Prepping: Underpainting


Corel Painter X3


Lesson Info

Prepping: Underpainting

Welcome back, everybody. So we're ready to dive in. I know it was a lot of stuff this morning, and yet I haven't even started painting now, obviously, I was just taking my time because I wanted to get everything really clear. But now we're about to dive in the painting I always wanted just to share before we dive back into painting on into the photo painting. Workflow, I just wanted to share one of my paintings. This is cool moment in time. Andi, this is a painting of two local tango dances and performers, professional teachers and performers. Christie, cody, darren, lease on dh. I just want to share a little bit about the process. So this is a painting done in painter and then it's printed on campus. And there is an acrylic gel on the top, um, on dh. So I want to share because it's going to be very relevant to what we're about to do in the photo painting. Workflow how this came about on dh. So if we have a look at what's on the screen here, you see the source photograph. So this was t...

aken, uh, in very, very low light conditions in a local restaurant. Paint a picture mama on dh they were performing on dh, so this is my source image. Very low light but I looked at that and I just thought I just love that moment I just thought the passion, the connection just very special on dh so as soon as I looked at that I was like I just want to focus in focusing on that the just that's contact between their heads and you know, just express that incredible connection on tango you know has its atmospheric music so as I looked at that I felt you know, I need to focus in and I don't want a lot don't want a lot of distract distractions and you've seen a lot of my work of, you know, coming up here on the easel and some of it's very busy and like the last one was full of texture everywhere so this one is really it's very simple almost almost monochromatic I mean it's got like the yellow oranges browns on dh you might notice if you look very carefully there's one dash of turquoise just one dash relaxant but besides that it's pretty much a tonal painting lights and darks and I've ignored a lot of the background detail that was in the photograph except for the beautiful shape of the old chair and just suggested it here so this is a sort of filtering in a sense a cz an artist that we're doing all the time we take an image which already has an interesting flow and interesting composition and then we stop playing with it and so the thing's let me grab a brush here on dh move over here so the things that I sort of made disappear in this you can see that I completely ignored the light that was in the top no, just a distraction doesn't add to believe in their you know we'll distract dumped that went um on dh let's have a look at the person sitting on the chair disappeared the lightness of the background here which was competing with the half tones in the skin disappears dark and thiss yellow actually when I realized I thought I was getting the exact source image but it looks like I got a source image where I must have dropped some paint on it at some point but um so let's just take a look where this went this was a very early stage it was probably this is probably twenty thirty seconds into my painting so I grabbed a huge large sergeant brush on dhe id fill the canvas just work quickly with some broad colors on dh created an abstract so right here you look at that is like huh I mean it's just it is just abstract and in the literal sense of the word when you think of what the word abstract means teo abstract is to take out two separate from too abstract and that is essentially what I've done in the markup stage in the under painting stage I've taken out from the catalyst of my source image on essence and played with it and worked works with the light dark and changed it I mean, I've taken the liberty to ignore a lot of things and then I start to bring back selectively elements that needed very strong, bold shapes on you know you can now see the forms taking place and even at this very early stage now it's really clear what the painting it so if you saw the first staged I just showed you and you had no idea of the photo of this you haven't you know what you know that's interesting no idea what it was now is already there but it's not quite there, so it sort of it just needs pulling him but doesn't need a lot of pulling in this is a surprising thing which I think is going on it's always surprises me and I was like with my own work it surprises me how little to go from here to here it is not a lot of detail it's a little bit a touch here and touch their selective and that's you know, this afternoon that's part of what we're going to look at is where do you bring in the detail? Where do you let it let it not be there? So with that I'm gonna head back into my computer screen and we're going to continue with the jazz theme on dh we were talking about the preparing a canvass of the sort of things you could do you could leave your you could leave your photo there you could do order painting but I I'm gonna mention that but no particular what I recommend always think you know why not be your own order painter do stuff with your hand where there is a lot over the image you could fill with color, which I did you could express texture in that uh surface if you want, even if you're going to paint over everything in the end I'm probably gonna cover up every single square pixel of this image with pain, so in that sense you could say, what is all of it moved is um and you know why you're bothering to worry about prime in the camera wellit's not move because it really sets thie ability when you have like a nice, gritty mid tone to sculpt into the highlights and the shutters to bring out lighter and to digging deeper and darker and that surface allows you to do that much better than a white canvas. I should preface all of this by