Post Print Painting Part 2


Corel Painter X3


Lesson Info

Post Print Painting Part 2

You know, I try to be my word doesn't always work, but I try so when I say, oh, yeah, I'll get that later, I do try and I do mean too, so first rule, if I've said during the whole of this course, oh yeah, I'll get to get to that later and I don't let me know simeon email, I have to admit, when I'm in a lecture or course, and someone says, oh, I'm going to get that later and they never do it it always sticks it why didn't they get them? So I said yesterday oh, so we will get to that later and so I just want to show you it and if we can get a close up camera here giselle, could you come and twist the salt shaker on dh let's have a look that can turn so we can see so giselle is twisting sort on the water carlo it's actually acrylic with a lot of water and that's it and so the sort there is going to absorb the color on dh leave the little white speckles and that's what we saw the metaphor elektronik lee yesterday with the sort on the salty remember there's actually two types of sort by tha...

nk you, so I just wanted to show that that, yeah, the metaphor you can try this you know that one safe to try at home just don't eat it, especially with some of those colors they can't you know there's some pretty nasty things so you gotta watch out talking of safety there was a question before the break about what spray I use so if we could show my computer screen on the monitor thank you you'll see there's a photograph there off the premiere our prince shield using and by the way I did try the brush on staff ico shield and also so you know, let's be good to the environment stuff and it just didn't work for me, you know, putting on with the phone bro. You know, I I just use this usually in a very well ventilated outdoor area where ah, facemask like any spray like this it's not good to breathe in on dh eso definitely. If you when you are spraying prince especially you know, I always think looked long term and think big no matter what. So when I started doing digital paintings that's why I created a saving system that I thought well, I may end up with thousands of paintings which I have in the end until I want a system which can accommodate that same with spraying paint if you think all that money doing one painting now and then you will end up in ten years doing thousands incrementally you just want to breathe that stuff in so just take that in on dh then let's just close that and show this so in case you're wondering if you want to do your own stretching hey it's really fun and it's easy on the tools you need a you just go to the local art store, you buy your stretcher bars and then you need to buy a stretching tour on a really nice staple gun on paris's is on, you know there's a few more things that come in handy but that's the essence so there we go um so let's turn to what's going on here and here. So when we left before lunch I put some gel on on I was a planet fairly thick simply because it felt appropriate for this painting the subject matter the jazz it's sort of deep the deep jazz field I don't have anyone got to see the james week portrait to musicians I put a link on my board page for those out there in the in the evening you know there is online watching online maybe if you could just drop a little note and let us know but that's like I mentioned the inspiration so I wanted that feel on dh there's still lots of white so it is still in a process of drying it probably won't be dry before even we finished today that's okay, I'm just going to keep going so I do the jelling usually wait for it to dry and it's all transparent we're just going to keep going and then I just apply very selective physical paint on dh I'm using acrylic andi I set out this's not my full set of paints but it just gives you a rough idea I have a sort of system here on dh I simply keep the same system every time and I put out a ll the paints every time and this goes back to the same philosophy that you saw me using painter so I tend to have everything there even if I don't think I'm going to use it because you never know when you want to bring it in and you remember uh those paintings we looked at close up like the complexity of color that was clearly visible like the money underneath the trees so if you don't have a lot of color here then you can never get that complexity of color on dh so it's really important to establish your system to work with enough colors on I mean I generally you know use fifteen twenty colors paint box tv you're going to find their guidance but there's no rules about there's so many different color palettes you just go on the web, you'll find a million of them and you know, they're all they're all good, everybody has their own system develop your own so it really doesn't matter what you do and it goes back to that sergeant quote about method or no method, you're going to get there and do good stuff, so you know, there's, no worries, really it's just in a method makes life easier on a system that's consistent makes life easier. Andi allows you to produce more and claim or an experiment more so that the value of this now in terms of what I do and what I'm going to share, um, I am a palette knife person I love the palette knife, and especially when it comes to adding paint onto a digital print, I'm so my intention but digital post from painting is not to cover up all the work that you saw me do yesterday in the computer on, nor is it to repair mistakes so one in terms of some basic advice that's relevant to the whole theme of this workshop, you know, intro to photo painting, a creative approach using karol painter x three so one of the very important things I would recommend and suggest and encourage is that you really work through your paintings in painter to the point where there already resolved and successful in the sense before you got a printing in the sense of not trying to use printing and then