Corel Painter X3

Lesson 19 of 25

Arrangement Review & Tone Exercise

 

Corel Painter X3

Lesson 19 of 25

Arrangement Review & Tone Exercise

 

Lesson Info

Arrangement Review & Tone Exercise

So I just wanted to say it a little bit about the painting that I have here on dh this's a painting that was one of a series of paintings done in collaboration with a modern dancer tiffany barbara rush and we went to different parts of the city on dh she just dumps they took photos and then I did a serious of paintings off her in these different structures and textures ofthe san francisco this particular woman the europe of warner gardens andi what I want to do is just briefly share with you what an early stage of the painting look like. So if we just look at the screen a moment on dh you'll see there that I it it's that same abstraction sort of really just playing with brushstroke color on tone on the original photograph eyes here so you know, I went from here and I let go of lots and lots of things and then I brought back a little bit but very selectively and very painfully another thing that you'll notice is my use of the bright sort of bright light green blue there as a sort of hig...

hlight color I do tend to use that a lot I love that on the contrast of a lot of complementary colors that the reds and the greens et cetera but I just wanted to have a sense of this feeling that you know her looking out from uh the uh from these long grass is on this is a print on canvas so most of the work and you know I'm showing you in this workshop is all printed on canvas inject print I use an absent ninety six hundred but you knows many, many good printers on we're going to talk a bit more later about things you can do to your campus surface so enough of that let's now go back to the computer and get get doing some painting I've been talking so much I feel like I should get get painting a little bit so when I came into the studio this morning toe open up pain a bomb check it out who let's just have a look I need to put on my hard on a moment hold on a moment let me let me put on my glasses I am a jie I'm a little short sighted so writing can be a little blood from a distance of hold on a moment oh my gosh look at that pull to meson to meson portrait's dot com so this is a wonderful painting by one of in studio audience members pour and pour would you just like to say a little bit about what we're seeing here because I think this actually exemplifies and summarizes a lot of what I was just talking about before the break so would you like to see just a little bit like what you did with scene I love that you're sharing process here I love that please there thank you so much, jeremy. It is haphazard the way that does come up and once in a while it'll pop up first even on my computer. Anyway, it was a sitting with a little girl she's eleven there part of a dance school that I photograph pro bono she has two little brothers and but she was centre of attention here and that's a built in window at my studio and it's unpainted there since I've painted since then that's what I did in that those final version on which sort of brushes did you use the most? Generally I start out with ah splatter brush and then a sergeant that I modified to eh grainy drip and then I I I actually go using that crow quill pen to define some lines and then take some of those lines away at pat will I use a good brush that's another way to blend just one final thing because I think it's interesting for the audience out there online. You know, to hear from other artists like what sort of brushes they use is always going to be different very interesting for me to hear you mentioned a splatter brush and that's very interesting to me is that a particular valiant you remember which variant that is I don't want to put you on the spot, but it doesn't then have a splatter brush she probably don't know that might be the one. Well, anyway, I just thought that so one word to the online audience out there, we'll come back after the break because I opened up painted this morning and I saw pools, lovely artwork, I didn't touch it because if you open it up again, you always get a different outwork appearing. So what we're about to enter into is painter as I left it last night, but that's okay, this is all really process on. I want to share real stuff, so you're gonna have to bear with me while I do what you will have to do every time you come back to paint, you've got the, you know, the washing up left in the sink on dh, someone, you have to just clean it up, get backto, get back to a fresh surface for your new project, and I'm going to do a fresh project to illustrate color and texture so fresh project on dh. So with the cleaning up, I just want to add one thing about memory and the computer, so when you work in painter, especially if you work on multiple level colleges with anything with lots and lots of layers, lots and lots of clone sources noticed you know, basically clone sources like layers in a sense they're not layers, and I don't want to confuse anybody, but they add to the file the rift file on their part of the rift file. So all I'm saying is that as you work and work and work and work and paint paint paint on a project in paint, are you using up more of the memory of the computer and it's really important? If you've been using, you know, painting for hours on end or you've been working on a big project, just quit out of painter, reopen it very, very helpful one other tip about painter and making it work well, if you ever run into problems and I bother I I have found paint extra is fantastic it's stable either had no problems with that. I use it on mac and pc, but if you ever run into a problem painter for any reason you're really stuck, there is a factory restart technique, but it will raise all the custom stuff in the program, so you don't want to do this unless you really have to. Andi it's always something where you should be backing up, you should always be backing up any outwork, obviously, and even custom brushes and custom stuff. I always had it backed up in the case of my workspace you have that file and that is a back up but if you ever need to do a factory default restart the painter let's see if anyone here knows so I know that some of you out there know anyone in the studio audience what what do you hold down when you re start painting is the shift key? You hold the shift when you re started you say all work spaces but it will raise every bit of custom data and it says if you just installed a painter so don't do it don't do it unless you really have to pay anyway there's just put that