saying that what I'm teaching here is really about a painterly approach which is really good for things that are going to end up on canvas and I should add that obviously there's many many styles you may want to do and I can teach other things but I just don't have time on this workshop so for instance some of you may really like watercolor on pencil work on drawing and for those of you who are on paint box tv the bollinger weinglass reference that in my time links but you that's an example where something more delicate with watercolors you could do something like that but you would have a very different approach you would use a white surface on dh and you could just do a select all delete make that white and that brings us to the question that came out this morning that was asked about quick clone so the question was you know so what what's quick clone should I use it and you know how does this fit in too quickly so let me just summarise is very very simply um so quick clone is simply a short cut in painter for doing more than one operation at the same time on dh what it results in is you have an image it makes a clone copy and then it clears the campus toe white and it turns on tracing paper and you can choose in the preferences too to vary that if you want but that's what it does and in the preferences that defore even has its select clone brushes so you end up with a photo on a white piece of paper with tracing paper turned on and you're ready to paint so all of that is fine and it all works fine. My approach here is sort of intending to be a bit more structured on guy could end up with the same end result is quick loan simply by doing select or delete and turn tracing paper on that's the same, you'll end up with the same result. So julie, does that answer it so you could do quick loan, but it's not what fits in quite to the workflow that I'm sharing here, but it is useful if all you want to do is keep on a white sheet of paper and do something way using tracing and you want, uh, maybe something that you're going to print onto watercolor paper the advantage. If you're going to print underwater color paper, I should just explain this, then the advantage of working on white is at the edges of your painting a cz long as you have soft edges of the painting and avoid the harsh computer edge, it fade into the white paper like you can hardly tell it's, not water color. I mean it because you're printing inject print on watercolor paper, you're basically laying down pigment on watercolor paper. On dh it does fade into white on white in the printing process is no think so if you're going to do a watercolor anything you're going to print on a beautiful watercolor paper and then you're going to frame it so you see the edge of the record edge of the paper and you're gonna mat it and put it behind glass then for those situations the white would then be good well, I'm sharing here and when I see this image that's not what I see I see something it's more like an oil painting and that's you know, maur more gritty and something I'm gonna output on canvas like this and probably put a frame around you know? So that's why I'm going here but that hope that addresses the quicklime question um I did mention before the break that one other option that could be interesting is instead of worrying about filling with color and artificially putting a texture in which you could easily do in painter does anyone remember the effect yesterday we used to put it to m boss a texture on our surface? What was that effect? Surface texture yep, so is affects surface control apply service texture you're using paper and you know it works fine, but the other thing is you could take a captured image of nice surface and put it on and already you've got something interesting and something gritty on dh that's what I think I'll do with this I'll show you that so your tresses here multi fold and in sharing all this work flow I'm not saying follow exactly the steps I'm doing I'm saying you got tons of opportunity here to do things in the way that you want so what I'm gonna do is I'm going to bring up a photograph I took andi I happened to have it here um so let's just uh tab away everything and have a look at what I got on dh so this is actually from earlier this year in general or is in london and I went to the tate britain which by the way, if you're ever in london I know some of you out there probably from london this is an international online audience hi there but for those one if you ever get to london amongst the places to visit is the tape britain and it has one of the largest collections of turner turner the beautiful work I'll be showing a little bit of his work tomorrow but beautiful abstracts I mean they were see scenes they were, you know, cityscapes but they were abstract very inspirational to money on but what's really funny is if you do go to the tate britain not to be confused with the tate modern that different museum taper in the old one there's a room of china's and then is one tanouye tried to draw a model sitting down a turn I didn't draw a lot of people if you look at his work most of it is is big escapes with if people are there they're represented by a flick of pain so he is a painting of a model on dh it looks like he gave up on it I mean honestly it's probably a painting that he really wouldn't have wanted put in take written you know hundred something years after but there we go it is there. So what do you have is a model in the middle of this cameras and the rest of it is raw campus you know, it just looks like he's moved on to something else. So I did was I went up and they allow you to photograph everything. So I went up photograph a patch of the raw canvas because one of the things I miss in texture and I love the painters paper texture I mean it's wonderful but there is a uniformity to him and this comes back to the whole thing of of the battle we have his artists in digital is a