Resolving: Bring in Selective Detail


Corel Painter X3


Lesson Info

Resolving: Bring in Selective Detail

Welcome back to the last session of day two of jeremy sutton's three day workshop an intro with karol painter x three and we have a treat for you as you know before the break jeremy was wishing up an incredible background that he's going to improve on but he's also improved upon himself with a bit of a special outfit jeremy I video okay improvement on up on a purely self protection no e so I just wanted to show a little bit of going back to the roots traditional so I've just taken a little bit of acrylic paint makes a bit of water there and I just want to show you what that multi flow map to some extent is like not exactly like that I'm going to really make a mess of the dance floor here, but there we go so maybe you know it's not quite that but I just wanted to give you a sense of the dripping on if I did hold it like this there is on the floor so I don't want anything else and we're going to get back from uh the traditional to the digital maybe I'll just take this off safe time it is...

hot where just excuse me one moment transformation so where we left off I've been working on this image really creating an under painting, playing with brushes, playing with texture, allowing myself a lot of freedom a lot of freedom to experiment to explore to make a mess teo loosely base a growing image on my source image but not worry too much about anything being precise so let's business go back here I'm going to go command m on I'm going to go back to the small big arrangement where I have my source on the left I have my painting image on the right on dh this segment off the day I'm now going to sort of, you know, refocus here and really try start working on the resolving of the image and getting into a bit more detail on dh now it's not that you know, it's sort of like an artificial barrier here and I want you to be aware of that you know, I've segmented things here okay, that was under painting now we're resolving the truth is that it's all a continuum it's not that I'm suddenly in the middle of a process and I say okay that's you know, that's the under painting and now it's here over painting no, it is everything is resolving even from the first brush route in a way, but now we're going to really hone in on sea where we can go with this and I know that with this approach that I'm sharing here it's not the easiest approach and I mean I'll be really honest with you about that it's much easier to just paint on the photo there's no doubt about that and you will more quickly get to a result where you think that you know I've got a painted a photo painting there's no doubt about it either it is quicker and easier to do that but the end result won't have as much richness generally won't have as much richness of color won't have as many points of view in a sense on dh won't have a rich a canvas so you know you basically have to teo choose what where your priorities are my suggestions I realize is a lot of people out there for whom this is a bit scary what I'm process I'm doing my suggestion would be no matter what you do you know in terms of your normal art approach with paint try this sort of thing as an experiment don't treat it like oh, I've got to produce something that looks good just try out and try it out with a lot of different images on dh have fun with it and see where it goes so let's dive in here and I'm going to explain my process first of all, I need to take stock of where I'm at so I'm just going to do a command zero on the painting image and I want to see the the source images well shrink it down a little bit more and move it up a bit on dh let's just take a look but I'm not gonna take a step back here um and that is quite useful if you do have a big projected screen I mean, in my studio I have a big ten foot screen I used for teaching and stuff and sometimes I go all the way to the back of my studio andi you know, look at this big projected image and then walk slowly forward and you start to see a lot of things when you step back when you look at it from a distance and then when you move forward you just start you know, you start to observe a lot, so what I want to do now is really hone in on cem really specific things in the image ultimately, like I say, focus wise, I'm going to want to really make this focus, but I really now really want to dig in I've got some great texture toe work over and that is a fun thing about working with this approach is you create with this under painting a wonderful rich thing that dig into on dh I mentioned before art is like resistance things that begin to and sculpting my approach to painting is very sculptural andi so I really feel and I see that attacked our way I really feel like I'm pushing my thumbs in tow wet, malleable clay and molding and sculpting my image out of this surface it's really what it feels like to me and sometimes you know I've been asked oh, you know, with digital painting do you miss all the tact ill ity and the smells and the feel and touch and you know on the one hand yes of course anybody who works with traditional media we love that feel of the paper and the media it there's nothing like it, of course, but at the same time I have to say that when I work with digital media for me it is very tactile and even though I'm holding a stylist and my surface that I'm touching is a welcome tablet surface, I actually feel the tact ill ity of what I'm doing anyway all of that is to say that I'm going diving now I start sculpting on dh um let's see, I don't have I'm blocking the screen here but the major elements that I want to sculpt for sure, I really want to work at this danny brown, the figure on the right I'm gonna work in the wonderful shapes of the drum set a little bit of an indication of the drama, but I'd like to leave him sort of abstract little impression is they don't want to get too much detail then the pianist on the left likewise I'd like tio have even though he's in the foreground and he's very dominant in you know, because he's big in the composition in the foreground actually want him to be fairly out of focus, and this is I'm just sharing with