Corel Painter X3

Lesson 9 of 25

Capture, Prep

 

Corel Painter X3

Lesson 9 of 25

Capture, Prep

 

Lesson Info

Capture, Prep

So we are just about ready to get started we're going to introduce our instructor he had was incredible yesterday we've got today and tomorrow with him as well he's a he's a curl master he's been using coral painter since for over twenty years before when the first version was introduced and I'm going to bring him up under the stage right now we had a great day yesterday going to do something I love it way I told you right that's the dance floor it's a dancer and a painting floor double purpose got a lot of jeremy we had a really wonderful day with you yesterday and all of us just wanted to say thank you for that thank you ally means boys the energy of in getting from you and the audience online audience out there from all over the world including some from my home country so it's great to see you all well I know you have a lot to cover so I'm just going to let you get right to it absolutely thank you thank you very much and thank you for sharing your important reactions to yesterday i...

t was really interesting hearing what you're just shared on dh it really and I'm so thrilled that even just showing the absolute basics yesterday that you got you know got sort of motivated on really got a sense that you could just go for it with pain which is true on the wonderful thing about pain as you can you know as you know already for those using it it's so organic it's it really is something that it allows you to express yourself a sze yu are and everybody will use paint a totally differently and that's what I love about it and that's what I encourage with everybody that when you're you know using pain to just be yourself that's the key so you know you know, trying to be someone else or trying to emulate someone else you can learn from lots of people but ultimately what's wonderful is it's an incredible expressive tool for just expressing who you are through your art so I'm gonna wait a moment here till we get the picture but what I would love for the online audience out there good morning, good afternoon, good whatever time you're in, justus evelyn said, I would actually love to know what your takeaway was from yesterday what was the main thing that you enjoyed out of yesterday and why andi love to hear from you ah nde get some feedback so see what made a difference? I appreciated the comment that evelyn should someone said that they like working with the layers cnn explained very simply on dh it's interesting because as I mentioned yesterday, I'm not when I paint I tend to paint on a flat cameras I'm not a big layer person except when I do college that's a whole other thing, then layers come flooding in. But having said that, layers in pain and it can be so powerful, so fun, and you can do amazing things with the painting on the layers and protecting and I'm protecting areas of the layers sort of trying out different, competent method. You can really build up some interesting effect. In fact, funnily enough, I have with me today a painting that it did involve some layer work. Let me introduce to you here, marcus shelby. So he's ah, very good friend of mine he's, an amazing musician jazz musician here in san francisco. Marcus shelby dot com on again if you go tio my links page the pink box tv dot com forward slash creative life putting up links for all the paintings I'm showing on things that I mentioned each day, but this eyes I'm going to go into a little bit more process, but actually this it involves a bit of use of layers so it's both painting and layer. So what was your favorite part of day one? And why so look forward to hearing your answers on that end a few minutes already? Well, alright, always amazed how you allowed, because it's, like you must be like on your keyboard immediately take me like a while I want to think about it and weigh had a g clark says realizing the painter is like a huge studio with many george tools and supplies the possibilities are endless and say hi to ggo and that's actually, rituals are from yesterday I think on building banana your bush your brush tips were great. Jeremy thanks. I'm, uh oh, thank you. And that was just a few I mean there's so much to explore with brushes and just on that point, I would like to encourage you'il to take time to play and explore those brushes. I mean, I just had a chance yesterday to touch on a few and obviously throughout the next two days is eye pain. I'm just going to be using some different types of brushes, but there's so many amazing brushes there, so I just wanted, you know, big encouragement no matter what your project, if you're like really keen toe like do a photo project, you know, no matter what your aim is, I would take a little time out for play and for exploration and for literally just exploring, you know the brush looks and take advantage of that custom paddock called my faves or create one of your own on dh just every time you come across something you love take a copy of it in there if you remember, does anyone remember where you get copied? Very from what was the so you find a variant you love? How do you copy it into that category? Doesn't want remember oh, test test right away if I'm on a one way, many ways to do anything in painting one way probably the quickest way on mac is control actually for copying the variant, just go to the brushes menu brushes menu at the top copy variant um, so anyway, far away he was reading out some other ones. We've