digital is really good at uniform. Digital is good at sameness, so when we have texture and pain a we tend to have a lot of sameness and by the way, not just in the digital world when I print on my printer and run through my canvas and someone had asked me actually I'll talk more detail tomorrow about which campus I'm always experimenting with campus now I'm using geo matt from digital art supplies in san diego on dh you know it works fine I like it um but that canvas texture is also bit smooth and it has to be sort of smooth for the printers but it's not got the roughness and if you go look at them you know in the museums and look att a sergeant look a tanner go up and I mean look at this it's just like a rough landscape it's great so that's what? I'm going to choose the turn of the tana canvas on dh so I've just opened it up on dh you know, I don't really mind what size it is right now I happen to know it's big enough to go on my campus but if it wasn't I would just stretch it a bit on dh so I'm going to select all I'm going to go, which is karan day on a mac control a on a pc I'm gonna go copy command see on a mac control see on a pc on dh I've pretty much done with it now I'm going to go command w on a mac or control w on a pc don't save and now I'm going to basically pace it onto this and I'm going to go command three command v paste and is not in exactly the right position, so I'm going to click and just say you see what happens when you paste in painter whatever you paste automatically becomes a layer an image layer and if you see and I turned his eye on and off let me just zoom in here so you can see that where it says layer one there we go um so I have a layup click on off I can move this thing around um and that's fine with me I don't need to resize it now some of you out there you may try this and you've got a little texture image on dh then you've got a big painting image and it's too small, so I'm going to show you how to resize it not that I need to hear, but so that you all know okay in that situation, how would I resize it so it's very easy in painted on dh eso all you do well actually you have a couple of choices you can go up to the edit menu free transform on dh when you select free transform, you get little control handles and you can hold down the shift key andi move the control handles in just like free transform in photo shop that's one way and then when you're ready you press the return key on dh it's fixed so to speak and you can move on and do something if you you know that's an easy way another way though I sometimes work so this is now a slightly resized campus another wayto I sometimes we're going uh I personally I'm in the habit of doing because when I do collage obviously I'm doing a lot of layering on I want a lot of flexibility with re sizing my layers on in that case the most versatile way to do that in painter is to go to the layers menu and go to convert to reference layer hold down the shift key and again you get these tiny little things here that you can move around on dh adjust the size so there you have it very versatile what's different about the reference layer versus the free transform is with the reference lay you don't have to commit this transform you can keep working on other things come back to it later so it's just a little bit more versatile on dh so typically I would be I would probably be doing a lot more safe houses and why would you save as now but you know just for the sake off moving forward and keeping the momentum going for you I'm not going to do as many safe houses that would so I'm going to go on dh at this point we have a layer I'm happy with what it looks like andi, I'm going too choose drop or drop and that, if you remember, is equivalent of flatten campaigner now it just so happens that I make sure that I have a drop for button in my handy shortcuts. So right at the bottom of the screen there, there we go, right at the bottom you see a drop all the same thing, it's just choosing that from the menu click and now I flattened it on dh let's do a save as and this will be number eleven and this is going to be turner canvas way go! And still saving is a rift because I want to keep all the clones sources. So now we're ready for some painting and I'm going to sit down any questions? Yes, terence so if you say you found a canvas texture like that, but you still wanted the color that you were chosen before, um, what would be a good way to get the best of both? Uh, excellent question, so I just didn't undo, so I've just been in the flat even though it's saved as long as I don't close that I could do the undoes and there's a number of options, so the question was about can you have color that's, right? You want the text? If you don't want the you don't want the color I'm going to get into texture a lot more tomorrow but just to show you quick answer you could just change the competent method yeah I mean that is young that is one answer but it looks awful but overlay will give you more of the color you could also choose to reduce the capacity and actually that works nicely because it makes it subtle and it brings in the under color so that you fool maybe I want that actually I rather like that's a bit more neutral so in fact thank you I'm gonna do a save as on we call that twelve and then I'll do a drop all and flatten it so they you know there's a number of ways you can do it you can also colorize I mean I don't want to get too complex here about colorizing but if you created I'll just show you because I know that there's there's going to be someone in the audience as well who probably had the same if you have a surface and painter of any kind of picture of any kind and you just want to give it a jolt of a color let's say you wanted that to be more of a blue for than a brown so I'm just going to fill my layer with blue and then I'm going to change it from default to colorize and I'm going to reduce your capacity I like