Corel Painter X3

Lesson 3 of 32

Tools & Materials & Demo

 

Corel Painter X3

Lesson 3 of 32

Tools & Materials & Demo

 

Lesson Info

Tools & Materials & Demo

So actually that brings me to the end of this slideshow which is ending just with a question for you a lot you know, both here in fact what what really helped me and out there you know, online watching so first of all the people online watching some of you may already have put this down but it'll really help me know, you know, if maybe put more focus our emphasis on one thing or another if you send in the messages is toe what's your main goal for this three day workshop what do you want to get out of it? And the more specific you can be the better and I will read them I'll review them later andi so that would be very helpful but meanwhile very briefly maybe if we could just go through a wonderful so wonderful in person audience brief you want each one of you if you could just like maybe start with you mary, if you could just like, say what yu know if there's one thing you're hoping to get out of this because you already know paint so I'm curious what? What was your main goal for what y...

ou want to get out of the three days eyes to become more technically proficient and know it's such a deep program um that I feel like I'm just scratching the surface and I really want to go deeper with it uh you're curious to see what's new under the hood and x three and possibly perhaps some strategies on when looking at paintings for inspiration how you go about interpreting that into a new piece how do you how do you draw upon what you see brilliant brilliant we're definitely going to do a little bit of that in my demos today and then a lot of that tomorrow morning but that's great we'll cover that and of course the technical as well we'll be going through that so barbie right I talked to you that I do pet photography so I want to be able to take photos that I have taken and then create that canvas and so when I look a painter I don't know I don't have a proficient workflow I kind of dabbled so it's what brushes are probably best for hair and that type of engineering is what I'm looking to get out of this works okay I already know there's a couple of brushes off the top of my head that I'm gonna make sure I show you ok there's a clumpy one in the oils which I was actually just plain with this morning that would be perfect for the when I wanted a perfect on dh then the classic acrylics captured bristol but we're going to look at both of those in the course of this today actually I said just in terms of the brush looks um pool mainly mohr inspiration uh changing brushes around finding what works for making a brush faster or slower what those parameters are for a brush um what would make my photographs my portrait photographs look more like paintings and just get into the head of the master painter here. Okay, well, I'll do my best vivian's fire you raise of also high full if there's a lot of pressure on me you know, uh thank you. Julie would like to know what, uh, type of photo would make a good painting. Um, I need workflow, inspiration and how to use my brush is because I have none of that good. So all the workflow in the photos are paining is all tomorrow. We'll cover that very thoroughly and then today we're going to focus a bit more on brush looks on dh behavior, so make sure you speak up when you know there's certain brush behaviors you're looking for, I think you mentioned a trail off a few brushes up nice trail office and things um, um I'm mainly looking also for inspiration, but I'm also looking for any sort of tips and tricks because I'm good at sort of just playing with painter and sort of just figure out things that work for me but there's always going to be something that I'm missing is always something new to learn excellent. Excellent. So well hopefully you will get a lot of tips and tricks and then just ask me anything that you need to if if it is not clear any I knew from the online a lot of response online everybody's very excited should I wave with the only people? Absolutely ah, any pieces remain goal is to understand the program in its purpose over other program yeah or sam cox how to get into using painted without being overwhelmed or frustrated I think you know what? Oh, my god, that echoes around the world in fact that's what? Julie, I think that is the biggest challenge for payment is exactly what he just said howto knock it overwhelmed so I will do my best on that tell you well, I can tell him directly that them you you have just echoed the question that so many people have and I'm gonna do my very best to address in these three days iona's said something that I think will be africa ble too many people trying programas well, she says my main goal is to learn to be open while creating our and not stifled by trying to be perfect uh, yeah beautiful sentiment on again relates to this transformational approach to your canvas which is really about letting go of everything having to be perfect all the time there's a great japanese quality could wabi sabi sure a lot of people have heard of it but it's about the patina of life the imperfection on dh so it's the beauty in the imperfection on dso actually not being perfect yeah is very important in fact I can I borrow the tips and tricks thing because well I would like to do is just read given where it right we're right on this topic right now I'd like to read one of the quotes here and this is a quote from francis ford coppola and he was being interviewed on npr forum program and he was being asked about creative process and, you know, great film director but everything he said it was like I went and got the transcript because every word he said you can apply to painting and it addresses exactly what what was that? Iona's said this is for you mama on dh many other people but this is what francis ford coppola said and but this is a story he tells his children um told his children he said great films have have as many floors and bad things about them as bad films andi you know, he said he could take you through citizen kane or any number of the greatest films ever show you tons of things that were wrong that didn't work the difference is the good films light up on the illusion works so when you see them you're not looking at the floors it's a cigarette lighter theory you have a cigarette lighter and that your movie and in our case that's our painting in painter so you try to light it and you flick it and it doesn't light uh then you pull the week out and you do it again and it doesn't like and then you pull more fluid and you put in too much and it doesn't like uh then you dry it off with a hair dryer and it still doesn't like then you pull the week