Resolving: Mapping Out Details


Corel Painter X3


Lesson Info

Resolving: Mapping Out Details

But sometimes you have boundaries like you're delivering for a client and you've got to deliver on time and sometimes you talk you don't look what you're doing, you use the brush in a demo and you forget even what color you're using so then you still have to stick to your word and not doing undue on dh you always flow with what's there so that's what I'm going to do is flow with what's there and I'm gonna concentrate here but you can still ask questions and if you got any comments or questions coming in from online, I'm gonna focus and listen to you okay? I'm not being rude by not looking in your direction really keep focusing we actually have a great comment from g clark rituals are, she said, I'm used to people doing this on top of the images this is a different approach to do this and I believe so much better so there's just a lot of enthusiasm in the chat rooms they're very excited to see your methods for during that yeah, and actually she makes a great point. I have done this on t...

op of images and it still works you can still do, you know it still works and you can try and encourage people to try both you always end up with a more freeform effect when you don't just do it on top of a camp on photo because once you see visually see everything, you can't help but notice it so you want to start putting it in there but sure you work but thank you for sharing that common I'm anne also is curious about its more a basic question about the welcome tablet she says you're using such a small area repeatedly and would you do you move around on that tablet or otherwise? How long would you expect that tablet to lost that's a great christian, well visible light with the silences? I've never had a talent you know where out, however, I always get the new tablet so you know it doesn't have a chance to wear and actually the amount of movement you can adjust on this is just comfortable you're right, it's small amount of movement some of you may have heard of leap motion and that it's a it's, a gesture controlled device for controlling your computer and I've been working with carell actually, basically, what happened is someone emailed me a year and a half ago said hey, check this out leap motion I called up krell I called up the emotion, work and work trying to get them together in the end teacher teacher they corral produced paid a freestyle, which actually is now available on dh I've done a few performances with leap motion where I paint with gesture but coming back to that point about the tablet what's interesting is when I'm painting with gesture people are always surprised how small the movements are in the air in order to produce the marks you know they think painting with gesture is going to be like this but it's more like it's more like what you see here it's like lean in lean out on what I'm doing instead of leaning in and out with my body on a leap motion device and paint a freestone I'm pivoting on dh tilting so this is the movement but you're right it's a small amount of the tablet that I'm using I just wanted to share one more comment from mary trevor in regards to what we were talking about a moment earlier about getting stuck she suggests hanging a painting upside down and leaving she says when you suddenly see it again the problem jumps out at you that's brilliant innit mary trouble becomes I love your idea on actually one of the things that you can do in painter which really really can help in situations where you're sort of stuck he's exactly the same you can go rotate campus one eighty and now we'll ask me do I want to save changes or do we wanna update out this update and then I'll go back and update a game I don't want to create a whole anything and then you can go to your painting and do exactly the same canvas or take pay one eighty and she's exactly right you see it is an abstract on dh it if in some respects frees you up so let's just zoom out a bit here um but I think that's great so it's a great idea and now I've got to re orientate my brain of it let me just zoom right out here wow it's like my whole brain is going to get re orientated here for a moment but um yeah the cursor disappear over on the source image yes it did and that's very observant of you and the reason it did is I went out of clone color I decided not to use common on what I'm going to do. I've got enough information now on where things are and so what I want to do is to work actually more with more with my own color. One point to know there's a lot of darks in my image on dh one thing I would say it don't go toe absolute black oh absolutely white even if you go really dark go darkish pure black and pure white and create riel holes in your in your painting I mean a lot of the old but a lot of artists you know don't even work with pure black like when I paint I love pains gray rather than mars black or really deep black I like I like something that she is a bit more blue gray than a black. So anyway, just a point not to go right in the corner I think you might find that effective I'm going turn these back the right way but I think that's a great idea so I really appreciate that any other comments or things you want to share we actually just got a question from sue my again okay? And she was wondering how do you solve this shit perspective with corners in the distance and the height between all your subjects and your painting? Okay, great point. I should explain first of all that there is in pain a x three an amazing perspective on dh it's here perspective guides with multiple perspective I don't want to go there right now. It's not part of training on teaching here on it was just not part of my work flow is not what I use but anybody who's out there doing complex buildings and architectural renderings amazing