that since it's comes up green but actually it's sort of matching what I'm wearing something quite fit what I want for the painting you know although who I could make it like fill it with a red and then see if that works with this painting let's have a look yeah now so I'm gonna delete that layer but did that how bonds your question um okay, I actually do can I just have a quick look if I take that into the slight blues it might actually be more interesting because there's so much orange brown yellow in my photograph and maybe I want a cooler canvas and contrast it with what I'm about the pain maybe I'll keep this you know? Oh these what you're seeing is how our pain which is I try things out all over the place so I hope that you're getting the idea that I'm not teaching a formula clearly I'm not teaching a formula I'm just sharing process and I'm sharing on approach that's you know, that's what I'm doing and so every painting I do goes in a very different path I never know the part so I will you know I get to do another photo example much quicker on dh you'll see a totally different path but there we go so this is going to be a slight blue blue canvas are going to call it on dh that's fine blue canvas on dh then I'll flatten that so you know just by demonstrating in answering a question I've got to a place that I didn't expect to get to because I hadn't planned to do that to do that but I like it yeah I can work with that so let's dive in and make some brush strokes oh but we happen to have sharon's blender would which you shot which you showed yesterday on I'm going tio go back to the brush tool note no cell phone no to everyone when you do ah copy paste operation in painter on dh as I mentioned, anything pasted in painter becomes an image layer at the same time this is an automatic thing the tool selected in the toolbox will automatically become what's called the layer adjuster tool and so don't be surprised when you've got a layer that and then you want to go back to paint that you stop moving you're lay around accidentally because you know in the layer just tool so you have to remember to go back to brush which you could do by clicking on the brush symbol um oi of course you could click on your keyboard which key be for brush okay dokey on dh er we've got the brushwood sharon's blend the wood there we haven't uh okay now we've got the brush karen's blend with um and I'm just going to take a step back here on just were quickly with cem big strokes and actually I'm going to go back to aa that the brush from which parent did shepherd derived assurance blender word and that is a brush court would it's an old variant from thinkers around paint a full paint of five and I just love this variant, so I definitely have it as part of my tool box, so to speak notice that I'm using that shortcut on a mac option command and on a p c olt control and I'm gonna work a bit here with tone and color, not worried too much better and, um, maybe at this point I could go back here and just made use of the temporal color palette on and let me just have a look here and remember transformation, so it doesn't matter where this paint goes I can always keep transforming it. You don't have to worry when you're doing a loose initial mapping out here. Um and I'm not necessarily trying to be so overly literal, but I'm trying tio I'm trying to map out some basic elements of the design pretty quickly on dh now one question may be what about positioning things? They're not going to be exactly right and that's exactly correct they're not going to be right now, you know and whether you know how to draw and have done art or whether you haven't all of us have the capability of looking and responding everybody that's what dances again uh dance metaphor is always going to pop up in my head but what that's what we do it sounds is we we listen and we respond we look as pain as we looked and we respond we do something with it we're all capable of that and so at this point my goal isn't reproduced the photo I'm not trying to paint the photo right now I'm looking at what's going on lights and darks andi I'm just playing with ideas and the colors on putting in here right now way different from what's in the photo but at the same time they're responding to what's in the photo on dh let's change brush on dh just bring back my palace now you have to take a little bit of a leap of faith here so a sze yu watch this approach is like it's clearly not to do with perfection at this early stage is to do with building up a study on duh I just make a note of what the brush wass on dh let's go and look uh for um uh funky chunky I use my search got a few different variants on it and uh let's go to the pure dens or funky chunky let's go back to its original look let's uh make it a bit bigger, huh? And let's change uh color and let's, bring in a bit more color there and touch there, touch there and you can already see the surface starting to get really interesting is that I love so all of this is an under painting. So just to be clear, I'm not trying to copy the photo and samara show extraordinary skill as a trained artist in looking and reproducing that's not the goal here, however, why I am doing, and I don't know how easy it is for you to see in the audience. Well, you probably can't tell where I'm looking, so I'm gonna tell you where I'm looking. What I'm doing is I'm intensely looking at my source image almost all the time back to the source saw saw saw source look, look, look, look, look and I can't emphasize enough how valuable that is in this whole process, even when we start to get more detailed and, you know, look more photographic, everything I'm doing here is based on something I'm looking at, even if it doesn't look like it. So I'm not just randomly putting stuff down, I'm looking and responding, I know I'm sounding like a a record with the needle stuck, so I'm sorry if I do I mean, I don't mean to go on about things