out some more and all of a sudden it lights up all the bad things go away well they don't go away it's not that they go away us you don't look at them anymore because you are lost in the illusion on when you think about it painting is all illusion if we're doing representative payment it's all illusion everything we're doing is creating illusions which stimulate the visual perception system to bring a memory to bring something that we recognize that makes us feel in a certain way so in terms of sort of perfection floors and everything it's all about imperfection it's all about it's not working it's not working it's not working in the sunlight so on my process I mean I think everybody who draws paints knows that they their work typically goes through what's called the ugly stage I mean it almost always does on dh so there's always a lot of things that are not quite working or that look awful that go wrong you hope no one's looking over your shoulder on dh then you keep working at it and looking at it and standing back and this is something that you know, many painters emphasize johnson a sergeant always emphasized to his students how important is to regularly regularly stand back from your work and sort of look is it working as a whole? You know? You get caught in the details and we still got to do that in painter so just because we work in, uh with digital paint doesn't mean we don't stand back thank you very much. What I'd like to do is just a sort of quick photo demo of sort of roughly where a minute it's going to be quick but I just want to give you a flavor. I also want to presage what I'm about to show you with the following that I'm just going to go into the full wade I use paint as an artist so this is not a simplified this is what I do when I'm sitting in my studio and nobody's watching me I just want to give you a flavor of where we're aiming for, so I'm going to go through a lot of things quickly so this is not a teaching demo where you're trying to know down every step I'm doing this's about sit back put your seatbelt on and I don't know where it's going you don't know where it's going we're just gonna flow file for now and see where it goes okay that's it and then after the break we're going to go simple, simple, simple you know the basic basic basic so anybody who's new to paint I don't want you to get frightened by seeing me sort of oh what's jeremy doing is goingto play I just want to share with you where we're going with this workshop on dh take it from there so I'm, uh I'm in pain too, but I did open up an image in the middle, which is just a screenshot of my creative life page on paint books, tv the reason I just wanted to show that before moving into a little demo here is just to let you know that as I show things, do things bring out work on display? I will be putting links on this page, so for instance, you want to know the story behind john santos and may not have time to you know go there, but you can go to my page, scroll down and you'll see a link to describe the story behind the painting so ondo other relevant needs to this workshop so just it's ah, on the bottom of your handout paint box tv dot com forward slash creative life let's talk a little bit about the tools that I have here is you can see what I'm using, so I've got a couple of wycombe tablets. This is what is now called it into us pro and this is the medium size and this is actually the one of the prizes for the quotation contest, eh? So they're very kindly donated one of these and this well, personally, I would say perfect if you're working with a laptop really really great size definitely would recommend it on dh I would personally say this is for me as an artist, it should be the minimum size there is a smaller one, but for me, it's just a little bit too small, so this is perfect. Now my studio, I have the largest one there is I'm not going to carry that around. This is perfect portability it's also, while its capability so it's, very versatile that's this what you see here is I'm using for today just as a monitor, a screen it's, a beautiful twenty two inch screen it also a touch tablets called the synthetic twenty two h d t t touch, and I loved these tablets and highly recommend them as well and they're also beautiful screens and for me you know, it just works out great on my easel I'm using a mac but painter auto works pc on mac so what we have here just to show you is my source photo on dh the end result and I'm just going to make a different version it's not going to look like the end result on do you know who knows what it's gonna look like? So but just to give you a sense of where I went and so obviously you can see you looking at those two next to each other there's a lot of color and depth on the right hand side and a lot of grayness on the left sometimes you know, you actually have to put them side by side to realize how blue and gray a photo maybe or whatever a limited in range of color, so when I look att things, I start to see a lot of color and a lot of color that I want to put in to the photo and when I start painting and I'm going to use this photo as a demo so you can just see a different version emerge when I start to do a photo painting, I take a bit of time to look and to think and so where does that what's the field what's the colors that just jump out of me on that's where going to galleries looking at museums looking at books looking online for you know stimulation on ideas really helps so um so we're going to work from this just to let you know in terms of size it's sixteen by twenty four one fifty there was a question we'll go into this game with the workflow tomorrow but there was a question about you know how big how many pixels and what dp I or pp I accept that let me just state in terms of my experience as a painter an artist and you know I'm a professional painter I do commission work on dh what I do in most almost all my prince I print them in one hundred fifty pixels per inch of final size it just works for me and I know that you know there's people who work at high resolution by the way some people work at lower resolution I have done huge you vitek prints there was a billboard printing machines and I've got like a ten foot by seven foot painting idea of the golden gate bridge for seventy fifth anniversary and that's like boy that was like it was I think about seventy five pictures inch so in fact lolo rez looks fine so it but it's big scale so it works a big scale um hotness sort of fifteen foot high prints were done on ipad so he's pixel maximum picture was about two thousand and they got blown up in blowing up burnham annually just to give you a cent on I'm just going to show you here is well that it's about twenty four hundred by thirty