got a merry trevor said I hadn't used painter before. The class is giving me the reason to start loved the quotes on the pdf is well oh, excellent that, well, those clothes every one of those it really means a lot to me. I mean, I selected those quotes because they just ring true and there are many of them, you know, quotes, not about painting, but relate to the creative process and they're just very apt, so I'm glad that I appreciate it down easy says I started with painter when it came in its first can not mastered any of it, so okay are right expectation you asked down easy, you still have that can I have not alive almost all my paint cans but I have to admit when I didn't move from palo alto that first candice that's so funny because he says sure wish I'd kept that can gave it up when I moved here oh yeah the most storied brodell also said that he loved seeing the different brushes and jeremy's favorite and jeremy's favorites and watching him use them so I loved seeing you use the brush it had a lot more that was that was just stop lots of great that's lots of rice up and also a lot of people really appreciated your reference the other digital artists because as you're referencing some of them are your friends and you were talking about their online stuff people were actually going to those galleries and then relating it back to what you were saying so a lot of people commented that is very generous of you to share that sort of stuff you know slightly you know what we're a big community and we can all learn from each other and that's why I'm here I mean seriously is like everybody learns from everyone and you know what I just said about being there so it means that you know everyone ultimately will be themselves so it's lovely to share on dh what we've been doing in with carell and a group of artists having what's called about the artist on this is really thanks to steve bolt, the lead user experience designer for a painter andi thank you cva but he's been bringing together groups of artists virtually so we use go to meeting on we just each present and we have always had physical in person meetings. In fact, paul was that one wasn't amazing andi share like about a twenty minute presentation about at work at process, we may do a demo and they have bean so motivating and so enlightening. And, you know, I mentioned yesterday that I was inspired by justin booze, who did a little drawing demo in one of these meetings you virtually andi, I thought, I've got to play with those patterns and I can show you a little bit of that today, actually, how one would use those patterns with the pattern pen but, you know, that's a great example of what happens when artists share, so I'm a huge believer in artists sharing, and I encourage everybody out there in the creative life community I were you already share. I mean, this is a wonderful part of creative life is you have this incredible community, I'm so impressed and I just love it that, you know, we're not his due share I think we're ok, we're ready to get going already so what I'd like to do to set the stage for today's theme, which is work flow so yesterday it was all about foundation and building up a solid foundation which you have to do with any tools I mean anything I'm saying about painter you could apply in a sense tow any our tools that you're getting into you know if you go and learn etch in or if you go and learn you know any oil painting or any technique you've got it get a sense of grounded nous with your materials and your tools familiarity on a sense of behavior on dh sort of that's what yesterday was all about how do we work with painter? How does it behave? How do we sink in to the rhythm of that tool and materials on dh so that really was what yesterday it was about on I just want to recap yesterday and then review on outline what we're going to do today and then we're going to dive in so yesterday way started off very, very simple and I wanted to emphasize that you know with this whole challenge a painter thie you know superfluous nous of choices and options simplicity is key, absolute key and everything I'm doing even though you see complexity you know you may see complexity in my palate arrangements here and there you maisie complexity in my painting style simplicity at the same time is a very, very important element that drives on underlies my philosophy of how I used paint on that's what I wanted to start up yesterday simple this is what you see when you install painter you know and let's just go one step at a time open a new canvas where do you find brushes? Up there you can move things around a bit grew from together so it's convenient how do you manipulate the size capacity? Maybe a few other parameters of your brush behavior over here in the parameter bar perfect. We didn't go into advanced brush controls there's a whole other level of working with painter which we're not going into right this moment on dh then you know let's go around that circle of action the color all sorts of ways of choosing picking color on we didn't even go into clone color a tour we just stuck with how do you pick a color? And we saw that there's three main panels to help yu yur color panel with the hue circle the value saturation ring I love that very intuitive and there's that temple version of the same thing which floats around that's huge thumbs up because then you can hide your palette and you have that dance the tab temporal part palate dance tab hides your you I, uh finally uh it's just me and my painting is like no