away as simply as information um talking of layers I d'oh want to address one question that came up a cz result of yesterday's the presentation on demonstration I had an email from someone who asked me why are you saving so frequently instead of just making lots of layers that's roughly the question and I think, you know, I think you know important to understand what you saw yesterday you saw me paint for the whole afternoon and ended up saving about twenty four versions or so and I did a lot of save as is and it was a little bit put empty, you know, took up a bit of time on, you know, it is a bit of work, but what it provides me with is an incredible, versatile history which I can use very easily for me I don't want to make all those layers besides effect it would overload the file it would be it would you know, just get in the way even if I turn them invisible it's not how I work so in answer to that question, those versions are all very important states of my development of my artwork and I love having them all a separate files now it's totally up to you if you have a layer system and you want to just try out layers but for me it just doesn't make sense plus I want to keep my campus lean and mean I don't wanna have layers I don't need and you saw whenever I generate a layer pretty soon I dropped it because I want to be a blend and paint so I don't want to see a lot of distraction of extra layers even with the icons turned off the ei icon but injury that's addressing that question so let's get into painter andi it's a little bit of miss I left it, you know, moved a few things around, so what we're going to do is first of all we're going to go back to my arrange pallets remember it's not work space where in my workspace it's arrange pallets and I'm going to choose a layout now I'm going to talk about tone and color as it pertains to painting from photographs so I'm going to stick with my painting from photographs palate arrangement because I'm still going to do a photo painting but I'm going to now do some exercises, which is specific to looking at tone color so that's why I just chose that and by the you'll see here the the wonderful ease of using palate arrangements and I encourage you to really take advantage of things like this save your arrangement yoga I mean, this is just you know, this is my thoughts of here on how I lay things out but you know, you should be creating our own palate arrangements and having fun with that yesterday if you remember is a demo I did one on said b k painting lay out by the way, if you create too many and they're just messing things up, you just go to lead layout on you choose which loud you wanted to leave and you delete it so you could very easily edit your palate arrangements and keep things neat and tidy so there we go, okay let's pick a a picture to paint and I'm going to go to my desktop and I'm going to go to let's see, I think I'm going to go to, um our projects soul spin on I'm just going to open up a photo that I took in santa fe on this was part of my workshop last year um is earlier this year which was painting the passion of flamenco at santa fe photographic workshops we had the great player in honor of working with the most amazing world class musicians and dancers from santa fe this is so on dh we went to the most amazing venue, which is the scottish rite temple in santa fe, which is a building pink building based on the elam brah, which is close to the origins ofthe flamenco in the caves around there so it was really beautiful on dh we had amazing time I'm goingto just so that you know I'm going to be teaching that same course again coming up I think it's actually think it's can't even remember the guy I may or something march I have to look at my own calendar, but if you go to my website I'm going to be there a game teaching the same class but this particular photo let's just tab away pallets and have a moment to commune with the image you know why not do the things that you talked about there? I'm taking a moment to think what where we gonna go with this image? What do we want to do? Obviously this image is about movement this image is about flow this image is also about focus so there's many things I want to come out of a painting based on this image so I just allow myself a moment to sit with the image there we go on doll so we've got a built in wonderful accent on her head there with the flower on dh that you remind me a little bit of that vermeer with big red hat on just that dash of red's gonna be great really enjoy that okay, so what I'm going to do is start off here, bring back my pallets on dh we're going to start off repeating some of what we did yesterday and then we're going to die aggress so first of all, repeating what was the first thing I did once? Well actually, before we get into the the the cloning workflow I do want to check how big my file sizes just to have a look and I'm gonna turn it into pixels and just get a sense of it perfect not too many pixels two thousand by three thousand honestly that's what counts in painter is the picture was not the you know not the inches I mean I could say it's eight by twelve and a half to forty or I could say it's twenty by thirty at one hundred and you know it's still the same size on dh if I go to pixels it's still two thousand by three thousand and painter is you know in terms of the influence of size on the actions and performance of the program all it worries about is the data and the data is connected with the pixels not I mean obviously that's determined by the combination of inches and pictures per inch it's all just math so this is good to twenty by thirty eight one hundred and actually it's always good to include in let's see soul spin here we go on I'm going to uh no money I don't have gaps in my name so off the soul spin called this number two on dh I'm gonna make a note that this is twenty by thirty I do find it useful tohave the measurement so I don't forget especially if you start you know in future changing size so about thirty eight hundred now what is the file format we want generally when we're painting in painting in fact not generally if we're doing cloning of any kind or photo painting it's not even a general thing is that you need to be saving is a riff if you want to save the data that is going to accumulate in the clone source panel and then what was the next thing that we did um nothing happens because great out why's it grayed out you don't have a I don't have a clone source so actually the first the next step on by the way I'm not going to bother with any prep for this image I was using it as is for this demo. So