you my thoughts as I go to resolve this image in paint and then for the couple who were dancing, I feel like I want to bring them into not sharp focus, but just more defined and bring attention to them. So the wonderful thing about painting is it compared to you know, say, when you take a photo is you've got this completely flexible, you no depth of field and focal points that you as a painter, continually adjust, vary and choose so it's very, very flexible, so let's dive in and do that and see where we go now to do this sort of thing. I can't be working with these huge big board brushes, which I've been using up to now, which create a lot of wonderful textures and things, but they also don't allow me to go into too much detail, so I'm going to start working with smaller brushes on dh we'll just see where it goes, see what happens. So let me just get comfortable and getting comfortable is an important part of, you know, all of this process take the time to do that, I'm gonna lean my tablet up here and let's have a look so what do you want to go into first so I'm going teo bring back my pal it's I'm going to move to stand a bit there we go go back here now I didn't mean to change anything which option do I want so if you see this when you all you did was move the image zoom in value just discard don't panic so the main thing I want to say in terms of painter extra and photo photo painting and the cloning workflow is for sure whenever you see this like we've discussed earlier today it's your friend don't don't panic oh where did that come from you know know you've seen it so many times now today I think everybody is going to be very comfortable with it oh something disappear let's go to the space bar on do it single click I bring it back so just so that you know if if things disappear they do sometimes disappear mysterious things happen in painter on the space bar click centers your image the other thing when things disappear if they ever do is just going back and forth between screen mode and not scream mode and usually with space bar click on the back and forth commander control em you usually find any image if it's opening painter so don't don't panic if things disappear I'm gonna clean things up a bit I feel that I sort of you know got a little bit crowded here and, uh, let me just have a look here and think now, in terms of brushes, I do love the sergeant, and I tend to go back to that I mean, it's a standard brush and paint and it's not it's, not the custom brush it sze being there for years, and it is one of my favorites you can't really go wrong with the sun is a great brush. I do have a category of brushes called linear sharp on the easel brushes are designed to allow you to do more precise line, more sketchy things. I mean, some of them are are a bit crazy, but they're designed tio start working more with line than the mass. Up to now, most of my brush work has been mass covering blocks rather than producing the line on, so what I'm going to do now is think of trying this expressive pollock on dh er gotta watch out eso we've we've covered when I try painting, I'm getting this era message we saw this I want on the first day, I think I talked about the eras you can get when you try using a non something brush on a something layer, the quitting layer or water collect, what was the solution? I said, there's an easy way to get around this, so what is it? Uh well no because uh that would be digital water color and that's not what's happening here is a bit confusing because in painter you have digital watercolor which you dry in the layers tried digital water car you have really watercolor and you have a watercolor and those last two both produce a layer called border color land and all you do is anyone yeah, just trouble okay and now to do this segment to see um okay that's nice. So what I'm going to do I've got way I come work like this so I'm going teo tab away on I need to see what's going on to begin with another uh obstructed by pallets so you can start to get an idea of how I work with the complexity of payment I accept its complex I accept that there's a huge amount of wealth of possibilities and I try to access them and have ac system and then I then I work really hard at making him disappear when I don't want him there like this. So the tab is your is another one of your good friends in painting just the tab um always handy when you just don't want a lot of stuff on dh so what I'm going to do here is work with thiss on dh okay, I'm going to shoot a couple of things cloning can be useful what clothing can always be useful but cloning can be useful with that cross here for starting to put down markers but not filling everything in I mean in terms of what I want to do if you want to you can feel everything in with clone color and it will look very close to the photo and there's nothing wrong with that well I'm going to do it's selectively used a little bit of clung cloning I'm going to clone color for this brush on dh so what we'll see now is as I paint if I have uh who let's just see what's going on this is good I'm running into this because if if I run into this maybe someone else will okay sharp eyes what's happening you window up there uh the human dutch is said to be cloning so that good but something is tripping me up on dh if and I'm sure it will happen to everybody at some point so what's happening and how do we get out of it? Maybe the online orders I know it takes you a little longer to type but if you can see my screen really carefully I mean I think this is a good test because in pain and we just have to be on our toes sometimes more than other times so this is a good test to see if anyone can spot something changed and I need to I need to go back and change it what is it? The clone source is off of image correct? Correct it's on current pattern and let's go see what the current pattern is and uh it's that lacy black might lacey thing that's why I'm getting black and white when I paint uh oh, I see so what happens is when you click on any pattern it automatically becomes the clone source something something to remember with pain and now is it not, um it's so anything you could do anything about