things in front of it and then pop up pop up whenever you need color, pop, pop, pop it's that temporal color palin floating around so that's great but we saw that we saw the mix a pad wonderful intuitive very like a traditional artist might create their mixing pallet on dh ways to use up with versatility to bring in your own image and put it as the source of color in the mix a pad very useful and we saw color sense well a great way tio maybe take your color range in a different direction than you normally would and that is one of the great advantages off color set is that you know when your you we will get in the habits and it happens to me all the time I keep using the same brush I keep using the same college it was like it's very difficult creatures of habit and no matter how hard we try to break out of it, we keep getting back to the same thing so I haven't seen one of the great empowering things about color sits in painting is that you can therefore it takes a color set that pushes you outside your normal color set range it's really powerful on one of the things that you'll see in my workspace and we'll go through that is have introduced a lot of extra color sets that you might want to enjoy and you can just create art and we looked at that it's so easy look around for things that stimulate you grab them as a j peg, open them in paint and just make a collar set out of them is the easiest pipe so we looked at the colors you know we did a little bit with layers and basically you know the tools that's where we started basically recovered a circle of action that's the basics it's simple it's easy paint it doesn't have to be some sort of huge complicated thing doesn't have to be back on then we went deeper and you know it's imported my workspace okay, now we've got a somewhat you know it's a designed environment a lot of thoughts going into it and that's what I'm going to be using from here on out on explaining why things away so that was you know, the essence of journey yesterday palate arrangement on workspace really really important to just understand the terminology difference between that so does someone here want tojust encapsulate what's the difference in just short? Not as long as I went on really short sentence what's the diff between a pallet arrangement on a work space you know I want to just dive in your pal arrangement is uh how you have the different windows on your screen set up such as your color picker and ah your toolbox and your worst space encompasses sort of everything you've been using the system for so that includes all your plug ins and brushes and including your your pilot arrangement also on many and potentially many palate arrangements exactly thank you on the reason that I spent so much time on that yesterday is just that I want your toe I know how you could go back and forth and when you need simplicity on you want to say a default pal arrangement or something you don't need to go out of the work space that's the really the key message there um and then finally at the end of the day we just did a little bit of shortcut programming so I showed you a couple of program in tips for the walk home experts keys you know definitely take the time to do it it will take you well maximum twenty minutes half an hour maximum just to go through program those express keys maybe I'll take you ten minutes but it's totally worth it so think about which shortcuts you're going to be wanting to use and you can always go back and change them so with everything that I share I really emphasize I'm just sharing what works for me and I'm giving you structure information and ideas well I want you to do with it is you know take it play with it and then change it so you know program in your tablet everybody's gonna want a program it differently you have different things that you do more often you have different styles of work so adapt to that and you know that applies to everything that I'm sharing so in terms of today um it's very simple today is about photo painting workflow and I'm really going to focus on getting the innocence the mechanics on the flow down while trying to point out the options along the way andi so we're going to start off talking about capturing a photo choosing foto preparing a photo for painting and then you no show you what I do way talked yesterday about the naming convention peavy end on dh you know I just encourage you to try that unless you have your own convention I mean again you know I'm sharing what I use it works for me but I'm sure that you know you've all got your own system and if your system works fine you don't need to use my system but if you are if you don't have a system and that's the key if you don't have a system and your randomly saving things in different places with different naming conventions having a system whatever it is will be a huge help on this system I have the pv and I just love it because it's so powerful now some of you here in the audience in front me do some of you use my pv n system or just curious and have you put it in you know now and then and you're right we have our own and has been working for years I use a version number first for what's your system that's ah version number you start with a version of it and then the subject's name and then not ah lot of description of the what canvas or brush I remember those days so tedious I just I want to get back in the painting yeah, maybe one day it'll be able to be remembered in the file automatically off by the main but right now I love having that