Corel Painter X3

Lesson 10 of 25

Prep, & Priming

 

Corel Painter X3

Lesson 10 of 25

Prep, & Priming

 

Lesson Info

Prep, & Priming

So welcome everybody back again now I'm starting in the world of camera or photo shop so just to give a little background to the project that we're gonna work on here to illustrate at least begin with the illustrate the photo painting workflow so what we see here is a scene from a jazz festival on fillmore street here in san francisco on dh the band is danny brown trio on dh there's that wonderful dancing couple there so they're very kindly giving me permission to use it in this creative live demo it was a wonderful scene that was not posed that was riel so I was just there and I saw this couple in the window they were just enjoying the music so much it was just soft sublime jazz I called his sublime jazz and I just uh look at that that would make a painting so one of the things about photography on painting is on in away going back again what we talked about yesterday with the origins of photography being from painting when I you know see a scene like this I'm already composing and th...

inking painting I can't help it it just happened you know or drawing is like I just look at a scene like that it's like, oh my gosh, you know, I just got it it's so juicy I've gotta do something with uh create something with this on dh so one of the first things is like I encourage you just to look around for a number of things one of course look around for scenes in the world that just speak to you as a painting and now obviously you can also come impose them on artificially composing onda very popular artist I'm sure a lot of you know pino he would compose very very elaborate scenes on a photograph them and produce beautiful oil paintings off those scenes so you know you have all choices you khun take real world you can I mean we saw dig our made up scenes so everything's okay you know you can choose to make up a scene you construct the scene poses scene or grab a real scene and or any mixture of the above so we have complete freedom but the thing I would encourage is just even before you take the picture is start thinking painting on dh think about the way you're composing in your camera as a painter on dh there's many many elements of what can make an interesting composition and that's where we get really into basic design and composition to do with the books of light and dark to do with the lines the angles repetition rhythm you know I have to admit I know that there's a lot of rules to rule of thirds the rule of this the rule of that there's a lot of mechanical overlays and guides the golden section etcetera, etcetera andi painter has a lot of hazards overlays it also has perspective guys things so all of that can be very good and I know there are people who use that I can only share what I do is an artiste on be honest about myself so I don't tend the prisoner I don't tend to follow any rules although maybe you can look at my work and they well you've picked a lot of things in thirds which because it's visually pleasing so I do and I'm composing for a painting is I just trust my eye and I look at it and say does that feel good? You know does it need to be a bit over the side? I tend to avoid pure symmetry and putting things right in the middle you know I want tohave things to the one side when I look at this is the drama too much right in the middle? I don't know I mean the composition sort of works like a shifted around a bit if I do this painting what my story what's my vision what my focus let's take a bit of time when we're doing a painting toe actually just observe what there and think through the vision because there could be many stories I could you know have the well the one that of course for me I'm a dancer so when I look at this I can't help but think, well, my story is the dancing couple and the love between them and then the music is the is the background that's supporting their love? I mean that's sort of the story that I'm thinking when I look at this and I loved the expression on the the guy's face is it just you know, the whole thing that they're just enjoying himself so much? So that's my story and so I put a story in my brain and I let it just go to the back of my brain and then I go into mechanical mode, which we're about to do and I do a lot of mechanical things, but you've got nothing to do with out or story uh oh are at least they're very mechanical but that story by setting it there of the beginning, it actually influences everything and it's really interesting because, you know, it sounds sort of like, well, if you just think about that at the beginning, what difference will it make in the process if you didn't forget about it? Um and it's not that I forget about it is that I let it I put it on the back burner on dh I focus on a lot of other things to do with lights and darks and et cetera, but for some reason it does have an impact and I just encourage you to take the time to think about your vision on dh what the story is um so yeah that's gonna be my story for this so you can use pretty much anything to paint from in painter and I know that you know, questions some people sometimes have you can use low res images can use ajay pick out of a point and shoot or you know, I phone and absolutely you can use everything and anything actually I loved the iphone it's an amazing two of just before we went on camera today I saw bobby was very an incredible textured vest, so I made your ah jacket so I made sure I grab that texture because you never know when you're going to need a good texture on dh it's true actually on that's one of the other things I suggest that you collect so collect imagery that says, wow, that's a painting and you will know you were moving there that's