to the whole pinhole camera, at least that was actually one of the theories, but so I just think that is really interesting to think about how it all comes together and what we're going to be doing in painter so let's talk about marc's, because again, I just want to keep bringing us back to the fact that, yes, we're working with software. I'm here, I'm going to teach coral pena x three, which I love it's, the best version of painter yet on dh it's an amazing, amazing sort of sort of facility for an artist. But what it's all about is the hand on mark's and it's a very interesting. So this is a photograph from the relatively recently discovered cave painting in spain, which they now think it's, the oldest known cave painting over fourth at forty thousand years on dh they found a number of so the animals, and then I love these ones. These air simply sprayed red pickman around the hand as she sort of reminds me of one of the early textures in painter. When pena one first came out, there was a hand that looked actually very similar, that so so making marks has bean part of our lives for a very, very long time on what I was saying about the camera obscura, this is just a example of kanna leto and some sketches he made in venice using the camera obscura and subsequently to that it was just a question of how do you fix the image? And in the eighteen thirty is a number of people worked at that problem, came up with solutions and hey, presto! We got photography artists of the time I said, well, technology let's dive in and this is being the story all the time. It's like technology, comes up and you know, artists take what's out there and try it out and do something with them on dh so I wanted to share, of course, one of the most well known proponents of using photography for painting in the nineteenth century, very well documented was a god, a god. Now, many, many artists were using photography, but a good cigar, particularly he loved photography, and he loved painting. I just think this is fascinating on again, very relevant to what we're going to do with painter on what I'm dealing with this thiss week so on the left, you know, you have one of his photograph by day. Gar, I think is wonderful is here in the middle, you have a qa lodge of about three different images he took and what is really interesting if you look carefully, he flipped one of his images around so it's sort of here it was in sort of the eighteen nineties doing what people do in a photo shop on you know painter now so he was creating a scene on a composition thinking about what's gonna work what's gonna look good what's going to feel good and you know, diga was really ah someone who at the time was sort of revolutionary in his compositional approach to paintings where he was cutting things off they went off the edge very unusual compositions on dh what's interesting here is you can see from this juxtaposition that that seemed never existed he painted a lot of things that never existed on so I just want us a game what's the lesson for us I'm working with painter extra on what we're gonna do this week so the lesson here is I want you to free yourself up from any sense of constraint offered by the fact that you have a photograph as a reference and that you're not forced into oh I have to make it look like the photo or I have to stick with the composition that I happen to capture I want you to have a sense of freedom in a sense that you can totally go outside the boundaries you can totally take a risk on you khun totally experiment one of the interesting things that I go out of mohr ofwhat hockney said when hey was talking about image making was you know, he's got a very big thing about widening your vantage point going from multiple perspectives on he basically talks about how photography you know gives you a single point perspective in a single moment where reality is not that and even if we draw you know, look at a person as we look at them perspective is changing and we have two eyes and so we're seeing many angle was are the same person he was trying to capture that with his multiple photos but I want us to think about that as painters so when you work in photo reference I want you to really sort of just push push those limits of china borden how you interpret the photo at least feel that you have the freedom to so let's just take a little change of, uh, of pace we're going to go from, you know, talking about photography nineteenth century use of photography have come forward over one hundred years is now and now we have an amazing way to interact with their computer that really allows us to have very fine control of our tools on one of the keys to this is the walk home tablet on dh I've brought a couple along with me here so first of all for anybody who's watching online on his brand new digital painting, you will definitely want some form of a walk home tablet it's a pressure sensitive tablet and it really what unleashes the computer as an art studio and on our tool the word watch from harmony japanese company come for computer the harmony between human and computer and really a game this is the reason I wanted to show this and share this besides obviously from a mechanical point of view what you need to do computer painting you do need a tablet we're going to go into a bit more detail talking about types of tablets and models and stuff like that but what I really wanted to focus on in the intro hears the word harmony so my goal in when I am setting up my digital paint studio in my computer in painter my goal is in a way exactly what this sentiment is all about so my goal is to achieve a harmony where all this stuff there's a lot of stuff there's a lot of controls there's a lot of places where I can access deep levels of mohr content you know whether it's art materials brushes so there's lots and lots of things going on what I want to do is create an environment in my computer where I can have the focus on the concentration on dh be in the creative zone on flow with that paint so that is sometimes a challenge I don't deny that there is a built in an inherent challenge in doing that with digital paint but that is my goal on dso welcome is one of the tools that helped me that and I'm going to be sharing a whole philosophy of how I work with painter is all about getting that harmony so um, which sort of brings me on teo a review