Corel Painter X3

Lesson 26 of 32

Importance of Mid-Tone Exercise & Texture

 

Corel Painter X3

Lesson 26 of 32

Importance of Mid-Tone Exercise & Texture

 

Lesson Info

Importance of Mid-Tone Exercise & Texture

Welcome back from the mid tone color exercise andi I hope you had some fun with that or not fun but anyway way are going to explore a little bit of why I got why demonstrated that on dh the value of that before we do that I just like to share a little bit of a story about an outwork that I have sitting here behind me on took a little bit about you know the opening up your eyes to the incredible possibilities of karol painter x tree even way beyond what we're able to cover in this introductory course so what I have here is a portrait of my friend jam well who's a local tv personality she's known as the hat lady the film lady because she's a film critic on dh she always was fascinating hats and this is an example of what I call a collage poor tricia on dh you know in going through those artworks this morning and talking about expression and you know sort of relating something in the painting to a story to your vision your feeling and this of course all relates to what we're going to do p...

hotographically you know painting from photographic reference so what I love to do is in a sense take that to another step where we can also share a story in time and space in an artwork and that's what this is an example ofthe so even though I'm not you know, simply don't have time to teach you all the techniques that are used here. We're going to cover some of them, though in the next few minutes after a bit of color stuff, we're going to do a bit of texture stuff on dh I love working with paper textures in painter on you'll see the use of the paper textures all over this painting all over the painting jan like celeste, she love swing music and so here's some swing music from a song she really liked. When I went to her office in kron for tv station, she had this poster of oscar wilde on the wall, and I just love the quote and she just loved the quote on, so the quote gets put in here using paper texture technique, we're about to learn I'll just read out the crowd because it's it's so special it's uh, I'm sure some of you have already heard it oscar wilde we are all in the gutter, but some of us are looking up at the stars anyway, so I just love it. Uh but there you see its story it's, a story on dh hit john is a story of jan and how world andi I brought along there's an earlier stage so you can see how all the things they've been talking about with photo painting to work in my college work as well meaning that, you know, there's a lot of rough stuff that goes into getting somewhere that doesn't work and the eyes not looking good it's like help, you know, I just sharing this vulnerable stage of the process of getting tio here, this work and this didn't work, but clearly this is not yet this is still in progress on this is the main photograph that I took of her the throckmorton theatre in mill valley when the stardust the orchestra was playing. And so this was my this was my initial composition element. So anyway, there in lies the, uh, the story off this painting on dh just wanted to share that with you so let's, get back to where we left off in the painter. So I got to get back my screen here, make myself comfortable, and here we go. Uh, wonderful, wonderful. So I'm just gonna put this here on dh, so given the constraints of time, I'm not going to finish this exercise, and I'm gonna leave it up to all of you. But what I would love if any of you are willing to be brave souls, you could say I would love it if you actually, you know, just do this exercise. Don't spend more than half an hour on it this is not a belabored you know all day thing just spend half on hour that's it just treat it like a little bit like your tonal you know your value study your tonal thumbnail except this is a mid tone color thumbnail it's basically looking at color to describe eternal variation and you can see the inherent differences in the perceived lightness or darkness of those different colors that I'm using their on what this exercise will teach you it will get you to practice um the use of color as a means of describing tone on dh it will be very powerful be allowing you to depart from clone color that's why we're doing this exercise in case years of wandering boy oh boy jeremy just comes up with this stuff and it's like yeah what's the point andi you know I'm with you on that is like almost dropped everything is like what is the point if it's not good a point you know do we need to bother but this is a powerful exercise on dh I'm trying to think of anybody in my live audience has done this with me in any of my workshops giselle what was it like when you did you you know did you find that it was useful hard it was you get a great job it was it was very useful because we don't tend to only see in tone and so it forced you to reevaluate how you perceive color exactly I couldn't have said it more eloquently myself thank you very much so because we are trying to perceive tones so even though it's not finished you guess it I'm uh I'm goingto do a save as and about you gotta save as button I think oh, there we go on dh I'm going to make this number five on this is not a value study this's a mid tone color study on dh so I'm going to save this and even though it's not finished I'm gonna add it to my clone um I'm gonna add it to my clone sources there it is and now I need to pull that up a bit ooh there it is so I think you can start to see the