a painting collect that imagery you know, gravity if you can but also looked for textures like I'm going to be photograph in this floor later and using, you know for myself just, you know, that's a great texture that'll be a nice background texture on a painting sometime, so look for things and make folders and I think we talked about that yesterday make forward is to put him in ok, so you know, given that you can't take anything into painter and it can be a lower his image I mean, I've gone paintings from very low res on dh when you think about it with paintings you're working with illusion and you're creating a new interpretation of blocks of color and tone to interpret it as something if you're doing a representative shin or painting so you the source of that doesn't have to be some super high rez image now when you want to print out and get a nice shop details that's the point when you know having more pixels definitely of course makes the difference but in terms of source imagery for painting I mean you can have a tiny tiny image and blow it up so there's no detail but for a painting we we can just we can construct detail and add texture and what we really want to see is the basic composition so you can use low res images and just raise them up for painting if you want no problem now with this particular image took it with with roar and j peg in my cameras using a cannon five d on dh you know if you you know is one of these things if you have the range of possibilities, why not at least said it there and see if you want to use it it's like when I set out a color palette on the physical world I like to set out all my colors, you know? So I'm doing post from painting, I don't just put, oh, I think I'm going to use blue and purple on that and put blue and purple. I put every color I wanted, my basic palette, and now I may not usable same thing with the tools so well, I have a raw file in my camera, so I might as well open the raw file up and have the advantage of all these possibilities, even if I don't choose to use them and know every image I need to choose some things, you know, things will get better all be improved and funnily enough with this image because it was dark and I didn't use a flash though it's just a natural light photograph in the night when I take down the highlights, I don't want to take it all the way, but if I take it a bit of the way, I start getting a lot more detail in the lamps. So if you look at the lamp above the gentleman in the middle of the top middle of the picture and I'm going to slowly take that highlight down and suddenly I can see what they're so let me explain a little bit about what I aim for you to prepare a photo for painting and it's not the same as if I wanted to do a beautiful print for this person of a photograph pure photograph it's not quite the same as well I'm going to do when I wanna paint sir painting is about you know, if it's representational is about observation, so I want to have a lot of information that I can look at carefully and decide whether to use or not in a painting and a lot of the information with the painting I might choose to discard and not not reflected in the painting, so but what's useful for mia's ah painter is toe have that information there in the first place on, so the reason I'm moving that highlight slider down on this image is that actually I'd really like to see what the structure is in the lamp in kind in case I want to make a brushstroke and play with that a little bit and it may just be a dash here, maybe I don't know if I'm going to do that, so yeah, thats good take that down, you know, maybe look at the exposure that's sort of in reversing what I just did, but does it bring up much? Not really so that's not doing so much the clarity let's have a look so I play a little bit a little bit of clarity um vibrance not doing too much on this one on dh I really don't in this case I don't really need to do much with saturation that varies with other images but this one it's not it is not really doing much for me plus is a vintage feel to this whole image and I actually quite like with vintage maybe a little less saturated. So anyway I just play with these things on I see you know, see where it goes so remember everything is going to be changed and covered in paint so it's not like it's really critical so we're gonna open the image on dh then depending on the image I might play with a couple of filters so one of the things I love in the nick for visa is such is structure aunt, I'm going to just see what it's effective on dh it definitely brings out things that I could use in a painting, so what I want you to do is I want you to look at the side of the bass on the right of the pain of the picture as I move the structure, you'll start to see maur detail on that base that I could use in a painting. Now again, I want to emphasize I do a lot of things here not because I'm going to use every bit of detail and you'll notice in my little cheat sheet tipped quick tips a couple of the quotes are about the fact that you know, say the most with the least so in painting we don't wantto necessary overload just lots and lots of detail that duran quote of course is very extreme, it says in art a ll the is not essential is harmful oh boy, that sounds a bit severe, but the point that he would make him was that you know, every it's sort of like quantum mechanics but how did the physics coming here it's sort of like quantum mechanics in the sense that every mark you make on the canvas affect the whole cameras? We know that and we talked about turner putting that red dash of a million transformed an entire campus on you see this again and again and tomorrow we're going to look at expression we're going to go more into accent and all that stuff, but the point that