too much, um but I mean, I'm just trying to share the process that you're witnessing so that you know you khun take bits of it, try it out and have fun with it so, you know, like I look at the tree and I'll just explain what just happened them so I looked at the tree and I saw that there was dark green on one side and the light green on the other because of where the light is outside the restaurant on dh so I made a mark that was a sort of light turquoise I went into the value situation triangle and slightly dark and it on when I made a second mark, which is dark turquoise and put it next to him. So another is this blotch of grady ation from dark to light turquoise was a direct response to this, but it's not attempting to paint it precisely I'm filling in an under painting, but using the opportunity to play with the composition. So I'm going to continue this process and you just have to bear with me on this because it is a very it's it's an unpredictable process, but it is keeps being rooted in observation on dh in terms of producing a painting that ultimately reflects a scene you know you can't beat being able to keep going back and look at it the source also asses off your composition you know a question that came in goa is it good to have questions and I don't want people to get bored watching me do all this. So what do you far away? Lots of questions is good amazing. So maya's, can you show us how to use the cross hair that kind of shows where you are exactly on the source of it. Ah that's a great question so you saw me use across here and so hot let me explain a little bit about what I'm doing. So what it's admire? Who asked that question? See my shoe? Maya ok, so high soon my, um great question on what you're referring to, of course, is when you press the clone color um icon what you see on the bottom right of the color panel the current brush draws its color from the clone source and you can see the cross hair there now that clones source is a bit dull in color range. Well, it's what the it's the photo and I pumped it up a little bit with phaser and this and that it's a bit dull that's got a lot of black in it, but this might be in more interesting so you could draw upon the colors here by just clicking and tapping and it and even I'm using a big brush it is actually reflecting those colors as a work around maybe that's not the right color range I don't want black and white maybe I want a more subtle color range this will give a lot of browns on dh you can see the cross hair where it's coming from having said all of that I'm still working with a big bold brush so my encouragement is to maybe not diving too quickly to the what I call to clone color and spend a bit more time trusting your eye and and allowing yourself to flow with non non photographic color not the color necessary that you see here but color is stimulated and most important is tone most important is that everything I'm doing and I'll just show you here by going to the under painting panel by clicking on the underpinning shortcut now just temporarily take saturation to zero on dh have a look here and what you see is that very very roughly I mean you know not exactly but very very roughly what I have actually been doing is a terminal map roughly not talk clear but that's what's really going on what I'm we're gonna deal a lot more with the precision off thiss seeing tone in college tomorrow one of the exercises were going to do tomorrow but what I wanted you to see was that um that where I'm playing with color but I mostly looking at the eternal variation in the photo as they do it and let me just do a save as before do anything else so once you start using clone color and what was that that was dens oil funky chunky that's my d o f c abbreviation once you start using clone color your immediately producing your color range on dh I've always been impressed when I have classes in my studio it is such a joy to see going around the computers when people just go for it with without using clone color and sometimes they end up never using clone coloring the whole painting and people who are not fine artists and do don't have it you know training and drawing and everything they just love what comes out but no matter what by not using clone collar right away you will have a much rich a range of color in your canvas. Andi this is one of the things that's also just a physical consequence off the physics of what have digital photography works the responsive ity range of charge coupled device is a little chips that aaron cameras on what you see when you see a digital photo on the range of tone and color does not equal the range inter of tone color that is possible and saturation with paint and that you know with both digital paint you have twenty four million colors and then when you get into a real pain you can take it to another level of intensity and possibility so I'm doing here is I'm trying to get away from the color range or gamut that's that's just in my photo as well as detail and I'm creating a rough abstract study based on the shapes it's roughly what's going on and notice that I've pretty much covered up the cameras or their effort to put turner's cameras there but some of it's showing through and that's what makes it interesting and if you paint on top of a photo on and I have done this and I'm sure we've all done this if you actually paint on top of the photo it's almost inevitable that somewhere in your painting and when you print it out and you know lady you'll look at it and you look really close and you hoped no one noticed there's a little photo showing through anyone ever had that experience uh so it's so so maya says that so can you make it so that the cross here always shows ah dad interesting question she followed with if you could do that preferences or something and the note the answer as far as I'm aware is no but it's a really interesting uh this is something I'm gonna check to carol