six hundred pixels that's fine and in general what makes the difference with painter is if you have a file that's too small obviously you just can't get enough detail when you blow it up it's gonna look fuzzy yeah you don't want it too small but when is too big? Not only does it slow things down but it also prevents you getting really big bold brush strokes so it doesn't I pay you to get too big a file in painter because you're not going to get such bold brush work so what I'm gonna do is I want to press the tap here and whoa don't write as I mentioned I'm just going to show you how I used paint up we're not going there right away so this is so I don't want anybody okay we compress a tap okay uh I'm sorry that I just don't frighten anybody but I want to do a demo so you get a sense of where we're going okay so just so you understand what's going on here andi we're going to go through this later today in more detail I'm using a workspace which is part of pink box tv dot com on dh it's got a whole bunch of arrangements of pallets designed to make life easy on we're going to go through some of those later but I'm using the one called painting from photos and I just put a lot of things that I like to have at my fingertips but I also make sure that I make good use of the tab key on dh make things disappear whenever I also made good use off the express keys I'm going to talk about that later so just by touching the keys on my welcome tablet I actually have a hide show palate built in here so you can see right away o he's not having to reach for his keyboard because it's built in there I actually have mirrored the same functionality. Whoa! Oh guess what I was doing. This will be a little test. So let's, give a test for the online audience. See our shop. You might have noticed I was pulling the button here and then something my image was going in and out. So quick test typing why you think that that suddenly my image went in and out zoomed in and out would you see if someone can get it give you a couple of minutes? Um, but anyway, so let's uh let's now just get what I need a visible so we're going to go here range pallets uh painting from photos and this is, you know, the work space in the arrangement of pallets that I have is something that I've spent a lot of time thinking about what I need do I really need it? Ok, I'll put it there just the essentials, but I know it looks complicated, so what we're going to do, we have a photo, we want to paint it, and I'm just going to quickly do this, so I'm going to go toe panel here, and we're going to go through this tomorrow, so don't don't worry about oh, god, he's going too fast, we're going to go to a paddle, and we're going to select the open source, which is going to be the same image itself. This is part of the beauty of paint extra for those of you who are painter aficionados for many, many years, what you just saw used to be filed clone. Then you had to do something with the clone copy image and rename it in blood. Not anymore. This is it. No fire clone. This is it. You just saw me do it. You make a, uh, source image, but, you know, that's a tab away. Everything and I didn't want to come in on the zoom out of interest. We did uh someone's gotto antique I know someone's got some tea so what was the answer? The first one we have copper blue said that you pre programmed the button to assume that was a no no nervous is in harmony with what? I don't even know what our oh if remains you know is r o f l a short for something that you're doing? I don't know know know where all the awful I'm doing so what it is is the back of this antique has two strips that you can program either and touch trips and so what I was doing was I gripped the touch trip inadvertently and it zooms in and out so that same coxes guests was easy the tablets just reading your mind my way okay, I'm going to click the show hq source image on dh let's just have a ways you can see what happened so again is like oh my gosh, there is my clone source and we are explaining what what that's all about move that over there um gonna do, uh command um command zero uh for zoom to fit I'm gonna pull that out of it and use the space bar again programmed in here but space there and so what you see me doing is re creating traditional adi is putting a photo and in having a campus happened yet filled with cameras some of you may notice I've got a very intense photo on the right and a faded photo on the left does anyone here in the studio audience know why that is and how I made them both look the same, so I'll explain so what it is is the eyes, the color profile and we'll just quickly do that this you're gonna see this image this window come up once on then why recommend I'm in explaining I'm not now in this demo going explain it, you could then would just say do not show this message again, okay on dh it's to do with the new cloning work for which I'm going to explain on I'm just going to go here and convert to profile on dh so what we see here is also a new part off the cloning workflow in painter x tree on dh I haven't wanted to make any changes to my clone source, and I'm going to explain all of this, so don't get worried who what's that all those messages just don't worry about him. Um I will I will be explaining all of that on dh sir let's just pick a color here gonna pick like a nice blue color um do an edit phil not with the hands and chick pattern, but with color there we go, um and by the way in my workspace I have some buttons here which could do things like you know, a playa texture you just click it and it applies it onto the canvas um let's have a look here we'll pick start with sergeant brush and I'm going to have a way I'm going to use a shortcut um that is the it's on a mac the command an option on a pc control and old and what it does it's a very handy one to programme in to your express keys because it allows you to drag on your cavers to change brush size on dh then I'm going to use what I really love in painter is the ability to call up what's called a temporal color palette programmed in we'll go through all of this on going to just do very quickly look here because it's very comfortable for me and ergonomics is important you want to be comfortable so I'm gonna rest my left hand with the finger on that button there so that uh that business of harmony that we talked about earlier now you can start to see that on dh I'm what I'm doing is just looking at the photo on the left and I'm not worrying about using the color from the photo so you might say as I'm working here well this is all well and good for jeremy you know he's been drawing for years is like I don't know how to draw how can I do stuff free hand just by looking at the photo? Well, first of all I