history they're on dh as you know we've got the little cheat sheet there that you will have we're going to look at the prepping the photo for painting both in photo shop and in painter and you know I mean I'm sure there's lots of you using light room and there was a question yesterday about light room so yet the answer's, wherever you go, whatever you do to bring in your digital imagery is fine on whether it's from a picture from light room from a photo show all you just so you know, take a j pick out of a cameron open it right in paint all of it works so you know it's really up to you what works with your own workflow? We're goingto look today it's uh setting up a pallet arrangement which works for us on dh miss on plus setting the table on one of the things that I emphasize with palette arrangements is a game just like welcome tablets because everybody has different screen resolutions different set up some people have two screens some people just want so what? I have a palate arrangement that I've designed that I fits one resolution so if you're using my workspace and opening up a pallet arrangement as well see you're going to need to move things around and re save it because whatever it is on your screen is not gonna look exactly right and if I'm looking a bigger resolution on screen I have a lot of things in the middle I need toe move around so just be aware of that um then we're gonna set up a small big arrangement we're going to go through that you saw me do that in the first demo the early yesterday but I'm going take my time and analyze what I'm doing explain it slowly so you can follow along we're gonna look at making multiple versions of clone sources and all of this it's this is all preparation for being able to flow with your paint so there's a lot of work before you paint but it all helps when you go for it with the paint now you could dive in and just paint and then what will happen is that you won't have quite the empowerment later on to be expressive free because you're going to get caught up in things and you're gonna lose a file or you know, things can get a bit messy paints or is it a little bit messy prime ing your campus? We're going to talk about options for what to do with the painting surface and there's many, many options on all of them are good it's all a question of choice style, and I would recommend that you actually tried try out different ideas, and then you'll find something that really works for you or every picture will suggest something different on dh then we're going to go through abstracting from source and what I mean by that is we're going to create an under painting on an under painting that's going to be loose and free some of you who started it with me before or read my books from earlier I know that I used to call it the markup on dh you know, it is a mock up, but I have changed my terminology a bit because the word mark, you know, being a brit that I think of sort of, you know, it's, mucking it up, but that has too much of a connotation of chaos on un intentionality and really what's happening in my process of sharing is a huge amount of observation and intentionality and there's a connection between those two things, so I'm always looking at the composition, looking back at source image and then that's it giving the intention and purpose and why I'm them putting onto my campus even when it looks sort of loose um wild and relaxed is, you know, loose but it's not random and I think that's something that's very important to emphasize here that as we work with paint paint is an incredibly fluid medium but it is also when you're want to create a representational painting, focus and intentionality of brush stroke and choice is super important on dh there's, some wonderful writings about sergeant and how he would uh you know, pick his color and he was so he was so fussy about sort of preparing the right tone, the right saturation, the right color and then he would sort of, you know, sort of check it out and then swoop in and then just make a first rate and leave it on dh I mean thie amount of focus intentionality is just amazing I share in another story connected with that intentionality a friend of mine in london actually the partner of danny's laurent, who created denzel funky chunky he shared with me the most moving story about caso on I'll just try and do justice to his story and summarize it in a short way so he when he was a child he was in southern france and he was the village where the castle was painting on glass in a church on dso, andi was there for the whole summer, and he was about seven years old on he said he was just absolutely captivated by picasso, and he went every day to the church, and they allowed us, you know, the locals to come and just sit and so he said for a whole summer, every day he sat cross legged on the floor, looking up at the castle painting, and he was looking at because his face as he painted on the glass and what he said it was absolutely amazing with the intensity, fiery, passionate intensity of focus that picasso had, and not just for a few minutes, but for hours and hours on end, as with great intentionality, he made every brush stroke on dh, and it is a little corral aree to the stories. At the end of that summer, this little boy went to the store in the church and he said, you know, hey wanted a by a print of the casos for his mom. He didn't have any money with him or anything, but you went and said, can I get that friend on dh, a voice behind him said, let him have it, let him have