power of this new cloning workflow this it makes it so easy and quick to, uh have a great depth of of reference and cloning information to pull upon even justus reference even if you don't ever use cloning this is amazing. This is amazing. And you know, I should point out there's a difference here between and this relates that question yesterday about could you explain the different supreme source image and reference image there's a difference here between the versatility I have in the reference image which you know let's say we want the girl in the red hat that's a willing good but to change that image I have to go to a menu and then I have to pick it up you know I mean it's a lot more work and it's not so intuitive to just go click click click click so now they will they will get their roll the reference image is great you know if that's the reference image that I want to be inspired by its not very flamenco I mean my boy if I had sergeant zohar leo that would that would be the one that would be really nice tohave right now on dh I've got some sergeants here but uh let's ever think if oh my desktop under the master's gallery just see if I have my on el julio sitting around that I could just look at for a little bit um one second by the way what you're seeing here is an exact example ofthe why an organized system helps and some of you I know that some of you have got very, very sharply attuned powers of detailed observation andi so some of you have may have noticed that over three days that my desk tops you know, a bit clogged up because I've been saving a few thing is naughty, naughty me on the desktop rather organizing immediately and putting them in the right places so but to look for things like el julio if it's all whatever it's really handy tohave things in an organized place so I'm just going to stick that they're for the moment on dh we've I'm goingto now um go back to my painting lau I sort of need my painting lab painting from photos there we go I sort of needed we did the clean thing with just the color panel and it was good for those exercises but now you know now actually missing all this stuff and you know, this is what determines how I designed my palate arrangements is when I find that I'm really missing stuff that's when I know I need it in a pallet arrangement for that activity task or purpose so move that around um we're going to keep that I think right now um maybe we'll keep that they're as well. Okay, okay let's just take stock here and think where to go with this. I want tio dio painting yet julie, before you get too far off this I'm not an art student. So if you left on your color wheel the thing in the same place and did a whole bunch of different colors when you gray scale and would they be the same you mean if you took a color wheel and put it grayscale no no if you if you took this circle and made a gray scale is that what you will if you left a little dot thing right word is yes, and put a bunch of different colors, like blue and yellow and red with when you turned it to black and white, would they all be exactly the same? Well, no, but they also wouldn't reflect the perception of light and dark that you get when you see color and that's. Why those xs those paintings, like monies, have such a dramatic change when you make them grayscale because they're equal luminant, but the colors, the colors of the same level of such of grayness in luminosity but they are perceived is completely different in, um, perceived lightness and darkness. It I don't want to get really anything, you know, all I can say is just trust your eye, look at things, and if it looks half close your eyes, if it looks like it's looks like up than that next to it, it is lighter than that next to it. If it looks like it's looks darker, it's, darker than that thing next right now and this is independent of the scientific analysis of the pixels and the wavelengths of light and the intensity of light. I'm just talking about human perception and that's what ultimately, all we're concerned about is we're like, we're creating paintings. So I don't know if that answers your question I'm sorry but I want to move forward so what I'm gonna do I was thinking about filling and over lane you know what I'm gonna do? I'm just going to keep painting on this because I don't have much time and I want to share quite a lot andi I'm looking for a brush here maybe we'll go back to good old faves like sharon's not sharon's dens all funky chunky with the little extra color variability added on dh I'm going to do roughly on quickly what you saw me do yesterday so I'm going to work with the temple color palette very quickly on dh I'm going to map out some basic shapes and colors um very quickly and so we've got that they're that they're um we've got sort of a blue but it's it's not that dark it's a light of blue sort of feeling there so now I'm not doing that color exercise just so it's clear this is not we finished the color exercise but we're going to see where we can take things on dh then I'm going to explain a little bit about how I use that information um on dh so I'm just going to quickly look at this and I'm looking to the left shapes on dh color tone and I'm just going to quickly fill this up so this is creating that same under painting concept that you saw me do yesterday and not worrying too much about precision and where things are andi I should make a note here because I had a question over lunch from someone who's in the online audience hi there online audience um I had a question about tracing paper and will could I show tracing