durand was making is that what's not essential is harmful simply because it affects everything. So when you start overloading too much detail in a painting it's not just that it's not needed it's it it actually detracts from the power of the suggestion on the quote by water much in that sheet also really emphasizes this the water merch was a sound editor editor on apocalypse now he wrote this amazing book called in the blink of an eye which tiny little book highly recommend it it's in if you go to my links paid for creative life you'll find there's a link to what's on my bookshelf and it's there but anyway, but he makes a point the same point that to say the most with the least is an incredibly powerful thing to do because it engages your audience on when you put too much exposition and superfluous and detail, it makes observe a passive andi so what we do is painters is just enough to suggest and then that well, that leaves that makes the painting muchmore engaging because the observer has to put in a lot of their own story it's a very, very interesting so having said that I like extra set your extra structure let's just see how far I can take it before it sort of looks too much because it is affecting other aspects, but I definitely like having some of it I can just take another look at saturation, no note no andi saturation now just leave that where it is don't don't want to touch those do thirty that's fine um and I'm happy with this right now sometimes depending on the image I might do a level was adjustment on use an adjustment layer for versatility sometimes I don't think I need to hear I've got a lot of structure now that I can see in the blacks and where I can see structuring the black, I'm going to make it up so one of the key things here is this is a photo because of the lighting condition and it was impromptu it was imposed it's a photo that has many areas that a fairly uniform on dh I'm talking about the black down here I'm talking about the black here and then we have a uniform white in the overexposure under lamp so I'm already thinking as a painter I'm gonna work into those surfaces and bring out so bring out richness that isn't even there in the photo, so I'm already I already know that I'm not going to use his photo literally everywhere it's a starting point it's a catalyst it is means tio start a journey um so let's take a look we have ah we have a layer and if I did adjustment layer with level was adjustment or hugh saturation I would have more or less so in terms of organisation and I have to say the beginning of your process is the most important time to get organized because if you get organized right now right at the beginning then you don't have to think about it later if you don't get organized now and you start saving things with random names and in random places you've got a mess already and you know later on if you want to try and gather all your files together in one folder it's tough it's tough is anyone being there tryingto it's not easy um so so what I'm going to do at this point is do a save as on dh let's see, I have my sublime jazz original amusing the p v m system andi I'm making sure that in my project for order I have the original file the raw far in case I ever want to go back and change everything if you don't put a copy of your file or your source file in your project photo you're handicapped in yourself for later you may want to use it and I'm just going to put a the vase that there we go it just reminds me now I'm saving this is a photo shop file format and so that's going to preserve the layers and everything but I don't want to open this in painter and I'm gonna explain in a moment the reason being that um paint won't recognize special layers in photo shop, so if you do adjustment layers if you you know, do special filter layers if you just open that photo shop in pain a generally speaking, those layers won't have any effect lost your effect so we will flatten theirs before we're going to paint it for that reason, but I wanted to show you one other thing in photoshopped that may be relevant to a lot of you when you're preparing your photograph a painting and everything I'm sure by the way a photo shop of course you can do this in light room you can do this an aperture you could do this in many other applications so you know use whatever you're comfortable with use what you're doing where you're workflow is with photography just do what you do but I'm just going to share ideas so the other idea is thinking about cropping or adding canvas and we had a question yesterday and I showed how you can add canvas and all that stuff so you know, I just show both so that you can see so cropping now I actually like pretty much like the composition um if I had a specific size I wanted to fit a painting too I might consider cropping it in to that size on dh in this case I've set the crop toe teo width and heighten resolution on I've put forty inches why twenty six inches hi and a hundred pictures an inch now that's you know that's a fair size image is going to be four thousand pixels by twenty six hundred pixels no that's okay, I depending on the computer I'm using if if I'm not demo ing on I'm just working on my own at home and I'm working on a big project you know I might if I got a powerful you know, working on my mac or something I might go up depending on the size, I want to end up, but, you know, maybe six thousand pixels, max, but but not not really too much more than that. While I'm working in painter on like ways, you know you can work about three thousand pictures, max, and still get great imagery and still be out of print it out, and it looks really, really good. So, you know, there's a lot of flexibility in terms of painfully images, as I mentioned yesterday, um so with the crypto, you