this is just how it is so just remember that if you get things happening that you don't expect then just don't panic that's the main thing just don't panic just look and say ok oh yes it's calm patton let's make it go to image and now uh there's that cross here I wanted to see you so now you're back in action and let's do a quick map around here who to this brush in case you didn't catch it is the german is expressive pollack and it's in jeremy phase eight linear sharp and I'm using it with a clone color and I'm basing the color on the right now this source now I could change source and pick one of the ones with either you know the fifties color scheme or the really bright color scheme or the woodcutter could do all of that for I'm not yet moved to do that and I might not even use any of those so you know there we go that would be interesting I spent all that time showing you how to make variations and I didn't even use once maybe that will happen I don't know but I like to have a now as a just in case just in case ooh, I like this brush because it's splattering a bit I actually like serendipity element the uncontrolled this's the web savvy this is the stuff we you know, I talked about yesterday and this is what I always, um in a way striving for with some of the elements of what I use campaigner is the unpredictability that sort of organic reactions because inorganic painting things always happen that you don't expect and that's part of what makes it fun but what makes it interesting notice I just reduce the size of the brush and I'm just good and I'm just drawing basically now I'm drawing actually you know with a very handy thing called a cross hair um so I'm actually getting things in the right position if I wanted, um and mixing it in event look at that yes from the one on the left correct? Yes so what's happening um julie is I've set the color to be clone color said you see that that circle triangle is great out so what happens is there's, that little icon there, and this is a really, really key icon for when you're working, let me zoom in a bit for when you're working with further pain. This little icon here looks like the rubber stamp tool in photo shop changes the color from picking color from all those various means of picking color. We've looked at this changes it from the color picker from the mixer pad from the reference image from the collar sets. All of that no longer is giving color to the brush. The brush is simply looking at the current clone source for its color information. Now there is one something here, which I want to point out because it's a little inconsistent, and it can be a little confusing on dh this is something I would love a cz an interface element that they change. But here it is. While you're in clone column, when I make a brush stroke, I see the cross here on the left and that's where I'm getting color from, however, for some odd reason, I can still call is up and try changing color, and it makes no difference because it's still picking con color so in other words, this isn't actually working, but it's still full color. Really, what I would like is for this to be gray when you're using clone color is logically, oh, I'm using clone color, I can't be color, it looks like you can pick color, but you can't. I think another important thing in terms of things that can trip you up, that that is very important I talk about in terms of color is that I'm no longer using clone color, I'm using color based on the color wheel just unchecked, that on the value saturation triangle, and so I picked yellow, and if I go up to where that lamp is, I'm making a yellow mark nothing to do with the clone color anymore on dh I've got red there, and I'm going to make red. There we go, so and I'm going to do like teal and I make light teal what's really easy toe happen is that you see this two circles here once called the main color ones called additional color it's very easy to accidentally click on that additional color circle on these two things a bit confusing. They sort of looked like the fullback, foreground and background color in photo shop, but they're not on dh when you have the back circle selected, which is something I don't want you to do, but it's easy to accidentally do it when you have that selected you think it's changing color so I'm going to go to dark blue and instead of dark blue, I'm still on that light blue I'm gonna try dark magenta on I'm still in that light blue so in other words, I'm not changing my current color I'm changing the additional color, which is used for a few different things like there's a two color pen on and the pencils is grady in that we saw that if we go to the media library panels, radiance will see there's a grady in't that uses to the two points it actually uses these two colors. So I'm just, you know, give you an example of why why isn't this additional color what's the point of it? I mean, this is just one of a number of examples of what it does, but it will go to the great in controls here and to show you so if I go to this to color on change that purple to yellow, you see a change in there and then you can change the angle and all that good stuff, so you've got some different options here. This is a spiral on dh. Yeah, anyway, you going to go also to place and you can do fills with these gradations and stuff like that, but he's gonna try it something they used to have used to be a painter that when you clicked on this it went spiralling around on its own I think they took that out on it but that well I'm showing you here is why they're two different circles because they get you sometimes this's only one you really want to ever have selected if you're doing work with layers and you're using leia masking which operates just like photoshopped with black eating away white bringing back the lay of visibility then you would want to use a shift error there and have black and white on dh just like furniture oppa's well so if we go shift x it goes between the additional in the main color but having said all of that we're just gonna go back here and back here and I'm just going to go back to clone and I'm going to make these pallets disappear we're gonna hone in a bit I