the print, and it was picasso, and he gave him the print amazing story, um but a love that is to come back to what we're doing with paint in painter is to allow ourselves to have an incredible intensity of focus through making everything simple and flow and then at the end of today we're going to look at refining, resolving, transforming and focusing is that we're transforming again you've probably got the idea that it's a theme here um and the refining and resolving is an incremental process so I want to reassure everybody because I think one of the things that happens is it sometimes is frightening in the middle of a creative process when you feel that you're losing control and that things are not going quite right and we talked about this a bit yesterday when when the when you know you're the ugliest age or you're just not sure what to do next and it's a sort of frightening feeling is like your you're you know, on a boat in the sea and you're not sure where you're going on dh especially with photo painting we want we want toe image that looks beautiful that looks like the subject if we're doing a portrayed that's complimentary to them if we're a commercial photographer and we're doing a commission etcetera etcetera so there's a lot of pressure that we want to get this looking really you know more classical sometimes everybody but sometimes on dh so what I want to reassure you and this is just like you know hold hanging there and I think that's what terrence referred to is hanging there because incrementally if you stick to observation on dh response and observation and intentionality you will always develop an interesting painting it's and it's always going to go somewhere really really cool so just hang in there um this uh workflow for today is summarized on the pdf u have so that you got your little cheat sheet for that um and one of the quotes on that teaching is something that's so important I want to share well they're all important I want to share it there are many roads to rome and of course when I read this title I think well that's also many roads to rome as well as to rome so and it's true there are many roads to rome on dh this isn't rome where is this it's venice this's ah one of sergeants wonderful loose oils you may be familiar with johnson a sergeant as the great portrait pain in the late nineteenth century early twentieth century but if you ever get to seeing some of you I'm sure have enjoyed them ever get to see his personal work his loose watercolors which actually I think right now they're at the brooklyn museum a huge huge exhibit of sergeant watercolors on dh his loose oil paintings they are so lovely andi I just wanted to share this before the quote because have talking of work flo this is all flow you look at that every brush stroke there is doing something and yet it's flowing it's not like stilted it's not it's not forced in there it just is there and is left and it's got intention and it's got purpose and it works and and this was probably down fairly quickly it's a quick study um and that always air brings me to the one of the points for today is that in developing a painting you don't have to produce that masterpiece right away or every time and lots of starts lots of loose studies a great great practice on dh I just encouraged that you know rather than everything has to be the big opus sometimes you can do lots and lots of starts on dh so this is from a book by a contemporary of sergeant on dh what he said was that john singer sargent was careful to insist that there were many roads to rome. That beautiful painting would be the result of any method or no method but he was convinced that by the method he advocated and followed all his life a freedom could be acquired a technical mastery that left the mind at liberty to concentrate on a deeper and more subtle expression. So in a sense, you know, the same sentiment applies to you know what I mean, you know what I'm sharing here andi in just in the sense that I want to be clear I'm sharing structure you know, some ideas here you could do this you could open that you could try this approach followed by that approach in going through the painting process from a photo so its structure I'm going to give you some framework it's a method in a sense a very, very loose method it's not a formulas you'll see it's a very loose man but it's not right it's not the best it it simply is an option that's all it is on dh any method or no method will also get you great results because you will always be yourself so I want to be really clear because this is so spot on to what we're doing here so I'm going to share things with you that a simply there because they have worked for me on the reason I'm sharing them is that they I feel they will allow a great room for expression on looseness of the brush stroke on that's that's why I'm doing it so that when I'm painting I want the computer to disappear I just want to flow so uh let's just discuss a little bit about this painting behind me which is started with this photo in my studio of marcus shelby and over what happened to him? Oh god, he disappeared well it's like that quote from francis ford coppola he disappeared but he hasn't disappeared well he has disappeared what happened was I let go of him there was a photo and I said let's let go of it this is my canvas you know less pain let's start with a blank cameras where it's not quite blank I just filled it with a repeating patton you know I wanted something other than just blank we can fill the campus with