re powerful perspective tools, overlays, guides in painting. So first of all just a point of information and then in terms of perspective on what's going on him oh, I forgot you save the change so let's do it again one second see even I get all mixed up here so I'm going back here and I am updating is what I wanted to do thank you on now, let's get back here and I'm gonna just zoom in a little vicks I want to I want to work a little bit um in here and get this developed a bit more and, um let me just tap things away use thiss here so going back to the perspective um I would say it all depends what you want I just think if you observe so let me just I will interrupt here because I can't really talk and do that thing that so when I I love figure drawing life drawing I love it and some approaches to involve very precise measurements which is good but all mechanical lee mapping things out because, you know, the head is one sixth of the height that the body and you know, that knows the bridge of the nose is exactly halfway and so there's some approaches where, you know, I know it's a hard on I know that this is and people map it out and there's nothing wrong with that. People produce beautiful drawings by that it's not my way of drawing, and I've never really seen a drawing in that way and the same would apply to painting so you can map out vanishing points and perspective points and the guides and painter a fantastic I never use them and I believe if you just observe relationships intently and continually compare you know maybe used your fingers or you know a pencil and look att things if you're doing it by observation in painting you have tracing paper you have cloning you actually have all the information you need to get perspective so you know that's one way to do it um let me just hone in here for a moment what I want to do is I just want to make sure I'm getting some element of the form going on I'm may come back to this I just wantto get that working to a certain level and then move around tow other things on the canvas so I just I want to pay a little bit of attention here um and I'm gonna zoom in uh maybe even a bit more and maybe at this point I should zoom in here made a little unexpected lines I will do and undo their just so I'm not changing it's gonna ask me anyway do I want to keep that change anything no so here we go I'm gonna zoom in a bit more here do I want to save it no discard there we go zoom in a bit more here and let's just dive in um so so go out the side of brush got a little bit of clone color going on so let's just map things out but more precisely here I might even make the brush a bit smaller okay, there we go let's clear this away it's just work a little bit with his face just get them basic mapping out him maybe make that a little bit bigger now when it comes to this couple all the shapes here actually very critical on dh they make a huge difference to this working in communicating what I want to communicate so actually I'm going to take a little bit more time here in mapping things out and again, this is all done with the sergeant brush and you know, I I struggled here a bit because I looked at this and gosh, they look really, you know, I think this looks it's not working it's not working. So I want you to know that when I'm doing this stuff it isthe super risky is like, especially when I have an audience I mean you're a watching this happen on dh I always have a deadline wow coming up soon so in other words, I just want to share that I mean, I don't know if I show how nervous I am because you might like it as though it makes it look so easy. It's not easy, it's scary it's scary on its vulnerable on there's a lot of risk because you know ago he wanted a room with you know you try to do those people didn't work so all these voices it is really scary doing this on it's not a scary if you just you know, if you want to just work on a photo and just all to the photo which is which you could do so easily also good. And I'm not trying to say that's not good it's not as scary. So here I have purposely I put myself out on a limb you could say, but the result is you're gonna get some really interesting results. Hopefully hopefully on dh if you just work it things you will get something happening very interesting. And if you work at lots of things and then go back to them that can also work. So, um that's his hand. I mentioned his hand really, really important and look at its way over here and now you can see that by starting off so rough with the under painting this looks a bit cold and grace I might go to warm it up, starting off with the under painting loose allows you the freedom not to have anything in the right place. Whereas if you do an under painting that's full of precise detail and then you find it's all in the wrong place it's it's almost like you having to, uh, you know, room redo it where is if you keep it really loose you can just give you a lot of freedom so let me just zoom out a little bit here and see where we're going with this and I might make some stuff up danny example I'm sure if I want that share them not yet decided on that and it's certainly starting this doesn't work so let's talk about resolving what does it mean that actually look an example because this is a great example I'm looking at this I take a step back and it's really clear that some things are not working I'm going to share what it is that's not working so let me before I do anything else go to my save as button andi just do a save as so we're on twenty four and we're working with the sergeant saving is a riff so point about all these files that I'm saving pv and system keep him they are record there your history so don't throw them away because sometimes people oh at the end of your thing when you get that you throw it all away then keep him so what I'm gonna do now is put