post print painting as a way to repair week imagery of course the same applies all the way along any solid foundation gives you greater access to heights from there on you know obviously it goes right back to photographs you know you want to have a good composition in your source photos in order to be able to make a painting that works well so you know a ll the way along you want solid growth solid movement forward and so definitely take the extra time in painter and you know you know I just did a quick demo yesterday and you saw I spent the whole morning preparing and the whole afternoon painting and really I could still go back and spend more hours if I wanted to I'm not going to have printed it and I'm gonna work it it but in other words you know some things just take time on des encourage youto take things teo resolution on what you're going to need to do sometimes is what you if we could get my computer back on screen is what you want you're going to need to do what matisse did not necessarily with the same long paintbrush but at least stand back from your work the value of a long paintbrushes it forces you to stand back from your work because it's really tough to do it you know paying with it when you're really close but just remember that picture put it in your brain and sometimes when you're just too closed to work you've been working away at it for too long and you need to take a break and you need to stand back think of matisse on in fact the same applies for post print painting I have set myself up a little bit of a challenge here because of well the white distraction because it's not dry yet I could have pre prepared the canvas with the gel but I really wanted to share with you the complete process because what you've seen it is literally the birth and growth of this painting from zero and as I said yesterday afternoon I don't know where it's going to go I had no idea and here it is so you seeing every step I'm not hiding any steps I'm not going away, you know, in the brakes and except for the jealous sort of doing anything so let's think about just going to put a bit of paint on it and the other thing is I don't put a lot of paint just event on die first of all, you need to look at the painting and also look at my reference up here that's very valuable on dh just look where what jumps out uh what's going what would really benefit from some structure with this and you know accent with color what what am I missing here? What do I need? Andi so I take a moment and I don't rush in I just have a look and the things that a striking me um this is fairly delicate and I'm not sure I want to do too much to this, but I made at a bit of relief here in there but I might leave that to the last thing that I show you so what else what else feels like I could really work at it there's wonderful strong verticals here which have sort of basically got lost in the flatness of the print so I feel like a vertical here would emphasise would be really good um what else is going on? I've sort of ignored poster in the background that's okay um then I feel like I could work a little bit with the structure of the base maybe bring it out a little more because I think that's such an important diagonal the bass strings the back of the base really important I might work in a little bit there um on dh what else we're going to maybe with the light bring in a little bit of relief light paint on that light I'm just talking you through what I think when I'm deciding where to go with my pain, what else um maybe it was vertical is there um may be yeah, we'll see maybe something structural year although I don't want to distract from the couple so let's just dive and I'm going to start let me just see I've got my little box of colors here I'm just gonna see if I need any more coming out of here no, I think I'm gonna just work with what's here so I think for this structure I'm going to work with a red and I'm going to dock in it so I mentioned I didn't really use black that much I'm going to get, uh, tissue here um second wipe the palette knife I'm going to get a little bit of payne's grave so this is I mentioned that rather than a black eye use something is basically a very, very dark blue and it's just really is warm that's what I like about it so if I want to really deep dark red, I'm usually create radiance, so I've put one color next to the other color and then I start cutting them together, cutting them literally cut, cut, cut but not over blaming them for me because the reason I don't want to over blend is actually I liketo have multiple stray shins of color in my deposited paint because I think it's much more interesting so right now I've just got read with a bit of pains gray and that red's a bit bright um so one of the things that we can do to de saturate is to um goto painter bring back the, um where's my big long brush here bring back the color wheel on roughly we gets going to use my painter calories roughly as a color wheel for this. So does anyone here know if we want to de saturate that read? How would we do that it's a bit too bright for what I want to do there how would we de saturate any ideas? Maybe a green? What we would do is we go to the red side of the circle and we look at whatever's on the opposite side roughly this is not an exact color wheel as in traditional paint, but it's close enough on dh you basically, if you put a little bit of the color from the opposite side the so called compliment just a little bit it neutralizes meaning taking further to gray de saturate the color so that's very useful to know um and you know, it's really tiny amount that do that. So I've got two bright red I really need something that's in the sort of blue green, so maybe we'll try a little touch of turquoise and I'm going to bring that in the other end of the of the striping here and I'm going to now your ruff ruff ruff mixing of that and I'm getting a actually about just the right color I want