know, we could choose to just crop it exactly, um, to fit a dimension like that on dh, so I'll just press the return key, andi, there we go. And now I've changed its size and shrunk it a bit from the number of pixels that came out of my camera, which was begin that on dh I would say that from the point of view of a demonstration like this that I'm doing for the class, I'm purposely working a little bit smaller than I would probably at home in my studio. Andi I would probably use the pictures that came out of the camera there, but for here I just wanted a little bit smaller, I want just you, it just feels like it will be better on dh now what's happened is change size on dh I'm going to go to save as and I know blah, blah blah me up crop and I know this is a bit dull and I you know I apologize up front I'm having to show you stuff that's a bit anything that shows saving as is a bit dollar it's done for me I mean I don't deny that there's this stuff to do with painting that is like do you really have to keep doing it on you don't have to but for me empowers me is my process to do this so you'll see that I'm using the project and I'm leaving that same sublime jazz I've got my sequential version number two digits going up taking one by one by one born on then I've got my notes and I just want to make a note that I did a crops and I just have this convention so I keep it simple I always put with an inch is if I'm doing this height in inches and by the way, this will help me also when I go and get stretcher bars stretch of ours normally come and even side is generally so if you go toe, you know blake who tracked flax or your local art store you know, just pick up some nice heavy duty stretch bars you know, if I'm depending if I'm stretching for a frame or stretching for gallery rap on go talk about this tomorrow a bit but for gallery wraps wrapping around the outside always get on inch heavy duty looks really nice um of course some of you may want to just send your workout and we'll talk about output options tomorrow but I put a note here on I used the eighteen at because you don't want to use special characters in a foul name on I put put one hundred so keeping it low res again you know, I just want to emphasize that the printing I do is generally one hundred fifty d p I but you would be amazed how low you could get away with and it's still good with with paintings different too you know graphic sharpe images and I'm still saving this as a photo shop format file on dh I'd say thie other thing I mentioned is adding campus now I'll show you because I think it's really important simply to know that if you go to image campus eyes or you know you use whatever tool use have their love the photo shop canvas eyes on dh there's no doubt the photoshopped canvas size and the photoshopped crop to both better than those in pain on dh so if you know if you if you have simple things to do in pain you could do it easily if you know the pictures you want to add you saw me do that yesterday it's a snap just do it but if you know if you wantto crop to an exact frame size sometimes you have a frame and I've done by the way I had a one of my clients book critic and in san francisco here I did a whole syria's of legendary san francisco mayor's I'll put a lincoln my links page to that page but he was so funny he gave me it was where is actually we went to flags we he bought like six beautiful big ornate frames gave me the frames and said here I want five legendary mayors of san francisco put him in these frames and thie photoshopped cropped or is really good when you get a client like that on if you want to add canvas again this is this is definitely a good place to go so supposing I wanted to add some canvas to the left on dh I could just say I wanted to add to the left so I put the dawn on the right and it's going to add to the left and I wanted to go from forty inches to forty four inches you know? And then what color do I want? What you know I can go other and pick some sort of a deep red and say okay okay and there it is so it's very easy to dio I don't really want to do that but I just want to show you for those of you out there who may want to add cameras nothing wrong with him now there was also a question about adding canvas partially way through a painting process and definitely you can do, but it also complicates things, especially if you're doing photo painting and you're using clone sources because suddenly everything's out of register eccentrics so my big recommendation and of course I mentioned everything is ruled to be broken, so never ever be afraid to contradict this, but my big recommendation is do your thinking on composition as much as you can this stage at cameras take way cavers crop? Do it now and then once you're in pain, stick with the same size image all the way through because it's empowering because then you can keep flowing on dh, then you can use all these clone sources and they all work and fit you can use tracing paper you can use cloning will look at all that so think about composition at this early stage there's one other thing I want to mention about canvas size and cropping that's very important and that there's differing ways and approaches on dh some of you here might have different approaches to me on this and I'd be interested to hear so especially if you're going to a gallery rap on the edge of your picture is going to be seen and visible sometimes people want to add a bit of extra canvas like a border right away so they paint into the border as part of the painting process and then wrap it around the edge eso so and you could do that and you could do that easily with this all with painter's canvas eyes so that's an option it's not an option I do and I'll explain why so my experience is being I it's sort