command zero on both of these so come on zero hopes we'll have to wait because it's saving because it's going to get saving a ll the the reference information on but we're going to do this and we'll put that on command zero as well and I'm going to take a step back here we go. Okay, take a step back and I'm gonna talk about resolving on dh especially since I only have a few minutes left I wanna hone in um what's working what's not working. What can I do about it quickly? So, um, when I take a step back there's some things that jump out there's lots of things not working I mean, the whole thing is full of stuff that's not quite there yet. Um uh, so I'll just explain, so I don't. This is a bit brighter blue than on my screen, but I don't like all this distracting blue so that's not working. Um I actually quite like the drips think I'll leave him there. Um uh hit that's starting to work that what's this light thing there it's just a leftover from my earlier work. That's not working totally. Whoa! The shop edge lightened doc it's where I want there just to be shadow so that's not working I'm going to do something about that. I want to. This is just a mushy and undefined now is in, you know, somewhat in the distance here, but I wanted more defined this, uh, we can see on this camera this's really important this shape here because it connects the piano to the drums and it creates a circle around the couple so that's a really important shape where is it what am I doing with it where's that die you know no it's not there yet so that's not working um so I want to do something with the marvin gaye in the background maybe maybe not that's not really the focus here he is um on dh it's all looking a bit brighter as well so I feel like it needs a wash over it okay? And I really like the shapes here and I don't like this so I will need to work on that well, that's a lot of work so I have to prioritize that get cooking, get cooking let's get cooking him so I think I'm gonna start off with putting my tablet the right way around that always helps that the ways you know you go right it goes left it's like what's going on okay, so uh let's zoom in and just first of all right away let's address this remind myself I'm on right now among clone color so you know, I do have to sciences remind myself where I'm at but it's important just to take the time to step back okay? We've got rid of that highlight there and I'm going to go out of clone color and so let's just go back uh teo here teo uncheck the clone thing there and I'm going to go for a dark brown and let's just have a look here just wondering here about that chair whether to leave it in or not maybe the shape of it is actually quite interesting pattern so let's quickly bring that back to it a little bit of clone just to get that chair shape see what's going on there what's going on there okay go out of clone color andi let's just have a look here so I'm gonna lift this up I want to address that whole thing they're gonna zoom out some things need to be seen more globally on dh so I'm going to look here maybe just for a moment get the positioning so what you can see is I'm using clone lines almost instead of ah tracing paper to know where things are so that's where that shape is and that's where that diagonal is and then we get that vertical and I love the vertical things going on here is we've got the railing which actually I think it's quite interesting with the rhythm coming down of the rails those are very dull and grace and you may go over that on day we've got this vertical here which you've already got that that vertical okay we've actually got a lot of things already coming into play that looks good there we've got the amp here and let's just uh zoom out on dh let's take a look. I have to do something about this. Um on dh just got a few minutes left. So let's work with this let's uh doesn't require not that it's just going to put you in the zone while you're wearing train says jeremy might feel like his vulnerability is showing how many things need work but that does not disturb me at all. I know he will get it beautifully and sense assertively where he will be so placed even if he runs out of time to do it. Now I know happen and watching him work is marvelous and riel and inspiring thank you who's it that is our trains, but also any pay choice of lights he had a so beautiful you've got a whole dialogue happening online assed this unfolds, which is way what? Well, I feel like a boy is nothing right now. It's just sort of it's tough it's tough because it's not where I wanted to be on dh and I want to get it somewhere that I wanted to be before the end. So what could you ever on a deadline like this? Jeremy say actually the dancing couple a distraction, but the bit to the right is great and just hold it down the middle and just take a section of it guy I don't know what you have to do it and you can't do that and it's in you know individually obviously you khun you could certainly do that for me in this composition the dancing couple is key so I mean I can only speak specifically composition by composition that I loved the dancing couple as part of this I think it's it's really you know it the band is you know it's nice you have a very nice jazz band and the it's really interesting scene seeing them but then having that couple who spontaneously just got up and down out there on the back in a patio I d'oh boy that's fantastic. So I'm just looking at the cello here on the base I should say on dh er just want to get a little bit more of its structure and the drums there really nice to pick up a little bit more orange and then let's hone in here and I'm starting to feel like I need to change brush for the finale here maybe pick up something that's going to be a bit more controlled line maybe um what's gonna work here, let me just think here what's