of what we're going to cover in these three days so what I want to do is, you know, I have a physics background as I mentioned on dh so in in physics you sort of look at the big picture, you look at the a priori assumptions and then you build up complexity from a very simple framework but you always start with that big picture framer so what I want to do is I want to give you the big picture so I'm going to go through each of the three days just to give you a sense of where we're going. So today day one is all about foundation it's all about building a solid foundation that then allows us to flow with pain and a ll the investment of time and effort in the foundation pays dividends so big when it comes to a free new up to paint so it is totally worth all the effort we're going to go through some basics this is begin a intro to corral painter extremes, so I'm going to cover the basics as as if someone had not ever seen painted before on for all of you no painter like the back of your hand just forgive me for going through step by step things you already know we're gonna look at the interface we're going to talk about the navigating your way around the interface the terminology then of course the basics you know the basics are well how do I choose brush how do I make it bigger smaller or lower capacity or higher opacity I want to change color how do I change color I just color then we're going to get into a little bit starting to get a little bit more deeper level we're goingto look att palate arrangements work spaces explain what the difference is between those on dh then finally we're also going to look at the importance of program in your wacom tablet on using shortcuts throughout which comes right back to the lesson on harmony because the thing with the short cuts is ergonomically they start to allow you to flow like a dancer with painter you know you sort of you have your butt in here for the temporal color palette bomb you tab away the pallets from you know you bring back what you need when you need it so it actually allows you to be very efficient and then I'm going to say and demonstrate a little bit of something which I think is to little known about and I want to just let more people know about it because it's an amazing tool out there, and that is on ipad up, auto works on android or the mobile devices could sink. Oh, it's, a free up from painter from carell and allows you to use your mobile device as a short cut device. So I'm just going to show that because I just want you all to be aware of that. This is the quick tips, inspiring insights and handy short cut hand out andi so everybody who's enrolled in this class, I should have this on dh. We do talk about the organizing, the optimizing that's, very important and that's some of what we're going to cover today, um, when it comes to programme in your tablets because, you know, everybody has different tablets, and I'm sure with its audience, we've got every possible a combination of tablet. So rather than go through programming of one specific model, what I've done is I've shared in his hand out just some of the shortcut that I find useful on the ones are emboldened in the top part of the page, the ones that I tend to put as my express key short cuts because I find them handy. Now, all of this is a personal, you know, it's personal matter of how you work, a none of what I say here is meant to imply this is, you know, the right way to do it this is simply me sharing what works for me on then I always just just try it out modify it and do what works for you so day two is when we're going to get into the workflow photo painting workflow nitty gritty that is when we're really going to go step by step by step on dh painter extra I can't tell you enough how much I love this program it it's really interesting even though I was on the beat a team so I was using it for a few months before it was released it was it's sort of like this slow sort of growing thing which just just grown on me on it the more I use it the more I love it and especially with with the photo painting work flow as you're going to see it it's very efficient so we're goingto look tomorrow at lessons from master painters who we can always learn so much about on again never forget you know the inspiration that no matter how techie we get let's keep our minds coming back so why we hear why we painting why are we painting from this photo what's the what's you know what's making us want to paint from this photo capturing and choosing the photo there we go for painting setting the goals of vision the inspiration of what you want to say with your painting establishing consistent naming saving system really important. So again, you'll see me emphasize that again and again. I do have that on here. Sutton pv n saving system. It. You know, I share this not because it's, like, you know, I try to think of let's. Think of a system. I share this simply because it works on dh. I was at you sharing a story with wonderful creative life team I'm working with here about how just a few months ago I was going to be going too strong too. I remembered I'd done a portrait of a gentleman who was involved with tv stations, like in nineteen ninety five a ted conference on within five minutes, I was able to find the portrait because I use this system on dh look up his website. Give him a call. He invited me to give a talk at this conference. I mean, the system work, so, you know, again, try it out adapted, but it definitely works for me. Uh, we're gonna look at some prepping of the photo for painting. Um, setting up a pallet arrangement. Miso home plus, just like a chef, you know, you're about to do some cooking. You got to get everything in place. Tidy the services, make sure you've got the sword and pepper and spice in the right place on the sharp knives, et cetera we have to do the same thing in painter, so we'll be getting our palate arrangement looking good. Andi, I'll be explaining all this clone source painting image small big arrangement, multiple cloning source versions. This is one of the amazing things now with painted x tree if they've made it so easy to create variations on your source image and go back and forth between them. So it's it's ah it's really? When you see it is like wow, it's like it's just so easy but it's fun and then you can start bringing in different influences into your