paper? Well, first I did show tracing paper briefly and I can always turn it on and off just so you know, tracing paper on and off um uh one second you know, this is interesting if I bring back the pallets and let's just have a look here you know I'm not going to get uh I'm not going to get diarist. The truth is I don't use tracing paper much on what I pulled you see what's going on curt current pattern oh, thank you so much, he's absolutely right. Uh let's, go back here, huh? Let's just have a look here so let me just continue you on the road. So with the question of tracing paper, my approach doesn't use tracing paper so much, but it can be very powerful. What I wanted to say is there are many teachers a sze yu know that many, many wonderful painter teachers out there all sorts of wonderful people helen yancey jane khanna's isa I mean it goes on and on maryland karen on dh in fact, I was talking to one of the students at lunchtime who was talking about jane connor sizes work which does use more tracing paper so maybe depending on the style you also want to study with people who maybe use a technique which fits what you're looking for so that there's a thought on dh let me just have a look here I'm just gonna go and do a save as I don't want to save changes there so do that on dh let's move this up here and I'm gonna bring back my pal it's I'm going to a save as and I'm going to save this here number six on this is now using denzel funky chunky den's oil funky chunky uh save it is a riff on dh um let's make sure that the tracing paper works now, huh? Okay, so um in, you know, addressing this first of all when you have identical size clone sources and I should just explain because I want I really want to help everybody out there have a good experience with painter and that's absolutely my go on go. One of the things to bear in mind is with for instance, if you are going to use tracing paper even though it is not you know what I do but that's okay um you have to bear in mind the following tracing paper as a function like this where you see the photo on the painting image the source and the painting image superimposed only works when the clone source whatever it is is exactly and I really mean like exactly to the pixel no even one picture not even half a fixer to the epic so it has to be exactly the same with and exactly the same height as the painting image period. So if you have a clone source, whatever it is, whether it's a pattern or an image you owe you opened in the clone source panel on dh you say treason papers not working um it may be and it's not guaranteed I mean, you just saw then something happened wasn't working I don't know I was I was about to close the file and reopen it if need be it suddenly worked to these things happen to me by the way is like it's not like everything works all the time I just keep moving forward what's the worse what's, the worse that can happen. I mean, seriously, think about it, what's what? You save your file closed painter, reopen it. Oh, it's all working out so it's really there's nothing much that can really go broken on, but with tracing paper, you know to save you getting frustrated always make sure that you have the same size source and what you're seeing me do here it's built in because we made source image from the same image it is the same size I'm mina chan tracing paper off so we just go up to canvass turn treating people off and instead I'm going to use a bit of clone color here just a little bit so I'll hide the pallets and I'm just going to use a bit of clone color but by the way what you'll notice right away is clone collar amazingly enough is very grey most of the time compared to the great colors that I you know but the exercise forced me to use so you immediately see why your paintings khun come alive when you don't use too much cologne color because clone colleges inevitably well, great things down however I'm doing this just to get get some elements working here on dh um get some positioning getsem tonal variation this's denzel funky chunky on we've got a little bit going there and a little bit going there okay? And then I'm going to just reduce the size of it no, I just want to get a little bit of concept of where things are there we go, we do set size of it I find that a little bit to find that okay that's enough on dh so what we do here is go back to the sergeant brush so we're going to bring back the pallets here way just go back to sergeant brush do a little test down here that I was good it's a bit small so we're going to bring it up a little bit in size and now I'm purposely I'm not going to use clunk all right now what I want to do is simply illustrate why we did the early exercise so I'm not just to be clear I'm not going to make a finish painting it don't worry we don't have another afternoon of watching me paint this no, I'm just going to show a couple of brush strokes and I want to explain the influence of that exercise and why it why it is useful to always think tone with color so for instance she's got very, very dark hair so well here is a really, really deep dark brown almost black but what I'm going to do with sergeant, I'm going to go in there with maybe I'll produce something that's got more red in it but red is going to be perceived as a dog and then we've got a sort of light the parting of a hare and then mid tone and so maybe if I instead of doing light with that you know, pale cream I do it uh streak off maybe a I could play a bit with color here and by playing with color I was to get a richness of color and then for some reason blue eyed