can only tell you from experience I've talked pain a for almost twenty years and I've had many, many, many, many students in my class who have said basically, you know who did who don't have a drawing background or find out background our experience and feel that way and then they they actually, you know, doing exercise where they don't use what's called clone color they don't use the color from the photo, they just look on dh they interpret on dh, they end up with the most delightful and wonderful things happening on their campus when they just let go off the need tio have it match exactly. So what I'm doing here just so you understand the process is I'm looking intently at the photo and at the lights and the dogs, so a lot of what I'm doing relates to lights and darks um let's just, uh pull that in here, so I'm looking at these shapes. The other thing that I'm doing here is abstracting let me just bring back the pallets for a moment and I just want to show you something that we can do here very easily, so right now I have the source photo is the active image in this set up right this very moment I just clicked on that gray and it's it's the active image so what I'm gonna do is just something very easy I'm going to call up the under painting palate and what I have here on the bottom is a siri's of shortcut buttons thes can easily be programmed him by you teo to what's called a custom pallet we're going to go through all this so that you know how to do it but just you know where it comes from you add come on blah, blah blah but we'll go through that later and then what you have in the under painting panelas they call them in painter is a serious off schemes and you could just quickly run through them it's a roux impressionist scheme you know looks okay but it's a bit faded say okay well that's doing equalize on look at that auto equalize these are all functions within painter that you could do in an instant so you say ok, that looks okay adam looks good. What am I going to do with that? Why don't we have that as an alternative clone source? If we want to get some ideas here we thinking ideas for color you know besides divan corn on dh so what we can do now is go to file export source image this is new in pain too extreme so what simply happens is when you make a change and we're going to go through this in exquisite detail tomorrow so I don't want anybody getting worried like, oh, boy he's diving to such depths so quickly, but what we do is we export that image and I'm going to call this version too, and I'm going to explain all about my saving system and I'm going to call this impressionist equalized so I remind myself what I did so I make little notes in my foul name pv n project version note on dh generally speaking, when you're within painting, you always save as a riff raster image file format andi, this is the native format ofthe painter. We go like this save now when I clicked back on my painting image because I want to go painting what are we gonna see? Anybody want to guess? I gotta click here in one second. What are we gonna see? Gonna ask us if we want teo, we're gonna get this window again. You're going to see this window a lot when you're doing photo painting and painting. But it's actually your friend it's a window that once you understand it, it's your friend so what do we want to do? I've made a version I want to keep and I want it to be separate from the original photo create new okay what are we going to see here? We're going to see the ability to go through from one version so you can make a black and white version uh so you could go to this and you could go to thie under painting and you could be saturate it completely on dh then you could save that as a black and white version and then you have three versions all in an instant and I'm just going to keep my system going three dash b w for black and white on dh save on dh then we just go back here and what we're going to see it's getting boring now right? You know that we're going to see this do we want to create new? Yeah sure why not get rid of this but go back to the middle one precious later in the day but would it be worth letting everybody know what brush this specific oh yeah, sure so so the brush them using right now is called a sergeant brush and it's one of the standard brushes in painter it's in the artist category andi it's a really nice brush for making things very big and bold a cz you're sort of starting off on dh I'm looking now at my new source and it's already making me think differently about the colors I'm using so it's interesting I get influenced by things like that right away we also have the capability to introduce reference in the mix a pad and I'm I'm going to show you more of that later and in a new reference panelas well, I'm just gonna change brush here uh we'll go through so what we have here is a siri's of categories on the left we're going to go through this after the break much much more clearly but we have groups of brushes on the left we have variants on the right so every group on the left has a different set of brushes on the right on dh so this brush called schering's blender would is um made by a friend of mine sharon shepherd on dh she very kindly let me share this this brush it's got a interesting texture on dh it sort of covers quite a broad area quite quickly. So so what you see is there's a lot of play in the way I build up my background and you can think of everything I'm doing here is working with under painting stage in which I want to create an interesting structure upon which I can build more detail and now I warned you ahead of time that with any painting there is, you know, an ugly stages a stage where it feels like wow where's it going how's it going be resolved on dh sometimes you just have to be committed to process and move forward and keep going knowing that everything you put there you could transform and once you treat this like a liquid surface then it's very freeing because then you feel wow I could really you know take a lot of risk here so let's let me think what would be a really nice one for this one um ah crumbly wood will be perfect so a bit of crumbly would they're putting what I'm using here is brushes and part of me that I've created just by modifying behaviors on dh you'll notice I'm really starting to build up a variety of texture on a variety off color on dh so no matter what I do it's already starting to create an interesting backdrop on which to pain now I haven't yet uses thing called cloning which you draw color from the original image but I don't feel moved to use that and I sort of tend to leave that on I'll be doing longer painting demas well tomorrow I'll be doing a complete all the way to finish painting demo so