of funny actually on be interested maybe the online audience let me know if you have a cz anyone that had this experience well, I find it if I had a border I cannot help it I cannot help it I paint to the border I designed to the border I'm looking at the frame I'm always looking at the hole a game, that thing that I said about sergeant always stepping back always looking at the hole I can't help it is like I cannot artificially pain and then add a little of paint for a border I add the border at the end if I'm going to do that and I was be happy to show you how um but anyway that's my fit anyone here have that same experience or do you find I mean be interested if anyone wants to share anything no you pain right away you want to paint that you want it visible in the composition I very seldom to campus rap so it's a moot point framework looks lovely and pulled us the most amazing beautiful ballerina work if you haven't seen paul's work port to miss um portrait just dot com to missing paintings is another one and two missing paintings yeah, but enter but they look great framed on dh I love l a frame homework as well so enough said about that on dh so we've now got a we've got a cropped enhanced image in photoshopped it's got a layer that we don't want in painter so we're simply going to go down here to flat an image which remember in painter and it's interesting here we have a different language going on so in painter what do we call flatten drop and actually merge if you're merging layers together in further shop there is another word used when you do that in painter what that word some of you may know this on baby a test for the online audience c is quickest on the type writer there what is the word used in painter that's equivalent to emerge when you merge two arm or layers together into one? This is like I haven't shown you this so this is not really fair it's not a test of something I just taught you it's just since we're talking about terminology flatten his drop in pain a flattened a photo shop and merging photo shop is any answers they actually asked for a repeat of the question they want a little clarification just clarified what the question okay sorry, eh? So if you have to liz andi you merge them into one layer there's a there's a term in painter for doing that on later on I can just be says drop drop flattens its not drop waiting good descriptive squish I'll give you a hug ray here's a clue house of cards full splatter collapse you group group and then you collapse okay, I know it's like way flattened on you guessed it. We're now going to go save as on dh this is very important that we make a version of this um and let me just have a look um so this one is going to be able to say flat andi what I do I could leave it as a photo shop be fine I'm just gonna have it because painters tiffs don't support layers I tend to make it a tip now this is this is more ah demonic for me it's not you could save us a photo would be fine painter is perfectly okay with photoshopped file's coming in on dh way go and so we have this ready to open in painter and is a before I go on any questions have come in from online that you want to share well, there was one about climbing but I feel like you've probably you seem to be answering the questions as I think contract yeah good so what we're going to do I'm just going to moved to paint tio got a lot of love in question I have one question here in regards to I notice you're working though in eight not sixteen so if we were bringing photos and from might room are that a lot of line would come in a six excellent recommend we over eight thank you for that question because actually that's really important on dh I really wanted to talk about so thank you so what bobby said always do it quick click here see what's coming up horses so anyway it's always fun to see that welcome screen yeah is there is some hidden order I have always wondered that we better our stephen brother so what bobby said was to do with thie eight bits of the image and in fact a lot of times not a lot of times but sometimes you may find you try opening an image in painter and it doesn't work it won't open and painter it's a tear for its a j bigas why won't it work so the usually the reason is that it's sixteen bit on painter supports a bit images so we do is you open in front of shop you goto image mode a bit channel and then it works and you re save it and it opens in painter thank you for that and of course I also I should just say that um rgb color um is the color space andi you know what I do is simply use adobe nineteen ninety eight rgb color in painter as well and that way everything looks consistent throughout but then I thank you for that exxon question and so what we're gonna do is we're going to go to painter on we're going to go file open andi we're going to go to the product folder that we were working on and by the way you'll notice that painter can't open raw files so if you have a raw file you need to convert it or if your cameras taken a raw and ajay pig you could open the j pick but you can't open raw files in painting um and we're going to open the flat version up here there it is ready for painting I'm just going to do a double check to resize see what we've got forty by twenty six hundred blah blah blah and so what that translates to in picture was just so that you'll see it's four thousand why twenty six hundred high that'll be fine I'll be fine to work on that okay on dh so we've let before I start setting up thie actual photo in painter um let's get a pallet arrangement which is gonna work for photography andi working from photo reference so right now I have my palate arrangement that I call mainly painting because it's sort of what it's for mainly painting on we still have ah paul's favorite cro