I'm not sure why I just feel that uh some glue here to indicate that blue acts as a real highlight on dh then we'll go down to purple's here so I'm sculpting around her head with colors that a non natural okay this is why we did that exercise how are my sculpting around ahead but it doesn't look right it's okay it's okay live with imperfection live with it not working it's ok there's a lot of living with imperfection there's a lot of living with it not looking good if a soon as you free yourself up to say it's okay it's okay I'll forgive myself and I can keep going and I don't have to give up because weapons is very tempting sometimes you're painting painting and you say uh this isn't going anyway I just wanted to start a game now I would think take a break take a break go to another painting come back see if you can transform it and take it to another place because every time you start the blank canvas is like you know it's like you take yourself nothing is something wrong with making lots and lots of starts I think there's a great thing but just not giving up and giving yourself the commitment to follow through and move forward and no undue is all about movement and it's about creative flow movement, which is forward moving and dealing with what comes up and keep moving forward rather than saying I give up, I'm going to start again, you know? So here we go like that's way to shop that edge there with the yellow but that's okay, so we'll keep I'll just do a little bit more and now we have very dark care against the medium tone background on dh then on the other side we have very, very dark hair against a lighter background, so I'm looking at comparative tone so we have on the on air, looking at her head from aft position, looking at the screen we have on the left very dog and next to it relatively mid tone light on, so what I'm doing, I'm sort of picking color that I feel relates to the composition, but I could pick up the colors, but I'm picking a relative tone that creates the right boundary on dh so in fact I want this stronger as a light dark and maybe I even want, uh, change the color they're a bit maybe saturated a bit more to create more contrast there and then on the other side that bright orange hey, maybe actually I want to pick that bright orange and put a bit of that there I used the option or old on a pc as long as you know and that's another one, you might want a program into one of your buttons as long as you're not using clone color and again I'm goingto just look at the camera here and talk slowly because it's so important I'm gonna say this very clearly in painter as long as you are not using clone brush I you're not using a brush with clone color checked or one of the cloners. As long as you're not in that situation, then you can click on the image while you hold down on a mac the option key on the pc, the old key and it picks color so that's great you can pick color from within your image or another image as soon as you click on the clone collar icon and the color panel goes gray. That same operation does something totally different on a lot of people get mixed up with this because they keep wanting to pick color now they using cloning or they didn't realize their the click cloning and suddenly they see green with one above it and it's like, well, where did that come from? What you're doing is you're resetting the clone start position on dh because I just want you to understand what I mean let's say, I make the mistake I've got, um, let's see, I've got the, uh clone check I don't realize and I think oh, I want to pick colors so hold on the option ki I want to pick that orange and suddenly I get that green dot with the one beside it. How many people have seen that green dot with the one here tends to come up now? What would happen if I immediately start cloning is I'm doing point to point cloning. And now that sometimes useful photo shop you know, we have the same facility with a rubber stamp for is it's useful? You know I want to take that bed and I want to put it over here. Hey, that's, good to know, huh? But I want to go back and I want to clone from here. Not from here. What do we do? What's the solution uh pull. You've got a solution in hand. What is it once again the clone source? Well, let's. See if it works. Notice what's happened here. It's really interesting. So what's happened there we go. What's happened here is in the process of doing a control. Sorry on option, click on a mac on an altar click on a pc with the clone color check is we instantly went to offset sampling, which is what you just saw happening offset some plain cloning from within the same image on what we need to do is go back to image so I think it's starting to get this whenever you select the patent and paint up it becomes a clone source instantly even if you have clone sources showing in the source panel it overrides everything hens and chicks yeah no oh no oh no um offset sampling as soon as you do option click old clique on when you've got a clone brush blue circle number one oh now I can't get my clone registered correctly let's go and check image let's go back and see if that solves it I always cross my fingers and situations like that especially when doing live demos on dh there we are back teo cloning from the source image so you've just seen how to overcome that problem if it happens it's not that serious I just want you to relax I just want you don't panic just relax have fun I mean that's what this is about andi let's just do a little bit more here not too much I'm going out of clone color because that was