now I don't know how closes humans on this camera, but we've got basically sort of dark rust red it's like the golden gate bridge, but really much rusty, and I'm just going to put a little bit up here, and so the way I do that, if I let it build up on the surface and in this case the upper service, if you want to call it that of the palette knife, I look at the line where I want to put it. This is really important to have the reference it's so funny, it's just the parallel to what we've been doing in painter, I still need my visual reference because there's so much lost in the painting, I don't know where to go otherwise to indicate something, so I'm going to say, where do I want this? I wanted to come down, maybe here, um and it's going to be a strike like that. So I often do that test. I told you with the temple color palette that I do this, you see me do it right now if this test test test so that way you don't get any surprises before you put that, you know, huge tribe, and even if you get something there's, a surprise that's, okay go over but eh? So I'm going to do a stripe here that corresponds somewhat to that and what I'm going to do it just like that movement dancing breathe first and then you stroke on the out breath like this and there we go now you may or may not bear to see that on camera but there's a strike and now one important thing is I just leave it so I don't go back and smush it now it's not that sometimes I go back and scrape things off and stumbling around no rules here you do whatever you want but in terms of the power of paint there is a huge power teo picking cholera and tone just like what we're doing in pain a pic colorant tone decide what you want to do with it adjusted accordingly and then deposit it and leave it and that's the most difficult thing with this process is a temptation tio keep smashing and doing this and then you get like patches of your cameras with a big blow bin and then it's oh my gosh, what am I going to do now and anyway it just gets worse from there I'm sure everybody's being through that we'll get through that so let me just do a few other things because then I'm gonna, uh I'm going to wrap this up I'm not gonna have time to do a complete painting job of this but I'm just going to look at things I like so I have to say I like this small it's like a purple and I'm going to mix it in I'm seeing I'm seeing that it might be really nice with the blue so there he goes we've got the purple we got the blue and I'm um let's have a look I'm going to do a dark version on a light version I might use them in two different places so I'm gonna mix in the purple the delft blue and that dark blue so now I've got a fairly rich fairly rich blue maybe too rich maybe too bright what am I going to do with that it's a bit too bright I just look at my color wheel and I say well it's a bit too bright so what am I gonna put in to neutralize it just a tad on dh what's the answer just a little bit of yellow orange just tiny them as you don't want it to turn completely green which is what would happen if you just mix yellow and blue so um maybe just I'll just show you this it was just a little bit of orange there I just want to take down the brightness of the blue a bit and there we go so what's interesting is what you see me doing here with my paint on the palate it's really funny because it's exactly it's exactly the parallel to what you've seen me do and I maybe I can even go in and use this it's what you've seen me do throughout the painting process which is going here and nudge it up nudge it down budget here nudge it there so this nudging in the in the value saturation triangle is exactly what I just did I nudged the blue uh down into less saturated version and let's just have a look here I want to emphasize here so do a little bit of blue there um maybe just a touch their touch and I mean I'm using the knife in different ways sometimes the front surface okay and this is the end actually oh yeah now one of the things is it's really nice sometimes work on multiple pictures at the same time because then I go along each one like I just did a siri's of jazz portrait's on dh so I was working on four paintings all at the same time on dh it was really fun because I get a collar I uh well maybe not there but maybe they're so let's just get something going on with the lights I'm going to get the yellow I cleaned my palette knife and um let's see, I'm gonna get not quite as bright on then I'm going to mix in a couple of whites into this okay well off white let me explain so I've got two whites here I've got titan buff it's not white it's titan buff and I've got zinc white so title buff is a great way to create a lightness to your color without simply making it milky and passed a li so it's warm it's a bit like the opposite of payne's grave because it's warm and it lightens but it doesn't dilute and make a pastel looking thing so when you take titan buff and you mix it in you'll get a nice warm creamy color and it still has strong strong color the other uh paint there is tio zinc white onda nice quality about zinc white is that it's got a transparency to the whiteness so where is detainee? Um white is a very you could tell missy it's an overpowering white it dominates and it's very opaque zinc white has a sort of uh great great mixing white because it has a translucent quality to it and you just have to play with these paints to really get a feel for the difference so I've created a little blend here with my yellows with my oranges with my titan buff a bit of white on dh normally when I do this in my studio obviously I'm not looking at all these cameras I am looking at the work as I mix because I'm looking what color do I need? There may be a stripe maybe a mixture of some of that zinc white with the yellow so I'm going to just hold this up so the camera can see that s o again I'm no over blending I'm leaving it sort of fairly ian blended really thickly powered