the next step is select the same image as his own clone source this's what used to be filed clone which you could still do but for those of you started with me before paying twelve you know my work flow is file clone and then I fill the clown copy. This is just like all it's like all in one it's one stop shopping and now we have an image and it's already got itself set as clone source and then what did I do? Yes show so awesome even notice now we can pick that before I do that I generally like to do a command or em on a mac control em on a pc so that I go out of screen mode full screen and then I do the show source image. And one thing to note everybody just in terms of the way that the mechanics of painter works in this cloning workflow is when you select show source image what immediately happens instantly and this is where it's like you've gotta be on your toes instantly the source image is in front of your painting image and it's a little confusing because it's so instant it looks the same and, well where's the clone source gun and we talked about this yesterday and it's it's just I just want you all to get in the rhythm of how this workflow on dna is not my work for how the system is working in the new paint extra this's just what it does show show its image, it puts the source image in front of the painting image right away, so we're going to grab that image right away from the front, but what are we going to do so we can lay it out in the small, big arrangement we're going to press which key tab? Because when you want to lay things out it's really difficult to lay them out if you've got a lot of pallets all over the place, so make life simple laid out without the palate showing. So I think that you probably all got the message yesterday that that tab is a hugely important key on along with the temporal color palette and the brush sighs change those three air incredibly used for may use them all the time so let's, just zoom out here, put that up there and, um let's zoom out a bit here because I want to see the edges and put that there maybe lou that down a bit lower that down a bit, go back so like that on dh sometimes you will get three radio buttons if you accidentally touched on the source image sometimes you don't so you don't always know if you make any changes you will see it I didn't make a change to it but yesterday it happened that I didn't realize I made changes and appeared so just be aware of that okay bring back the pallets on dh I'm going to actually shrink this down a little bit so that when I have my palate showing I can still see it all I'm going to move this one on move it over here so I can see it all these for the moment and um and again what did we do yesterday before we even thought about prime in the canvas and whether our painting over you know the photo are filling it with color what did we do yesterday? First we spend a little bit of time doing something yes we actually created variations and especially for today's exercises it actually be very useful toe have a de saturated version off this source image and so were quickly going to make a decent rated version. Obviously you can do this outside a painter beforehand and imported any time you want you can go to this button here and import mohr images just so that you know you can you know you can keep importing images um but let's let's go here go back here and how can we quickly make a decent traded version? Anybody julie, you go take a black and white yeah, but how do we do that? What we're gonna do under pain yeah take that under painting palette which I clicked on clicked on this button down the bottom on dh then go to the saturation and just de saturated and if you feel you need to apply an equalizer but actually I don't feel I need to you don't have to do all this stuff every time or use every affect every time and the things I'm showing I just want you to really treat it with a pinch of salt just like we did yesterday so we didn't do the school over there. Uh okay, maybe we can do that after lunch a little bit I wantedto drop the salt on the watercolor so this is good enough for me. It's it's uh the saturated on dh so I want to save this and remember it is the same shortcut, so you don't have to go to file export source image it's just that they've changed the name save as when you're in the source image as being the active image source image you'll see written at the top and I'm going to go save as andi this will become number three on dh this is d set on dh I could say it's source d set and say that riff okay and now we go back to this image and we do get the three radio buttons in which one do we want a hit? Great yeah create new click huh? Piece of cake right piece of cake excellent so we now have the ability to go between the black and white or color I'm going to actually start off with a black and white because what I want to do is focus on tone because as you saw from the that little journey through the history of painting not the history of painting but some of the paintings have inspired me what's a common thing that keeps coming back is a power of tonal contrasts no matter what happens with color so we've got to get a handle on tone so I'm just going to do a select a ll that's a command a on a mac or a control a on a pc and I'm going to press the delete key um or the backspace key let me just uh have a look here oh, there we go and I'm just going to clear my campus um and in fact just so that you know for those of you who end up using my workspace um I you know I have a uh I did a little script on dh that clear but now I'm just going to do and undo that clear button basically does hopefully who does that same equivalent things so let me just there we go and let's go back it so I'm in a pick um actually I'm going to pick a nice pencil and we're just going to make a thumbnail sketch totally and we're going to do this in just two minutes so this is not a painting and this is purely about, um observation purely about observation and looking at shapes and blocks so I'm going teo might just put it in here six b and see what the search comes up with on dh there is the six piece ofthe pencil we had a look at some of these pencils when I did my comparison with how the soft pencil works on the paper and this is another one where if you watch my brush that wire from under them so if we could just for a moment have the camera zoom in on my hand on the tablet on dh I'm just going to first I'm gonna make this like a really dark charcoal color there we go and I'm going to also um I think let's see, I'm just debating whether to make it a bit smaller maybe I'll