about it would be great I understand exactly what she wants she's saying can you not just use your your fun colors but have the crosshairs? You see what the relationship now there is tracing paper on canvas tracing paper and that shows the photograph superimposed on the painting image and in the clone source panel, you have a slater which determines the degree are opacity. You could think of it off of the tracing paper on how much of the painting you see versus how much of the photograph you see, but the photograph is not really there. Um, so that does give you a hint of where things are. However, whenever you have treason, people on you're not really looking at what you're painting looks like, so I don't like it a lot and also the other thing and this is sort of another little bit of encouragement is to take the risk of doing stuff, which isn't right doing stuff which is in the wrong place think back to what it is about the hot need widen in your vantage point. A photograph on duh is is a single vantage point at a single moment in time and it's not how we see or experience the world and cubism looks at many vantage points at the same time, maybe that's more like how we experience reality, then this still photo so by not using tracing paper by not using clung collar by working with observation response, at least in the under painting stage and early stage, I think, and this is just a personal opinion that I think it frees you up I think that you'll be surprised at how fun it is and what the results start tio you lied to so I'm going to continue my process ongoing change brush I feel like I need to get a little bit more structure here but I don't want to get into too much detail so I'm going to go for um let's see if I do so me pollack let me just see if I can find one of my brushes here no results that may just have a look in here I'm just going have a look for um area so we've got actually linear sharp ones and see what I've got in here I'm just going to have a look I don't want to get too detailed on we've got the only organic stucco is just really fun um and it's got a little bit of impasse toe in it and let me just have a look here I'm gonna zoom in on this one because you can't really see it um but stocker one it's just a prison in pasto but you can tell here it puts an impasse toe layer in a thick paint um let me just have a look here this is one I just made recently you that's interesting maybe a little color variation this is one called germans trail off okay let's try this so I try a lot of things and I keep moving forward rather than I'm doing let's move this may be a bit bigger now doing this approach your scene here takes the lead favors I mentioned it just takes a commitment to croesus so I told you at the beginning of today when I started this project that I haven't preplanning um the I'm going to share the rial creative process there is vulnerability in that there is risk in that so this is not no risk proposition there's vulnerability and risk because on live streaming video I have an audience and I don't know where this is going so I just have to keep moving forward I don't have any traces I might make him a mistake you know any very common what a mistake a mistake is enriching the canvas that's why I'm not undoing because I want to move forward I wanna keep moving forward on I don't want to lose the opportunity to enrich the campus let me have a look here it's some other brushes I'm just going to look around at brushes I think might do this sue hee rui I did want to bring into we really because I I love the texture of this brush brush on let me just have a look and gonna go for the dark browns now um and by the way I've mentioned tracing paper you know you can always do the command t turn it on and off so in answer to with its through someone yeah, an answer too soon maybe a zoo work around it's not ideal I do understand I I would like to have what you suggested, which is the option tohave across here even when you're not doing clone color I mean it's a great idea because then you don't have tracing paper you use your own color but you get a sense of where you are and I counted has done that after this taping I'm gonna send an e mail my friend steve carell and hey, it is a great idea came from a semi but another way you could do that is just come on tian enough but I wouldn't overdo tracing paper I think it's nice tio just trust you know what happens and unfold let me just go in here with the su e rui and get a bit darker and larger so I'm going to just make that a bit bigger because then you'll get to see the organic ness of it it's very fluid thiss was a brush made by david gale so first well david gill his website is uh there's a link on my links website great great guys super super expert on painter I mean he understands pain a way deeper than me I mean I'm a user of pain or twenty years using pain or more, but david is like I mean he's like the painter whisperer and in fact I should give a lot of credit to him because one of the things on thank you david, if you're out there watching one of things that he helped me with was for my workspace, I thought wouldn't it be great if we could use that? In fact david came up with this he he said wouldn't it be great if we could use a search to look at things like the shortcuts so because not just brushes in other words on dh so what you'll see it the bottom here is if you put in some light size on the mac you get all the mac short cuts for changing size if you're on a pc and that's why I have two different work spaces you get all the p c short cuts so all the shortcuts for painter are searchable in my workspace thanks to david gill thank you david gill. Anyway, just a little aside on dh I really appreciate his great input on this brush you should go to recite I think it's called jeter brushed a combat it's on my link site but his sight he has a whole bunch of brush is that you can download and use and you