you'll see what happens when I use a bit of cloning honestly at this point I would keep working with free hand brush strokes with my own color one of the reasons is that when you paint with your own color like this meaning I'm using um color that I'm picking from in this case I'm just using color wheel you're gonna end up with a much richer range of color in your end result than if you start using clone color, feel free if you have any questions as I'm painting, I'm just going to keep painting, we actually just have a few minutes before we take a break, so obviously this is not going to get to a finnish stage, but what I wanted to share a t least at this point was a little bit of process on dh just show you an approach to working with a surface, because what you're seeing is really about working surfaces on about not being afraid to take risks, not being afraid to be rough with, you know, the way that you start off on dh, you sort of worked with ideas. So what I see here as I paint is, in a way, it's like jazz, it's like riffing with the music, so for instance, that shape, I just put it the bottom. I looked at that wonderful shape of the highlight on the road, and I just started riffing with shape it's not the exact shape it doesn't matter, and then I'm going to vary the color so that concept of variation and varying things up very things frequently as you paint on your career, I think, much more interesting canvas in terms of the breadth of color. On depth jeremy quick question from copper blue one size monitor would you recommend for working at home couple blues looking at a twenty four inch twenty four would be great on that would be great congo wrong with that I have old thirty inch cinema display which are loving my studio but twenty four inches great and this is the even this is one of now you can work on a laptop and use a small fifteen inch monitor you know once you get small in that it starts tio not be quite as easy so let me uh just do a save as here right in here bury me at home when you're by yourself do you use the sinti or the tablet or that walk home when I'm working on a project just on my own not teaching or performing I would tend to use my big tablet on a thirty inch display okay but I love this antique for um I love this antique for performance I love it for teaching and I know a lot of people also just love it for working directly on in a very intuitive way so um let me just, uh pick uh different brush here on and on I go toils well clumpy brought bristle who nice blend the one something with a different feel here yeah and I think what I'm gonna do is a final touch it before the break um maybe show you just a little bit of cloning because it's so fun so we're going to go back to the artist category and by the way, I want to find, for instance, an impressionist brush, so if I put into the search field impressionist and then we're turned, it'll show me every brushing the entire program hundreds hundreds of brushes is about seven hundred. Well, I've added another hundred with my custom brushes, but is about seven or eight hundred brushes here? So this right here, if if if this was the only thing in painting extra, this is amazing, so I can add an instant going at any one of my various versions of the impression his brush without having to go to this pop up menu here, so that right there is a wonderful thing and what I want to show you here cool brush, it's uh it lays down lots of related dabs I'll actually use we'll zoom in a bit there. I'm going to add a little variation in hugh's saturation bit more variation of value throughout the stroke and I'm going to now turn to what's called phone color on what I want to show you if you look to the left and let's tab away everything so you can see this more clearly do you see there's a little cross hair in the blue and that is it going to the blue I'm getting that wonderful blue now this is great and that cross here uh is interesting of all the years I've worked with painter you know that some things have come and gone and so the cross hair used to be there but it was tiny then it disappeared and now they brought it back in full force I really appreciate it father a huge kudos and a huge thanks to the team at karol steve bold and andy church and tanya lux and everybody behind this program they have worked so hard at making this what it is andre and they've listened to us they've listened to artists like, you know, people who use the program on dh taken note of what we said so with this big cross hair that was one of the things we will sit oh please but a really nice cross there so we can see what we're cloning from and you'll see that I'm bringing in color and I'm just going teo do a little bit here and then clearly not a finished painting and it's completely different to the one that I have sitting here in the studio every time I paint it's a different journey it's just what I said on you never know where it's going thank you but that's the fun thing that's exciting thing you never know where you're going to end up possible with a large tablet that's on your easel to work directly on that it is it is absolutely this is a I could work like this if I wanted, but I choose, for least for today. I'm just gonna work like this because it's more comfortable see what the funny thing about it, you know, when you think economics and I know sometimes people say, but isn't there weird that you've got your hand here? And you're looking there and you know, for me it's not weird, I felt very intuitive economically. I actually like my arm to be relaxed and you know, for anybody who's suffering carpal tunnel syndrome, problems of any kind, you know, too much mouth usage, whatever you can't get any more relaxed and what you see here, I'm not gripping my pen like this I'm holding it very relaxed at the bottom. So there's really no muscle strain so that's why I'm doing that? But yes, this is an amazing tablet. Now, if I had this home no one's watching, I might have it flatter bitter distortion no, when you're looking for, but then you could paint on it on be relaxed absolutely. Do you have one of these? Are you contemplating? Yeah, you want to tell us a little bit about what we have you with the next step of this journey is, let let's take a step back from all this complexity that you know you saw when I I okay, I this's like people, you know, like, oh, god, painted list, forget it too much way going to stake us, go right back, everything before, and I'm going to take you through the basics. Great that's, what you see when you install painter, okay, where do we start new cameras? How do we open? I mean, so that's, what we're gonna do after the break, and I'm going to explain everything very slowly and clearly, et cetera.