leave it the size of the moment when it's when it's pel benedick yelena my my shape here is my line is that thick? When I put it on the side, I can get a really nice shading like this very quickly so I can cover things really quickly with this size that we go on, so what I'm going to do is just map out light and dark, and I'm one thing I want to emphasize here is I'm not trying to do a contoured drawing off this person. What I'm doing is half closing eyes I don't know you probably can't see me because when I look this direction and a half because my it's obscured from the camera, but what I'm doing is I'm half closing my eyes and I'm just looking at the shapes here on dh when it goes really dark and making it dark and then as it goes grayer, I sort of lighten up my pressure on the pencil and I'm just going to quickly go through here and I'm no, you know, I don't want to worry about making its not a drawing off this dancer is a I want to do a thumb now sketch of the block, main blocks of light and dark that I want to remember as I'm painting so it's not it doesn't matter about exact and actually, you know, you may ask, well, why don't you just turn tracing paper on? And it makes it much easier and that the the exercise I'm doing here it's very specifically don't use tracing paper because this is all about observation and so as soon as you turned tracing paper on you, of course you could make a some nail sketch really quick and then turned tracing paper often look at it, but you've lost all that you get from forcing yourself to analyse the source and actually I should probably use my tab key on get rid of the distraction. Um now another thing, there's a lot of gray background here. If anybody finds out that midterm grade depending on the project they're working on is just either too light or too dog. And it sometimes is, you know, and for presentations generally darken it. This is the default gray. I haven't done anything to it at all, but just so that you all know if you do want to adjust the background window color teo, things look better or clearer. All you do is you go into the preferences on a mac that is karol painter x three preferences on a pc edit preferences and then you go down to interface. Andi, you go to background color and you double click on it and you just adjust it so I'm gonna make it a little bit darker on dh see if that works, huh ooh, okay, now that man may not be helped, but just so that you'll know how to do that, um on dh so party looks more dramatic though so from that point of view it's guys so let me just have a look so what I was saying was yes you could you if you use tracing paper you're not using your powers of observation on this is this exercise is to get you to really think and look at what is happening in your composition and it doesn't matter if it's in accurate on you know you've got things all over the place you know you don't you know some of you are incredibly experienced artists on dh have art school training and have a lot more training and then I do and some of you have never probably never drawn or you know have never bean toe art school or anything so we have a full range of experience in the audience out there and all I want to do is reassure those people who don't have a formal art background yes you can still do the sex size and yes it's still useful obviously if you go and take a drawing class you're going to just find that naturally through practice you will naturally start to get more accurate translation from observation too description through movement of your hand on the paper or in this case on the stylist so I'm looking here that's a really like gray something the press very lightly here um by the way this is a type of thing where sometimes you may wish to calibrate your pressure separately for a brush so for instance if you're trying to get a really, really subtle gray on dh I get nothing and then suddenly it's too dark and that can happen with certain brushes because it was happening in the way the brush behavior is responding to pressure is there's a curve that determines that on that curve is such that as you just started pressing it goes to too much responsibility so if it is that's happening and like I want to get a really subtle graham not quite being every ghetto actually um even I press lightly a minute suddenly is too dark then there is there is a feature which allows you to calibrate brushes individually and it's called brush calibration down here and it looks like when it comes up it looks like this. Um now I did have a question from someone actually from julie about the advanced controls on dh that was I showed it briefly yesterday. You know with the preface that this is not a beginner thing on dh I clicked on this funny icon in the top right and it brought this here and she asked me, is there a way to just have the panel the only relevant to that particular brush? Andi this is actually it's so the advance controls you see here only shows panels which can affect that brush at that time and if you change the brush just so that you know so supposing I go from the rial six b to a flattened pence or some of you know or or better still teo denzel funky chunky do you see that they're all changing because they're different panels that a relevant now in deciding what to put in here, there was there's some, you know, some question of, you know, should one include brush calibration or not? So it's not included, but it does apply to any brush you can individually calibrate a brush on dh so again we go to the brush controls panel brush calibration on dh I'm now going to calibrate ha ha the rial six piece ofthe pencil and see if I can just make it so it's going to respond a bit better on dh, what I'm gonna do is check the enable brush calibration and this is only going to apply to the very amusing, so it's different to the thing we did on day one when we went to preferences brush tracking, which is global across the whole program. So just so you don't get confused, andi also heart terminology I'm sorry about this, you know it's sort of such a dry thing terminology, but pain a as I've mentioned as many multiple words for the same thing, you know, paper grain texture tracking and calibration sort of used interchangeably, so brush tracking is brushed calibration except that the word first tracking here means it's global of everything in the program that you use pressure whereas enable burst calibration is only going to effect very amusing. So the only question here is whether you purposely press hard or soft when you make a brushstroke. So if you need a lot more sensitivity, you do a very soft