painting. Um then we have we're going to talk about crime in the campus which by which I mean, what are we gonna paint on to relieve the photo there? Do we fill it with something? We, uh, run a filter of the photo? I mean, whatever. On dh there's, no right and wrong answers. Everything works so it's just a question of style and choice abstracting from the source and then finally refining resolving and that would, uh, transforming transforming so if you're going to write down wonder a little nugget from today so far I would say jeremy says no undue so and all of you who started with me over a boy like you must be so fed up there's two things that jeremy says a lot no undue and what's the other one a bull's got it save as it's so true I mean, if anybody comes in, takes an in person class with me is like every two minutes I will crown has everyone saved as is like, what a game you know? But this is how you document your process uh, and it really does make a difference on I really do recommend that and that little workload that's going to be covered tomorrow. I've sort of done a little step by step in the notes that you have, so that hopefully will be helpful just again, just as a suggestion. Color and texture is the date three because they three we've now got the foundation we've got solid ground set good way we know how to get around the program. We've got a solid workflow set day two we know a really nice way to flo with photos that frees us up that allows us to be very expressive if we want to be so we've got that set to two basic things now day three we can let go of it, okay, we've got a lot of mechanics and technical stuff dumb let's now dive into pushing ourselves creatively a little bit let's not you know fuel sort of were constrained let's push ourselves color wise let's see if we can expand our range color and still have it work let's push texture let's work with paper texture live with other ways to emboss using pastor whatever means we want andi even one three printed put something on the campus if we feel like it I should just say of the you know this felt like it needed a physical texture on the canvas so I worked into it with acrylic this one I've been looking at this for a while now and I'm sort of like, you know what? It sort of works flat there's something about the it's an illusion obviously it's it's you know it isn't the scene it's simply color but I actually like the abstract nous of the flat mate so I'm not sure I'm going to work on top of that with still still still mulling that one of the questions by the way that I was asked a few pre questions sent to me was when do you know when you're finished on as he first of all, whenever I think I'm finished for sure I'm not finished that's the one golden rule for me anyway and I'm still working on some paintings for years I mean actually I have a portrait I did of the spokes lady for the giants for now on dh I've bean adding things to her portrait for, like eight years. So when she got the world series rings, I sort of photographed in there on her portrait, she's loving it. So every time she sees it it's different so in and turn off my gosh he was he was such a one two sort of noodle and needle onto his paintings continuously on dh, even the famously in the varnishing day. And I share that story on on the sheet that the pdf bonus. Pdf but there's, this really funny story how hey, and comfortable where next pictures were next to each other in the royal academy for show. And when he walked in turner, look between the two paintings, he had this gray painting constable had this colorful painting and so turner went away, came back with a palette of a million pain. He went up, stood on a ladder and just put a dog of a million. She went away. And then, just like an hour before the last vanishing day moment was allowed, he came back and varnished it in and made it look like a buoy in the middle of his painting because it was a ceasing. Anyway, the answer is, who knows when it's finished, things could go on and on. So color and texture and you know is it a photo or a painting test that's a test you know apply to myself it if someone walks in and they look atyou whatever you created and with a photo or a painting and some of my work is like that is like well, is that a photo or a painting nothing wrong with it it is clearly not painfully enough to be read as a painting and this is a personal choice I mean there's a whole huge body of a painting that is photo realism that looks more like a photo that a photo so nothing wrong with it but depending what your goal is, think about that and we're going to go over there on the last day different ways that you can really work in, expand your color and make something incredibly painterly on dh what was interesting with a guard I just showed earlier clearly if you looked at the image on the right that's an artwork it's not a photo there's no way you'd look at that and say that's a photo now is not in fact it's sort of surprising when you see the photo source from it on dh that comes to that point we're going to look at variations on themes variation is another in a really, really important seem here so just to recap important things uh let's see transformation very important thing transformation um and by the way along with that is commitment to process because when I say no I'm do what no undue is is commitment to always move forward so you're continually enriching your canvas and no I'm doing it's always not quite right island do that it's not quite right because that block you creatively so transformation always moving forward and variation is another really important theme here on dh just teo put a little perspective on why I want to emphasize that at this early stage in the workshop um when you think about what is digital good ad digital is bits and bytes it's ones and zeroes when it all balls down to it everything in the computer is represented by one's so so digital can be very precise it can also be very uniform andi it's so ironic here we are trying to paint trains make things look organic and varied and we're using a tool which is so good at uniformity. So here is why as painters in paint an extra e we want to think about this is like it's very easy to make this precisely the same color again and again and again in a game in a way that you never could do its traditional media because