Class Description

Ready to explore the software program that’s changing the way photo art is created? Join creativeLIVE instructor Jeremy Sutton for an exploration of Corel Painter X3, a sophisticated tool for transforming photographs into fine art paintings. Drawing on his experience as a professional Painter artist, Jeremy will guide you step-by-step through the CorelPainter X3 interface and share his approach to painting from photo reference. Along the way, you’ll learn practical tips and shortcuts for using this powerful creative tool to its full potential in an efficient and empowering way. You’ll learn tips for choosing which of your images are best suited for photo painting and why. Jeremy will cover prepping images for painting, organizational systems that free you up to be creative, abstracting from the source, and resolving and refining your paintings. You’ll work with Painter’s brushes, paper textures, the new clone source and reference image panels, and more. By the end of this course, you’ll be able to enjoy painting with Corel Painter X3 and transforming your photographs into painterly artworks. All artwork samples shown are copyright 2013 Jeremy Sutton.

Reviews

Michaela
 

Excellent class, really loved watching and learning from Jeremy, only down side is the bonus material of a membership to Jeremy's Paint Box site and Creative Live ignoring my emails about my disappointment, so when you order this class, do not get your hope to high for the bonus material, other than that, Jeremy is a great teacher and his style of teaching is brilliant, lovely and pleasant to watch, highly recommended!