all really by way of a demo and I want to do a little bit in the face and several so there's a highlight here in her face on a foyer there's a highlight on her nose and there's a light catching on um her chin on above her lips so I'm thinking I want to have some what brighter color there now I could do I could do a fairly naturalistic sort of neutrally cream color or I could do something a bit wild if it works if it works so let's try using more like the foetus type of palate of maybe picking up the tears and the yellows for the highlights maybe, you know, you can play with it and have fun and do something different on, by the way, this is this is where you should all go if you haven't already on just look up famous apo by matty because I think he says everything I'm showing here way more eloquently than I could possibly say. So when you look at famous apo and then you look back at trying to work with color in a non natural way that still works tonally matisse was the master one of them, so um there we go, I'm actually going to move on a little bit from this right now, I could develop this and it could become, you know, somewhat more resolve painting. I just don't have time right now, so I'm not going to um so we're going to leave this at the state for the moment on this was using the sergeant there we go, sir let's now shift gears, ha let's go toe texture and now in context of texture we have already seen some texture stuff happening so one thing we've seen is you show me overlay you know just bring in a texture and put it on the campus that's easier photo pasted on flatten it you got a texture we've seen the use off the paper texture where you pick a texture from here I think you saw me use the artist's canvas I could use maybe something different handmade paper or coarse cotton canvas and you saw me go up to the effects menu which affected that I use yeah play surface texture andi look at that now the problem is there is going to be uniform everywhere I'll do it and undo it oh I don't undo much but it looks it's uniformity it's uniformity look at that it's horrible it doesn't it doesn't now it looks like it's on printed on a board with a texture with maybe not so bad but it's uniformly applied someone undo it command zero zed on dh so let's look at another way to work with texture and that would be and in fact you saw this here in this course but I'm gonna do it again because it would work really nicely if you wanted that sort of in pastor effect instead of using painter paper you go which one which one we want to go to jury uh let's see what that looks like? You know it's interesting is this reminds me a little bit of the meso tint blurring that the lady asked about yesterday I don't normally use treaty brushstroke but I'm looking at this and it's got this sort of grain in us which is a rather interesting the one I used yesterday was image luminant but they're both interesting very interesting this one really looks like thick paint and then watch the original aluminum what is original mean correct so whenever you see in any effect on by the way little side note the effects in pain a are amazing and there's so many of them and so did I have on paint books tv ah whole syriza video is where I went through actually every effect I mean there are lots and the I didn't with painted twelve so I don't have anyone has ever worked their way through, but if you're really interested I actually have to tourism every effect but original and they most of them have a lot of them rather have using and where the word original is what it means is it's referring back teo whatever the sources so for instance, you could take that thumbnail that we did on with original luminous on just make sure that it works and lets us have a look here it would put in you can see the shapes it would put in the shapes from the thumb now as a texture I mean if you wanted to, you could do that. I don't think it looks good. I just wanted to show you that that's possible, what I would do if I was doing something would be the, uh I would do the image ruminants. And I would take the shine down on dh it's not quite as in your face. And then I would do that. And having said about in your face, I should just point out something important that if you do have effects that you apply and oh, actually, that prove maybe I should wow, wow. Doesn't look too bad. I love the texture. So if you have an effect that actually looks a bit overdone um, one of the things that you have at your fingertips with in one operation of doing it in other words, the next thing you do is you can go to the edit fade shift, commander, control f and what that does is very neat. So the edit fade fade the current effect and it always starts off ah, half fade. So this is full effect. This is no effect. And to use it that's way too much. I want it like, much more subtle, uh, that looks better. So you can always do that with you can even do that with a brush stroke. So if I make a brush struggle, ah, what did I just do instead of undoing it, you say, well, I like it, but I want it faded a bit. Um, guess what? You can actually control the fade, even on an individual brush stroke, so you can actually use it almost like a blazing, you there's, things that we've looked at, which is good for grazing. But all I'm saying is that the fade is actually quite good. I'm gonna undo that. I give myself freedom to undo, because this is a demonstration of stuff. I'm no actually trying to paint this image.

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

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!