stroke is what it's going to have to do is respond to someone who oh my god! So who's hardly puts pressure. They're so light handed that if they just touch it, it needs to immediately go very dark help help! Help! So I don't want that I want the opposite. I want to be able to get a light grey with enough I had she needed to react as if I've got a heavy a hand and then I will get more control with this type of brush so I'm out you gonna do the opposite? I'm purposely gonna press harder than I normally do sit like so okay like that now I don't normally ever paint with that heavy pressure that I just used, but now what's going to happen is ah much better so now I can press softly and gradually get soft gray so anyway that's all to say that bit of a digression as, uh as, uh tends to happen with me but all to say that you're able to do that with brushes on dh it can be helpful it's just get rid of this get out the way on gum put it on its side so I can get that soft brush stroke there we go on quickly there how so much from my two minutes, right? The problem is I talk so much, but I want to share so much so if I was just doing this on my own, maybe it would have been three or four minutes, but because I'm a chatterbox, you know? And actually I've gone into an area that I really don't want to have that I have to keep looking there's a wonderful angle here and a shape here, so I'm going to look a tte I'm going to go back and forth using here that, um and again what I'm doing here is just looking at shapes is a wonderful triangle here, so let's, just play with that abed andi, you could just look at the abstract and actually, huh? Thank you person yesterday who texted in or put a note from online I forgot her name, but she said, why did you turn everything upside down? So why didn't I think of that? Oh yeah because this would be the perfect time to do that so we just go rotate canvas I went canvas rotate canvas one eighty and you can you know make that a button if you do it a lot I'm going to save I'm gonna update the file because I don't want to generate an upside down new version but I do want it to be upside down for the moment and then I'm gonna put this upside down as well retake canvas one eighty on dh what this does is actually very helpful because it just disconnect your mind from, uh, let me just uh let me tap things away here, here we go it just disconnect your mind from thinking or no, I've got to make her look pretty and you know, it does make you look at at the tone and the reason that we're doing this believe it or not is order new with color because if we can communicate what we're doing in the thumbnail really loosely into a color painting it will work no matter what the color is we used on dh that is the basis of all that focus work that we saw in the earlier segment and so now actually, you know what? It is easier to do it upside down because you disconnect from from worrying about the what and you just look at what is there the challenge with all of this is the brains of such efficient pattern recognition mechanisms that it's really difficult to disconnect yourself from thinking what it is and therefore, you know, everything there you don't look at what's really there and it's a challenge that was that's where in away drawing is about overriding those pattern recognition impulses and actually seeing beyond the automatic recognition mechanisms. So I think I'm just about there I'm going to just bring a little bit of white on dh this again is not a painting, and I know I said no pure white or black, but actually hey, I'm just this's this is just about looking at shapes of tone, so I'm gonna leave this uh here because that's that's good enough that that's basically what I wanted to see with the rough shapes on dh I'm goingto teo turn everything back back how it was so one eighty go here canvas rotate one eighty and then we're going to say update that's fine on dh then what I'm also going to do is take this image and I'm going to make this a clone source so we can have it as easy reference why not well at you before I do anything else, I should save it save as and so this is number four and this is my, um, tonal thumbnail oh, you could call it a value study that's also what is known as it's a value study on the word study means don't wise don't worry just do it do it don't worry always about is looking shapes comparison contrast because that's what we want to get when we use color on and keep it as a rift blob blob blob blob blob blob or looks good on dh now we'll bring the palettes back on dh let's add that to a list of clone sources so one second this hasn't when I go to this it hasn't updated the name um I could always just go open source andi go to soul spin on goto value study and there it is that may be a safe way to do that. And what's nice about this naming system is if you look at the clone source panel it's pull it out a bit. If you look at the cloning source panel, you'll see that it makes it life really easy having those names and if you end up with a long list you just dragged down, by the way one thing here to note, which is a sort of little tricky thing in painting it just show you here when you want to expand pallets and you saw me do it a few times over the last few couple of days um there's this really odd thing here where you have there's a line of about three pixels and you have to ha ve your cursor over those three pixel rose teo grab and drag and that works both for the horizontal on for the search for the vertical and for the horizontal movement so if I have a lot of clone sources and I want to see them all and I'm sure you've got much more real estate on your screen than I have in this particular situation so watch what happens I'm going to purposely take my cursor there it is and now I go but that was three pictures I'll do it again there it is and then I can drag but if I tried dragging here it doesn't work if I tried dragging here it doesn't work, you know, there it is that you're learning the mechanics off the system the same thing for you saw me go to the edge here and it's the same thing it's a three pixel column that allows me to do this but you have to you just get used to it the same with the layers panel panels everything in pain it's you've basically got these active strips and you just have to wait till you homer above them and then drag drag sometimes is a bit fiddly, you know and you know when you first dive in it could be a little a little frustrating is that I can't get it. I get it. But once you get to know, this is a bit helpful. So there we go on dh. So we wear done with the thumbnail exercise.