gonna work and this definitely needs to the dark and hear here we go and then the keys that's all too bright there so this is total sculpting I'm just looking at light on doc with mccullough looking at where I need to bring in a little more lightness or darkness on dso for instance I think bringing a little bit more lightness up here and just zoom out so see what my effect is a z I mentioned when I was going through everything I loved the drips so I think it was really nice I don't like the white appears I'm gonna leave this here um I like uh working a little bit with clone color here on dh I don't like this what what is this coming out of his head oh that was the that was the thing from earlier let's zoom in and do something about that and uh and let's let's get this let's go out of kong color don't want mangala let's go dark dog dog work down here know what's going on behind him so let's grab this color here and shape around his head then let's look at the shoulder and shape around that a bit so we also get a little bit more definition let's bring a part of me let's bring in a little bit of that blue on the other side let's warm up let's warm up his hand of it because that's just two gray and ghostly on so let's zoom in whose you mean come on thank you and there we go let's just take this really small and there's a little bit more warm there a bit more want there a little bit more warfare that his fingers are splayed out there maybe not quite that bright so let's dull let down yeah, it was it just a bit too bright just that okay let's have a look there we've got that we've got that um but in here that was going on here maybe go here zoom in a bit on them go back here, move over and just look at what needs to be done here. So uh now little bright stroke just catching the light here and actually I see there's a little bright teal have my break teele always seems to come in for the highlights right there and then let's do something with that wonderful expression that's not yet really apparent in the painting on so let's take the brush down really small and in case you're wondering I'm using this sula sergeant wow really pushing this brush along on dh let's have something that's mid tone that's a brown mid tone andi something like that and let's just uh sculpt this a bit more precisely maybe make that a bit darker so I get a bit more traction in terms of contrast on dh try to get the feeling because that's what this is about is feeling there we go just I want something with feeling if possible and that incredible smile there just, you know, really enjoying the moment so what you see me working with you is pure sculpting I'm sculpting faces suzanne says I remember this is I'm sculpting faces of light and dark so where you see his lip I just did shadow and then left light contrast and then shadow and then light contrast and then shadow so that's how I'm defining the forms here and uh and we need a bit more of that light blue there or no maybe not like well let's have a look maybe not quite as light but there's blue reflecting here which I just think it's really important onda little highlight coming on that hand here that I want to just bring out like that and then let's have a look so um we're going to command zero and I've got oh gosh okay, so what I'm going to do is uh save as I don't want to lose the stage twenty five and then I'm going to go quick break here I'm going to tell you a story now I think I can't remember if I mentioned so winston churchill were have I mentioned so instant church like you haven't wasa wasa um I doing bringing up winston churchill when I got five minutes left he wrote the greatest book well one of them it is just a great fun book it's called painting as a pass time it's no longer in print if you can find it good luck but it's a lovely book he his hobby was painting on dh one of the little clothes I love is it being a military man you know political and military on dh for those who don't know so instant churchill was prime minister during the second world war he wrote about painting he said you know you have all your stuff there but he always said save the cavalry what do you men always don't bring out your big guns right away and do everything having back there if you need him now im is not that actually got any you know, big guns to bring out here but I'm like old gods I've got like two minutes left what are we going? What are we going to do? What we're going to go and pick something that can make uh make a difference quite quickly over a large area so I'm going to bring back one of our old favorites board broad water brush from the watercolors digital watercolor andi we are going to um gonna make the palace disappear we're going to make this brush fairly fairly big not too big we're going to go in here and go uh command zero come on minus that's okay postage them put that up sometimes it's good to see things really small and uh we are going to get a color that's going to be some on the red side not too saturated take it down to about there see what it looks like yeah and we're going teo we've got too much brightness coming in over here we need a much more shadow here, it's just your pride that's too much break going on on that tube right there so I just need to take a lot of things down it's like too much too much needs to go down needs to be dark and too blue too saturated let's take that color and decent trade even mohr because theirs is too bright too bright but is nice and bright up here so let's give that a little bit more but maybe not quite as bright as it wass there we go it just need feels like it needs to come down a bit um and we've got this line here that that works on that white here means all well and good but I think what we're gonna do is take a de saturated um thing there and then go for a little bit of dark brown for deeper shadow here