should definitely check them out he's like with them long he's another master brush maker for painter he does great brushes on dh so let's put some of this around a bit fluid on again, I'm looking back and forth that my image andi, you know you're probably wanted well, when's this gonna actually emerges ah, painting of the scene is like, this is all it's all happening it's a lamp and it's just happening rather buy securities road but what I said before about all the intensity stuff, you know, the passionate focus of picasso and the intensity of sergeant and everything? No, I'm not quite during that intensity thing, hopefully, but everything I'm touching on this surface is as a result of looking at the source image, and this is something I just want to reemphasize game again, I'm looking back and forth back and forth, back and forth, even though you may not realize it because you can't really see what mine is doing, and it may not necessarily be obvious in the picture yet, but incrementally things are happening here on dh things will emerge and I just have faith in them. But what's also happening in this process is that I'm expanding the richness of my canvas enormously by the different types of color brushes, textures I'm using and bringing in teo process so that this number sixteen on that was, uh that was david suey rui okay, so there again you see me noting which brush amusing now because I'm so familiar with the brushes I have my own little code liza mentioned but you could write them and full up to you but then I can look back and say oh what did I use let's change brush and let me just think what feels like appropriate well, there may be a good time to get back to the question from who is it about that salty there were two in one of two directions questioner that was a while ago going up I will tell you no so well actually we're to do a little do lester a little experiment let's just type in the word salt and see what comes up uh well kept sienna pepsi and were asked about the salty emma so there's a couple of salts so there's actually looked like this gonna be three that we're going to use all that we could use so did you water kinda has assault we're going to use that in a moment there isn't a raise is salt in the water colors so that covers really watercolor watercolor categories they're all in the watercolor later on then there's one that's not coming up there but I seem to remember let's see if I'm proved right uh shorty a little more tasty sortie in the tinting tinting brushes andi let's zoom in miles will enjoy and always aware to salt looked like it might fit maybe around this on the wall a bit of salt around the highlight that's this tab away let's zoom in on let's put some salt there and see what happens all right up there let's see what it looks like who let's expand that brush size so the salt blobs are a bit bigger and do some dabs why got a glow ludwig look at that that would be great for stars if anybody's painting a story story night then this would be I mean look at it is like okay let's stick a couple of stars that there are cosmology you know list let's look into another galaxy or the milky way I love it salty very nice if you are doing seo an intergalactic scene hey, maybe there's someone others video games are a film something and you wanna have like the star wars saber and you want to send out that laser beam across the sky there is one there is one brush that is the brush for that I'll show it to you it's just fun and I will look for a laser beam in my composition where I can use such a brush because I don't just want to do it randomly I want to show you stuff that he has meaning and purpose in my composition as well sir let's zoom de so I can see the hall a little bit maybe suman up a little bit andi look here so actually, maybe I can use a laser beam for the piano the white of the piano maybe do a laser beam like that let's just see so what I'm gonna do is bring back my wife wrong button I got I still got to get there you like it is like playing the piano maybe it's more like playing the accordion. I have a feeling that maybe tomorrow we'll have someone who can play the accordion a lot better than I play their work on tablets at you took on a plane the welcome tablet ahead at it and there is a master of playing the welcome tablet on dh I'm sure actually a lot of you know no off him because he's amazing and his name is android jones. So if anybody is not familiar with android jones become familiar with him. He is an amazing magician of art on dh performance on dh I've had the pleasure of meeting android on a few occasions super super nice guy very, very nice, super talented and that you've all seen his work because it's on the pain a can and it's on, you know it's all over the painter website but what's really special that andi hope I'm doing justice describing his performances but what he does he has a customized old welcome tablet on he goes teo raves and yes, he is he was all over the world. I mean, last time I spoke to him, I think he was in the outback of australia hey goes all over the world with this custom work on tablet, which he's got adjusted for a shoulder strap system on dh. Then he no creates with musical important. I mean it's like he's painting he's his wife performs in the projected imagery on dh. He's got music important. Our honoree. He can tell you better than I on. If anyone remembers from paint a twelve, there was different work spaces provided by different artists around the world. I was one of them on. We each were asked to do a video to explain our work space, and I do have a video that explains my nonpaying bugs tv. But I don't have is still upon the moor curl site, but androids video of explaining his webs, his work space was the funniest thing he turned his voice intern elektronik voice um, anyway, this is all a bit of a tangent, and we'll get back to business.

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!