Class Description

Ready to explore the software program that’s changing the way photo art is created? Join creativeLIVE instructor Jeremy Sutton for an exploration of Corel Painter X3, a sophisticated tool for transforming photographs into fine art paintings. Drawing on his experience as a professional Painter artist, Jeremy will guide you step-by-step through the CorelPainter X3 interface and share his approach to painting from photo reference. Along the way, you’ll learn practical tips and shortcuts for using this powerful creative tool to its full potential in an efficient and empowering way. You’ll learn tips for choosing which of your images are best suited for photo painting and why. Jeremy will cover prepping images for painting, organizational systems that free you up to be creative, abstracting from the source, and resolving and refining your paintings. You’ll work with Painter’s brushes, paper textures, the new clone source and reference image panels, and more. By the end of this course, you’ll be able to enjoy painting with Corel Painter X3 and transforming your photographs into painterly artworks. All artwork samples shown are copyright 2013 Jeremy Sutton.

Reviews

a Creativelive Student
 

Fantastic! First- what this course is NOT. It is not learning about a filter or filters to push and make your photos look like "paintings". This is so much more. It is a very good base for those who have never used Corel Painter before, and a good introduction to the new version, Painter X3, for those who are using an earlier version. But, on a much deeper level, this is Jeremy showing you how you can reach into your own creative well, and try a more painterly approach -- and NOT BE SCARED BY IT! He starts with the tools and the workflow, and progresses into a full-fledged painting, live, with all of us watching! His openness, encouragement, and humor are evident throughout. It was a great learning experience to see him resolving and refining the painting, and talking us through the process. Jeremy said, referring to all of the other painters who have gone before, whose work we can admire and learn from, "We are all standing on each others shoulders". Well, Jeremy is sharing his broad shoulders for all of us to stand upon! Thank you Jeremy & CL!!

Michaela
 

Excellent class, really loved watching and learning from Jeremy, only down side is the bonus material of a membership to Jeremy's Paint Box site and Creative Live ignoring my emails about my disappointment, so when you order this class, do not get your hope to high for the bonus material, other than that, Jeremy is a great teacher and his style of teaching is brilliant, lovely and pleasant to watch, highly recommended!

a Creativelive Student
 

Just finished watching the course and I have to say it's the best investment I have made on the creative live website. If you don't know if you should buy it ,I can tell you right now I was in your shoes and I am so glad I did. Jeremy is an excellent instructor and a very talented painter . Corel painter software is overwhelming but after this course I have the tools to take what I have learned and not only not be intimidated but ready to create some beautiful art. Creative live bring Jeremy back so he can go in depth in the advanced settings , i would surely purchase that course also.