you know you make some color you painted you go back you've already dirtied it's already changed even if you wanted to make uniform color it's actually very difficult to where is in painter it's really easy to make everything uniform on dso we're going to really push variation of sort of brush stroke of color of tone in an intentional way, not randomly, not not just sort of so it makes a mess, but so it so it always helps you tell your story, so intentionality is very important power of accent, accenting things. That story about turner is a perfect example. We're gonna have a little look out put options just briefly on dh talking of output. I just want to say a big thank you to all the people who've sponsored the contest and bay photo very generously offering their output, which I've used actually on I have a metal print with me that I'll show you later in the workshop and then beyond digital, so just that we're going to touch on post print painting, literally just touching it that's going to be it's not going to be the be all and end all post print, but I just want to share a taste because I want to encourage your to go for it. So go for your campus prince when it feels right go for adding something on the print, how many people here have bean adding media to their prince? And so what difference do you find? It makes it sells it I mean, it completely takes away. The question is, if the painters of the photograph, the challenge I have is when clients come into my studio and the one completely finished painting, I have they think that I didn't do it. They think it's just a piece of art that I purchased so well. And what are you pull? What? Not much, mostly for a self satisfaction? Well, we'll get deeper into that and for the online audience out there, if any of you want to share online any stories about the your own use of post print painting and adding media onto your prince thie impact has had or how you enjoy it, whatever do send that along? I'd be interested to hear on dh appreciate it appreciate hearing your own stories wait did get some feedback this morning about experience level and where everybody oh, excellent, online. We thought we'd share a couple of love that I needed glasses, water, great tio copper boom said that is from southern oregon and purchased painter twelve and the large into us five last february, but is basically starting out now. One one k, says nuta karol painter, but give it I didn't try digital painting with photoshopping similar, so I thought I'd stay around and learn something from an expert. Well, I hope you never help him along their way, so tell himto tell him to stick in there and I'm gonna, you know, we're going to get to some exciting stuff. I know I've been talking a lot, but well, we'll get we'll get some fun stuff for them. Hold tight shade on. Carol, you're also said five to six years with painter and several several courses, but I have much trouble getting creative from the photo and departing it departing from it some, she says, I don't paint well at all and I don't know how to create an image without the photo, so that's where? Ok, leave me too, really interesting a question that I had relating I think too, that as well so in terms of knowing where to go and depart from, the photo or two should have bend around the edges and especially with color and different types of marks. One of the questions in fact julie had asked me, was about whether if I remember your question correctly, do what you wanna ask it the one about the is it helpful to take art classes you want? Yeah, I wanted to know I have no talent, but would it be helpful for me to take some kind of drawing or art class or something while I was doing this? Yeah so the question is about you know is it worth taking drawing our classes so the answer is absolutely yes and definitely go for it now drawing eyes an absolute amazing training for seeing and for looking and for observation on dh when I'm painting from a photo in the computer I'm still doing as much like really looking and observing almost as in fact as when I I'm looking at a physical object sitting there in front of me on dh it's what drawing will do it will really train your eyes and it can only help and then gradually you'll see your range of marx and your quality of march will change by the fact that you're working in traditional media so I would definitely say yes and it's not if you don't have that you know can you do great things in paint? Absolutely you don't need to be able to draw but there is no doubt about it that drawing is a wonderful skill everybody can learn to draw on dh it will without any shadow of a doubt it will definitely impact what you do in painter without any doubt at all do you want to share any other? It just might be a moment teo you know we were talking earlier about how our viewers and anybody can access curl pining for thirty days a cz a pretrial so if they are completely inspired by what you have and they haven't yet got painter is this is this right? You could do with any day front yeah, so paint you can just download from karol dot com forward slash painter andi you can download it for free, full, fully functional trial for thirty days, so yeah, absolutely have a go, but once you start playing with it, I think it is very addictive and I did you know, he say some people have got pain in twelve and I know there's a question or, you know, should I upgrade or not? I mean, just speaking from my personal point of view and I'm not you mentioned I'm an independent artist. I'm not an employee of wycombe or of carell, but from a purely personal point of view as an artist using these tools and I've used paint twelve you know, since it was around now I'm using paint ecks treat for me, it's like goethe extra and I don't just say that to try and promote it. I say that because it's got its really like the products and matured on dh, I'm really enjoying the way that it it's come into its own in a way it's well worth it however, if those watching online err are using a previous version like ten or before this course will still be africa balto yes, absolutely great thie interface. The main interface didn't change that much, so everything I show you could do in other versions, except for a few, you know, the cloning work clothes, different there's, a few very specific technical things. But, yes, absolute. Thank you.