quill pen sitting in my sitting up there so what I'm going to do here eyes first of all I'm gonna give a test here s o I want to go to painting from photos how do I get that where do I go? Any guesses what where do I go to change my palate arrangement window window uh no no no can you see the right and and if it's big enough so I'm sure someone online is sent in the answer right? No, no, we're still waiting color panel no, so I want to change the palate arrangement to the one that's called painting from photos arrange pelham yes on your kingdom. All right, it was a kingdom. Thank you, andi, if people could say where they're from is I think that we fund here so this is working in my workspace so just so that everyone knows I'm using that workspace that we loaded yesterday that comes with paint box tv don't come on dh I'm going to go to painting from photos it's actually uh three dot painting from photos is the name of that pallet arrangement now what you see here maybe is a bit too much stuff. I mean, I sort of want to be overboard with all my custom path. I tend to do that so it's up to you, you know, you may say I don't really need germ, is you? No short cuts to all his favorite brushes here, I'll just, you know, I'll just build up my own favorites or whatever. So if you feel like getting rid of any of this that's fine, what I suggest is when you open up this power arrangement and I do want to emphasize that besides the custom palate, even if you don't have my workspace, even you know, if you don't have that, you could still create everything you see here on all my custom pallets all I've done, you can create those as well. All I've done is gone to window custom palate add command, and I've added a lots and lots of commands and customize a lot of work. A lot of time went into that, but you could do it all. It's it's, not there's, no, not magic it's, just a lot of work. You're all going to find that because I'm working on a low reds for this for the purpose of teaching twelve eighty by seven twenty on pretty much all your screens going to be larger than that. So what? I would suggest that you take a moment at this point before anything else rearranged the pallets so that they look good on your screen, take a moment and do that. Andi, you know what you want to do? What for my approach, what you want to do is leave a gap here, not fill this gap with something because we're going to put a reference image up here, so don't fill this gap, but my system would be moved the palettes at her at the bottom, down to the bottom of your screen. And when you've done that, what you could do is you can re save the palate arrangement with same name, and it will over right, so that next time you don't have germans are it's a little in the wrong place. You have yours, it's in the right place, and I'll just show you how to do that. So once you've moved your palettes around, you say this is better than what jeremy gave me by default let's re save it, all you do is the following. You just have to be a careful type of that, so you have to look at the name, which is three port period space painting from photos with capital piece. That's what you do you have to go here to save layout and if you save a layout with the same name overwrites it and that way you don't end up with a ton of eggs stur layout this is if you want to change my layout from what I have you could have cause to say save lay out you know bob is uh painting from photo layout and then it will go to the bottom I'll just show you because I think this is a sort of detail which I think it builds up a solid foundation and I know again is not painting but it really does help so if we went tio bobby b a r b k painting layout okay I'm just gonna say supposing we do want that then what's happened here is if we go to the window arrange palate you'll see it at the bottom there it is and it's exactly the same as the arrangement I have now if I want to replace painting from photos because I don't really want to ever go to jeremy's lay out because it doesn't fit my screen then I would have to look carefully at the name and I'm going to do it right now so we can see it what will happen and to see your work space and get a get a clear shot of what what actually is going on there? No sure them a second so that they can here when you let me just finish this okay great painting from photos okay? And, uh here do you see it says palit layout with that name already exist would you like to replace it? So this is what I'm suggesting if you want to replace your palate layout then that's how you do it and you just say yes on in this case I haven't changed anything, so I'm just replacing it with what it was now that there was a question about my work space on dh so let me just go back here and I think it did they want me to do that so let me just dragged down and show you the work space actually, just a few days ago I updated my work's based on paint box tv so for any of you, I know some of you have been members for quite a time if you want to go back and update your work's basic it continually tweaking it a little bit of extra work I know. But anyway, I'm not sure if this is what the question was they said can I show them the workspace? So maybe I should re emphasize what you're seeing in painter is a pallet layout part of the work space I'm no I mean yeah that's a funny thing about a workspace is you actually can't see it in the sense that you see it you always see an arrangement of palace and it may or may not be you know, in a workspace so in one or another workspace so what we're going to do now is we're going to go out of screen mode on dh let me just hide others here so we don't see photo shop behind us want to do this on um anyone remember how do we go in and out of screen mode is a couple of ways we