and then that tree home my gosh, that tree what we gonna do with that? There we go that's just take that down in tone as well and I think above them it's all too bright it's all to write for the contrast that I want to focus on them not on that up there so I'm gonna take that down I'm goingto follow those drips down there and I'm going to warm up this here but maybe warm it up maybe cool down on the other side a little bit with a blue grey here but no his head because want himto contrast andi look at the balance now I don't know if the camera can get this image what's happening is that image is really blown out quite a lot although yeah, I guess the people online right to see my real image right? Not just camera of that because what's happening is this is very different to that so in terms of the way that I'm adjusting tone um this is I'm darkening things very selectively so I'm bringing the attention to the couple there and now there's a car behind them do I want what I'm gonna do with that? That section behind a maybe I'll just bring that into blue and have it so that it contrasts with the warm their warmth and then similarly I'm maybe going just dark in that so there we go take that there then take this up here and just do a step back getting closer any questions? I'm probably in the last couple of minutes here so jeremy, what brush was this one that this is the digital watercolor broadwater brush on dh hopes twenty six I'm sorry what was the question I was just letting you know we had a question right here oh far away it was thank you oh, that wasn't a question I think this is what happens when I get in the zone is like so yeah I want to be there for all of you so I don't want you to feel like I'm ignoring your key I just like felt the pressure it's gotta look good it's gonna look good and that white thing the drama's jumping out it's no no no no it's we can't have that it's jumping out too much so I've got to do something with that white circle in the middle it's just not working it's just not working for what I want so look at that look at that it's got a warmth but it's got low okay so there we go just needed faded it down that's good and then, uh take the yellow up here a little bit and just yellow that we've got a bit more mellow on dh what's this bright that's good that's good on dh there we go got that round their love that so then I think just the final brushstroke or two and we are there what brushstroke let's have a look think about something that could be nice and precise okay? So we're going to go back to palettes here and I'm going to look into my linear shops and um maybe the uh let me just have a look at this point the greasy thick thin pencil but that better testa and the edge by the way that's one of the things you can always do is test things out oh okay testing's out in the edge and I almost finishing I know I've got very little time left so I'm going to tab away this I'm going to bring on the temple color palette and I'm going to look at some actually that we look at the sort of deep green here on dh maybe bring in a uh deep purple a cz there on dh maybe lighten up with a with a orange but not too bright so you can see the way I'm using this temple color palette on damn what I'm doing is their income so I'm just looking at the main things here that I might want to put some lines around on too quick uh blue line there for the strings and the struts like there we go ooh that looks nice blue there on dh then let's see let's get a really dark blue here so um on dh something with the hands because really nice there to get a little bit with a hand up there and then lighting this up and get a little bit here and the struck here in the middle and then the drummer just ah he's going to get a treatment in deeper blue purple but we are nearing toward that end of the day time okay if you need to cut me off I'll just stop but the one other thing I'll do is zoom in here because I can I can see that something is going on here this will just be the final thing then I'll do a signature and call it a day so final thing here and evolving so patient allowing me to spend the whole day on on a single image I really really appreciate that for me it's privilege is an honor to be given this opportunity t create a painting and share my art and share my process on have you all so patiently watch what happens on I'm going to do a signature so you know one of the questions that is how do you know when you're finished you know you ever finish no not really ever finished but one of the things that tends to happen is that when I put it a little signature down there ok, we'll call it a day so I'm gonna put a little signature down there and they were going to see what it looks like whatever it looks like that is it so here we go what college all women see mature I don't want to jump out too much but I like blue so I'm going to do a blue signature on dh there we go oh guess what's going on I come get a signature looking any any with any contrast because I haven't yet try the digital work. Oh, uh, now I can paint over it who and this will be two thousand thirteen, and at that point I do a save as and I add the little word s I g, which always eyes very significant. So that was the greasy pencil on dh. It is not just a greasy pencil it's the signature, and when I see as I gie, it sort of tells me that I've sort of decided to call it a day for the moment, and at this point we forget the source image. We put it in screen mode when it finishes stephen to riff on we space bar, click maybe a command zero on dh, we say no matter what it is, we run out of time, so that's it wow way, avoid let's, have a look. I'm always afraid, look, whether it is something's going on, something's going on, just like marvin gaye, said right sign matches guy on jeremy.

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!