just want to get my goal here is not paint everything with this clone it's too simply map out some basic positioning so I'm gonna look here there we go and then the top of his head so I just want a map that out maybe make that a bit bigger maybe at this point actually I suddenly had a thought what I was doing this um maybe this is a time to go back tio I think it's uh dens to what we've got I'm gonna use this one I just feel like it's time to go back to denzel funky chungking on dh use that with a little bit of clone color get a bit of positioning going maybe make it slightly smaller so I could get a little bit more precision and then I could go back and fill in so I'm gonna just go back here hey we got so just starting to map out a detail and let's just positioning but no over not overly painting all of them in huh just getting rough position you know one thing when you look at this canvas if I had done auto painting I could never get to hear so you know in terms because it's so much variety going on order painting you know even though it you have smart settings which orientate the brushstrokes according to what's going on with the luminant you can never get the variety that you get when you just worked like this so let's just map that out I want a corner here so the important thing is I'm looking for a corners and edges of composition and just get a sense of where things are if you know depending how precise I don't worry about all the things that are in the wrong position and I looked for very important shapes like here but that's very dull I'm going to go back and work on that and then this uh drama here let's just get that shape there on that round shaped there and you can see it's like an out of focus lens already one of the things that's going on here also is you may not be a tell a couple of things I'm pretty much looking continually at source image so I'm very much deciding where I'm going to paint by where the cross hair is I'm also making brushstroke directions that is that a sculpting the forms wherever possible so one thing I'm not doing is what is tends me a natural thing which is you know, if we just shade on a piece of paper we've ordered you know we've all done this um take a pencil just so happens I have a good old fashioned lead pencil here try not to get any too many more drips going on here uh kate you wanna someone bring some salt in from the kitchen? I think we're just about ready for salting be really good, but um when I wanted to show here was that you know where we used to shaving right? This is how we shade because it's really comfortable it's a natural pendulum of our arm so you know, we do this a lot it's very easy and it's very natural and it feels comfortable so what can happen when you're working in painter? Is it if you're not really trying to sculpt what you're doing it's really easy to inadvertently um sorry, it's really easy, it's. What happens when you wear dance shoes on a slippery surface? It's really easy to accidentally no accident just mindlessly say oh, you know oh, yeah, I read about it. Oh, yeah so you just make these diagonal brushstrokes on dh in your and I'm not it's not with any intention connected with what's actually going on. So even whether you're using cloning or not cloning that's not even the point, but what is the point is that I look intently so I am not looking believe it, I'm actually looking at the painting I'm looking at this cross everything okay? That's a brush stroke that needs follow that direction. Now we've got the base and I'm going to do a little highlight. I'm not wanting to get all the highlights because everything is going to be great compared to what I have there. Unless, of course, I go to another version like this or even woodcuts got too much black. Yeah, there we go this bit so it's it's not even it's move out the way! See what this is going to bring in the blue? You know what I'm going to do? This is too bright, the blue needs to be much, much darker this could work if I had just that so let me bring back this how can I just that what? This is many ways but what would be a quick, easy way in painter to get that blue that is just too bright blue yeah equalize because want to get equalized I can pull in the black uh yeah, it was just too bright it wasn't working tonally for me that's too black dad yeah, I mean the reds too bright but you know it's okay, I nothing is sacred here in that sense and I hope I'm communicating this clearly enough that, you know, I just want you to feel free to continually make lots of changes and adjust your path. Andi actually, as I think about it when I'm naming these, maybe what I should do is put in src for source to remind myself that this is actually an adjustment of the source that would be a good system. I think I'll do that from now on. I didn't do it before now, but I think that with this new system I think I'll start doing that thing that's a good system and what I did was I equalized so just remind me there and that's fine and now I go back here do I want oh, so I saved it I had to remind myself, what do we want, which one mmm mmm mmm mmm mmm mmm mmm mmm it could be a day but no I actually I prefer to have variety and be able to go back I'm gonna create now but it totally you know, there is the downside of that course I've got a bunch of stuff going on here there's like a um but I can always choose you know something that I'm not going to use just so that you know you khun selected in the clone source panel click the trash can and it says do you want to delete the source image if I say yes just so that you can relax you're only deleting the source image in the information in the rift file associated with the painting image you're not deleting if you saved it you're not deleting the same image somewhere else just so that you don't think oh you know and uh so let's go back to this and let's make everything disappear and keep working away um okay I'm just gonna work a bit quicker next I wantto I want to get this tio completion some sort of resolution full you'il today in this session so I don't want I don't want to leave it up in the sort of thing so who I'm not sure I like it I won't change some of those