anything we could leave a photo there and paint right over and I do that sometimes it works and it also gives good results so again there's many roads to rome um well what's happening there is like how does that come out of the photo? Well it's very loose it's very abstract let's have a look and you can hardly see that it is there any more in the painting but it is a underlying so all I'm doing is I'm looking at the photo half closing my eyes playing with color that's what I would have called a mark up now you know, under painting or uh other process variety of marks we talked about that yesterday importance of a variety of physical mark can help game I don't want to sound like any of this is what I'm suggesting is a rule because absolutely not on any rule if I inadvertently make it sound like a rule is absolutely there to be broken on dh you know, so this is not a rule but it's just the fact that when you start putting more variety of marx and quality of marks and you can do this with a single brush, the amazing thing with painters, you could take a brush and you can really get an incredible level of variety of mark quality out of that single brush in actually sometimes it's really fun to try that, and I have done, you know, single brush paintings where I just really try to push the boundary of the mark making capabilities of that brush. Um, so there are now we start to see it so it's sort of like emerging a little bit, like in the dark room when you move the paper developing in the a dish of developer and suddenly there is so, you know, it's, like what you'll notice is in the three stages I showed her the painting it's only in the last days it's suddenly a lot of detail and, oh, yeah, it's now very much more realistic, maybe it's too realistic, I don't know, but it was in other words, there was a lot of play, and then I choose if I choose to bring in more detail, but at the last minute near the end, so when you look at a time graph of this process on dh the way that I'm approaching this type of thing and you'll see this repeated in some of my other works and all of them but what you find is if if you have time going in this direction then there's a lot of time spent with a lot of very broad loose big brushstrokes playing with color pushing color, pushing color beyond the natural color because that's when you have the freedom to do it and then at the last like you know, twenty ten or twenty percent maybe the last five percent of the time then maybe I really start pulling together much, much more detail but anyway I have a question for you so you had the photo at the beginning and now we've got this amazing painterly sort of a painting version do you not have the photo faintly and medicate the proportions the same or once you help going completely we're going to deal with them so that's coming up this is just to show you the stage is rather than the process but that will come up so with this particular painting markus came into the studio took photo did that digital painting and painter on then he also sat for me for on acrylic paint I just that's like the same bit bigger naturally it's an acrylic painting that he set forth or search for playing his base there on so what I did it is, I took that painting and I put it as and this is where I mentioned the layers so it's actually laid behind the, uh, the painting created in painter earlier on, then I just started playing with it, mixing it, flattening it, working into it on dh, creating an incredibly textured surface. So when you have a look close at this painting, I don't know how zoomed in you khun get with the camera, but there's just an incredible level of textural detail going on there's also, something is going on in the surface on dh that's that's where it ended. So, um, with that, I'm going to sort of now moved to the actual work close, so we're going to wonder for one there we go, we get to see a little bit more. I actually boosted the intensity in this final shot here with little equalizing painter and so that's the image that then got printed out here. Uh, I brought along with me today, so let's dive into the beginnings of a painting process. I'm going to take you through a natural painting with a photograph that I haven't yet painted, so one of the things I like to do when I'm teaching eyes actually not just show, you know, pre package over here it is, and now take it out the oven and it's half baked in a while that I actually like to just share real creative process, which means a lot of vulnerability because I haven't I don't have an end result that yes, well, this is going to end up looking like this. No, I have no idea where we're going to go. You don't I don't rule in the same boat on this on dh let me just have a thing, I think because I thought about yesterday when we were doing these one half hour segments that's a long time for you all to be sitting down, so while I'm just going to get up photo show from my computer, I would like to have a couple of minutes where you get up move just generally moved on just breathe and say hello to each other, and so for those of you are watching online, maybe it's a good idea fuel, sir, just to get up, shake your hands around because we we'll get so stuck in a seat, and especially if you're watching an online course or a webinar, something is like, you know, you suck their drinking your cuppa tea, so why don't you just get up? Say hi to the person next to you if there is one and I'm gonna open up a shop

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.