could do come on em we could go to the window down here screen mo tuggle or we can click on this icon down here and they all do the same thing so what they do is they take away that nice simple thing around the edge I'm only doing this just for a moment on dh I know it's confusing you're seeing marcus looking over actually it's funny I mean marcus could be actually in the painting I mean I could take marcus and put him in the paint and they know each other they're all they're all friends so it's quite funny okay so we're going to go out of screen mode for a moment and you'll see the reason why I'm doing that we are going to go to the clone source panel this this is a key key key key panel of every part of the interface of course brushes, brushes, brushes paint is all about brothers but besides that photo painting the clone source panel is your golden panel golden panel on what I'm about to show you is different in paint ecks tree to paint a twelve I remember one day when we had a couple of people who said we're using paint a twelve can we follow along what germ is showing? This is the point of departure on what I'm showing you here is the reason that I would say to those people who were using paint a twelve I know I know it's a little bit of an investment to upgrade if you're a tall, serious about painting and painter, and especially from photos, I would say it's totally worth it. So that again, I just emphasize that it I would say it is really, really worth it. So what we're gonna do is we're going to go to the bottom corner here and there's a little, a little icon called open source image. Can everybody see that? Can you see that? Okay, in the bottom left corner on dh when you click on it, you see, every image is open and paint it there's only one. Right now on, you can go to any images on your computer or any connected hard drive through open source, and you, too, be click on dh you now have defined. The same image as its own clone source this is equivalent to going to having this image and going to file clone which I used to do in pain a twelve and earlier on now I don't do so this is a departure from paying twelve just to be clear um on dh so what we have here is a way we have a a clone source we have a painting image on just to show you that there is some interesting relationship going on I'm going to purposely pick a color so option click make sure we're not in a cloning brush I'm gonna pick something in the midtown region warm actually that'd be really nice color there maybe lighten it a little bit and I'm going to fill this canvas with that color on dh you know let's have a look we're going to go edit phil not with the hens and chicks gonna fill that there and I just want to demonstrate what's happened here in terms of a relationship. The original image we just saw is a clone source on dh it's exactly the same size as that automatically and if we go to canvass let me just have a look here if you got a canvas or command tea on a mac or control t on a pc we see that we have tracing paper now it's not that I want to use tracing paper right away or a troll andi, I really want to emphasize that we're going to focus on painting on dh where possible observational painting I just want to show you that there is this relationship between color in this source image on a canvas here and what is also new and wonderful in painter extra is that there's a little icon here little checkbox actually let me just get out of my chair on just for a moment zoom in here so you can see that because this is really important to understand so what we have introduced in painting extreme is this ability to show a source image which will always in that window frame of the image reflect whatever is the current source image so it's like this it's like this magical sort of image because it khun change and it can be different images so watch what happens when I checked this so I'm going to zoom out and I'm going to check it so watch carefully I want you to watch two things kathleen actually grab a brush um I don't know if the camera's khun spot me here um with the flowers in the way but what I want you to watch is this here I'm going to check this box and I want you to see what happens to that so that you don't get confused later on so here we go we're going to check the books uh what happened to that it's gone so one potential source of confusion here is like oh, now what happened is like I had a clone sauce and now it's gone and I've got an empty on empty white space and why what are they doing it like you know okay let's move this here on dh also I do want to just check in terms ofthe profile I'm gonna look at the color management settings make sure we've got adobe rgb nineteen ninety eight andi I'm also going to just, um make sure that this profile is adobe nineteen ninety eight there we go so if you ever see your clones source look faded, what I did was I went a sign profile adobe rgb in nineteen ninety eight because that happens a lot is like initially you've got is really crisp original image then you make a clone, you don't make a clunk off you do them see look, I'm still stuck in the old system you now in the new system, you go to the open clone source you hope in the source you say show source image and it looks faded and then that's how you get rid of the faith so what we're gonna do? We're gonna take a little break here, but what we're going to do after the break is we are going to create what's called a small what I call, I mean, you know, I just make this stuff up. You can call it whatever you like. I could have a small, big arrangement small, big, and you'll see why it's it's, a bit like these fruit in the flowers is small, small thing. We're going to do that and after the rape.

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!