colors maybe but that's where his hand is on dh okay that I don't like the red I'll probably change that, but at least I know where it is and the shapes on the positioning ok ok so that's there and then his hair he's all the way up there so you know you can start to see that I'm getting positioning mapped out okay on dh the result of all this is because I've come from an under painting just like a traditional painter filling the campus with you know, blocking out, building up because of that I'm able to come from out of focus rather than starting and focusing some are trying to uh sort of go out of focus from focus that means makes sense on there's nothing wrong with either direction both work fine just like the quote from sergeant at the beginning method on a method works you don't need you certainly don't need this method on any method works so the only question is everything gives a different result and it's a question of what results you know you like what you wanted to get to, so let me just have a look there have a look here I'm just going to map that out roughly I've got the drummer with that drum set there got that there nazi one interesting aspect of this changed color version is that it really makes the abstract shapes very clear interesting shapes going on here then that there which may or may not use but it's just interesting I don't actually like that green color. It looks a bit. It came, um and I think what's going on a tree out there do I want any of that it's a bit bright. Okay, that's, that I'm done with this dumb with that client source the fifties. Look, maybe that fifties look need to pump it up a bit. Let's. Just see what epitome, equalize it. When we bring in the blacks a bit more minds, we'll keep that. This will be number twenty two and I'm gonna put dark and it was a source that said, I'd start doing this thing here. Not that it matters. This is just going to be a image file that I can use for anything. And yes, I want to create them. There we go. I would have to stop and think, huh? Okay. Now starting to look a bit more interesting and his hands are there. You know, we've lost the color, but it's okay with the scene, maybe this we're now focusing mohr on the highlights and the, uh, light and dark now in the photo. The brightest bright, the widest white where is it? Lots of places because actually this I've exaggerated now this source photo that I'm using the lightest likes white is whites I mean the boy oh boy you can see it in the keys of the piano the background the cars going past in the back it's like, well, that stuff going on that I really don't want to draw attention to so I'm sort of just going to ignore that I just want to really hone in on the couple in his hand is enormously important their hand in the back so I'm gonna want to develop that a cz well and there posture and relationship I'm gonna want to develop detail there to certain extent so these are things I'm thinking as I go around the image even though it's looking sort of a bit crazy right now um he's got that munch scream sort of uh horrendous character right now but so I you know I'm very aware of things that are ugly and not working there's a lot of things not working on this this's where when things are not working just remember that incredible story from francis ford coppola about cigarette lighter because it's so true is like it's not like it's working it's working it's working it's like mostly it's not working it's not working it's not working and then you just keep working at it resolving it and seeing what needs to be done to get this to pull together and work andi it's not always obvious what needs to be done so, uh, okay, so let's just get a little bit more information here and then I'm goingto go to non clone and stop really working into this a bit more precise. Well, with it really working to try and get this too? Be a bit more precise, and I don't want that white there. Okay? That white there? No. Okay. And then we're getting here. That should be nice to get that of their nice to get that there. Okay. Okay. So, um, let's, just us. Safe as that was, denzel. Funky chunky. Andi, I always have to look what number I'm on. It's, not twenty one is twenty three. Andi it's, den's oil, chunky. And you know, if you want teo, if you want to, you could even add things like clone from, um, you know, dark source. You can go to town if you want to add notes about what you just did, did you? I normally don't do that, but I just want to show here for those who're interested. Okay, now I've really got a union, okay, and this is where I was like, this becomes a bit more of an intense process. You know, the early, but it was our lot of let's play and show texture and all that stuff now is like, and I'm gonna look at the club because I got to think timewise, um, that where I want to get to because I do have boundaries here, I want to get somewhere before we finish this session on judy faraway as I'm changing ever gets back on a painting, and if so, what do you do? I love your questions every time your questions is so cool. Do you ever get stuck on a painting and what you do? Absolutely, I get stuck, and sometimes I really don't like where they're going. Um, happens happens so when it happens, sometimes you just need to take a break and work on another painting or go have a cup of tea there's nothing like a cuppa tea, it is true or a walk around the block, you know, do something. Sometimes you need to leave work alone, and I've left work alone and actually the painting you saw earlier that was marcus shelby I had done that a long, long time ago rode it up because I didn't like it stuck it away, and then it came out of a month ago was I mean, I found here, let me put that on the wall and I just said that it doesn't have to be on the wall in my studio, and the more I looked at it, the more I started. Appreciate it could do something with anyway and brought it along. I I stretched it thiss week and import along for you guys, but that was an example, is like I didn't like it on dh. I just may need something more. Um, so, yeah, absolutely. Just sometimes you just need to take a break.

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!