on because this is a place where I could really get away with some nice big thickened pastor there on dh let's have a look there that's enough there and do I want to put any anywhere else? Do I want to use a teeny teeny weeny bit? Maybe just the touch less if he's got a reflection right there? Well, I think I'm gonna leave it at that. Come on, I got lots of paint left, so what? I want to show you how I hope I'm not gonna waste they'll put some cling film on this and maybe because this is regular kralik which dries really quickly good and mad everything has good and bad you no good because you can do stuff and it's ready to go take to the customer right away bad because it's like boyz dried I've just wasted all my paintings so it's good and bad and you can't keep mixing it on the surface said like oil of course, with all this media everything's like getting mixed up now because oils they've got oils which quickly drying now there's a whole range of acrylic is that a longer lasting so you've got everything at your fingertips, but in terms of the demo I'm just going to leave it there I may well go back to this and, uh sort of work it it noodle at it put it up in my studio and I'll just have some things under wraps and I'll just see when I moved to add some pain so that's that's how it goes just like that picture of tanner beginning and the quote about him erratically working away at the surface and improvised processes you know how it goes so that's what we're going to do before a sort of shift gears in any way, any questions, comments or any questions? Comments from here first from our wonderful studio audience uh mary however mixed paint directly into your medium um let's see uh that she was interesting. That was a question that came up before and I don't you could there's nothing wrong with it onda lot of people use mediums to stick and give more body to paint and I if I want to do a glaze I mentioned before I used a sort of like a very thin glazing medium things like the syriza mediums from golden cool jack which already go to get corn hundred g a c and then you just put a tiny bit of color and you get beautiful glaze is a very subtle everything shows through any questions from online semi asks would you say that you try to follow the direction of the brush strokes of the gel in paint to those of your style us within painters so your original direction after absolutely yes because it's all the same painting process will continue exactly cathy would like to know do you usually use acrylics or do you ever use oils? Mostly I use acrylics and I have used oils and I will use oils but you know I think with my particular color palette and also my I like to work really fast and get things done so acrylics is a medium which sort of suits me by the way I wanted to share a little story about acrylics as a sort of little conclusion here a few years ago I wrote a book for wiley press secrets of award winning digital artists on dh had the pleasure of having ah great artist right forward that was peter max on dh the ford was so fascinating uh just paraphrase well I remember of this fort and you can still buy the book online second hand I think but basically he said when he was a student in the sixties you know this a critic thing was really just starting to get into the art schools on dh he says he remembers interminable this discussions going through the night about whether whether acrylic was really pained on whether it was really art and it was really funny I mean it's actually wonderful wonderful quote but it just reminds me of that question earlier about you know is digital really isn't it really? You know it's what you do with it it's your process everything's real unreal as much as you want andi you know how it's perceived that takes time and you know it will undoubtedly digital is already there is not even a question did you have a question o is it safe to use oils over the acrylic? Yeah, you can any other comments or questions from mother, you wanna show what what actual things you're using, what that golden jealous you know, many coats of that somebody could place on it? Well, do you know I've got videos on my paint box to be honestly in terms of mission? Well, I do and how I do it there's just no substitute for just come take a class because you know, I always find that especially something like this it's not really a matter of the the what it is it's it's like the how on dh so I can share so much more when I'm in person also, I just want to say I know we've got some people in europe who are watching this and I'm going to be teaching painter in amsterdam in two weeks in fact, thanksgiving week the november twenty fifth the twenty seventh anybody's in europe wants to come to a three day class and is you know well you know it all now you don't need to come I know, I know, but if you want to come and have an in person experience that would be such a pleasure and it's going to be right overlooking vandal park, which is a beautiful place on dh in fact we have a guest artist he's going to come and visit us one of the days who some of you may know wonderful wonderful artist called ad van bo koven andi hey is really I think he's one of one of the great painter artists as well and his work is being on the painter materials and the can and it's only welcome windows at some point or other so in a way that's going to be a fun class for those of you in europe plus actually amsterdam just this year four hundredth anniversary of the center on they reopened the rights museum with huge night watch from remeron and they reopen the van hoch museum and they reopened the state like museum entry. I'm not doing an advert for amsterdam but there it is I lived in holland so I have a big soft spot for the netherlands and for mainlanders out hello eko palace good and who is hilda? I said, do we

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.



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!