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Painting a Pet Portrait

Lesson 30 from: Painting With Adobe Photoshop

Jack Davis

Painting a Pet Portrait

Lesson 30 from: Painting With Adobe Photoshop

Jack Davis

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Lesson Info

30. Painting a Pet Portrait


Class Trailer

Day 1




Why Do Expressive Painting


Adobe Bridge Setup & Image Optimizing


Jack's Painting Presets


Enhancing Source Images


Photo Hand Tinting & Workflow Options


Working with Brushes & Palettes - Part 1


Lesson Info

Painting a Pet Portrait

I'll give you another great resource aside for mine I keep pushing my light room title it's awesome that's really useful even if your adobe camera user since I that class is focused on the develop module in light room I don't really go into the library and spent a lot of time on the output modules though I do deal with video and editing video um it's totally pertinent for dough became a raw user because the develop module in light room is exactly the same as adobe camera in the sense that every slider works exactly the same way all the numeric values of exactly the same way all the files are compatible so just throw that as an aside so but in this case we'll start it up in doe became a raw and I wanted to start off this is an image that I had that uh I wanted to share with you because again a lot of people don't know how far you can push the enhancing oven image in either light room or adobe camera raw this is a shot by hal in victoria's smith I mentioned yesterday they're the owners o...

f light workshops dot com in morro bay los osos california just down the coast from here a bit and a beautiful model great shot studio shot that held us he teaches studio photography they're headlight workshops but we have some blemishes we have some things that we can fix on it I'm just going to jump I won't teach this this how to do this enhancing I just want to show you how far you can push it because again so much so many people waste a huge amount of time retouching in photo shop which is going to deal with dozens of layers all sorts of different retouching techniques you're dodging in burning and coloring and all those things are much more complex than in this one stop shop of adobe camera we have one set of tools anyway let me just share with you like I said, I like using snapshots so this is the original file this is a raw file and this is the retouching done in adobe kamerad, so again, most people don't know that you could do that so it's really useful especially when you're doing a painting you want to have the most potent we talked about eyes yesterday the do to paint and to enhance the eyes here's our again our before and after so yes and what you can do with it in terms of both the dodging and burning you're saying the blemish removal a matting makeup here we go over to our adjustment brush these are the different areas just like I painted yesterday on the day before yesterday when I did my mom did that'll hand tinting on it where I brought in color I'm now bringing in color ah ah blush here in the cheek area and I can show the mask for that as well as in the lips so even something as as elaborate as adding color as part of your retouching process is something that you can do in adobe camera raw skin softening this right here will look at this mask this right here is pretty much all the skin in here and basically were using an anti clarity to do a skin softening in adobe camera so you can push it extremely far here's our django image yes question clarity does that mean you bring the clarity slider down toe a minus value? That is the thing with all of these let's we'll use this one here we'll get out of the adjustment brush go into a good old fashioned basic panel where we started off we did the tango the very first part of the day, so this is kind of a continuation on that but all of these sliders especially in photo shop cs six and photoshopped cc again they invented an entirely new engine for light room four and five and photo shop cia six and cc is a new engine if you come over here to the camera calibration tab you'll notice is that the process is now called two thousand twelve two thousand ten was the process for light room three and before and photo shops he has five and before before that had been seven years since the dhobi had updated it, so the current one is fantastic is awesome, and you can continue, as you can see here used the old process if you'd like to, and there are some ways and reasons for doing that, and I'll actually mention of that here. The two thousand ten process uses a different clarity, speaking of clarity and that clarity brought in haloed artifacts, this kind of exaggerated hdr, where you got thes halos around the transition between lights and darks, which most people didn't like and is distracting. You had to be very careful and that's. One of the updates in two thousand twelve is you can use clarity now without thes halos, but when you're doing a painting, those halos can actually be very, very useful to exaggerate these plains of surfaces, right. When you're working on a painting, you want to exaggerate that or if you are doing a kind of a grungy look, the old clarity can actually be better. So in terms of this enhancing there's, all sorts of things to keep in mind, but um uh, with the new process two thousand twelve and I'll just jump, I'll jump back and forth between the two in just a second, you'll notice that all these sliders here on the left hand side all start dead center exposure contrast highlights shadows white's back clarity, which means you can add or subtract from these elements, which is very unique that's great that you can do that including clarity. So if clarity up is exaggerating the contrast of two edges, then clarity down is going to minimize the contrast between edges and edges is where we find those things called wrinkles or smile lines we'd like to call them a little bit more affectionately so with the clarity up you get the edge popping clarity down you get a nice diffuse glow, which is wonderful for a portrait if we switch over to that other process, come over here to two thousand ten and jump back over here to the basic panel, you'll notice it's completely different the default setting I haven't done anything to this here. The default setting is not dead center brightness starts at plus fifty the blacks or it plus five this is kind of depending upon what kind of the image it is it changes for image so it's not even consistent on the file you have recovery and feel light you don't know have highlight and shadow this works differently. Clarity again works very different in terms of here it's still an edge popping but you're going to get a halo wing if you look at the edges here, you're going to get him or exaggerated hey lowing, which maybe fantastic for you. It also does a slightly different type of softening, which also can be useful. You can't mix, I know that'll be the next question. Can I mix? I want the clarity from this process, and I want the shadow from this process. No, don't be greedy, okay? The fact that it obeys giving you both processes, you know, just thank adobe and move on. So anyway, that's to say, if we go to a portrait, you'll notice that this actually this a portrait, the skin softening, I'm actually using the two thousand ten process for this that you could do the same image with the two thousand twelve engine, but this shows you that you could even do this using the older processing engine. Um so and speaking of which this image and talking about portrait this is going to be using an anti clarity for the softening of the skin tone a zai mentioned before my daughter beautiful shot of my, uh young daughter this is when she was I think she was twelve here, which means I'm really in trouble now because she's sixteen and she's only gotten but in here using that the basic panel here that clarity I can add that little romantic glow that little you know soft glow to it will not want to do this because that's going to exaggerate you know, even on someone who has no problem with poor structure it's just not going to be attractive as opposed to this shot which I've got a painting which we're actually gonna work on today by sandy foster of of ah guru over in india where I can we'll go over here and hit auto and we'll use our shadow pull out some detail clarity for this one for a painting I purposely I'm going to exaggerate that clarity to make that edge pop I don't need to give it a romantic glow so that also is totally fine option the grungy nous of this is what I'm going to go for so again using that five step tango that we started off the day with on monday is really what I would go for which is what we have right here before after before after and this would be then the starting point for the photograph let's find one that has um some retouching on it I may not have opened them one that had retouching on it I don't mind the person in this shot this is speaking of tonga we talked about the swimming with humpback whales this is from a trip down to tonga beautiful word ridiculously gorgeous little mo to or island I mentioned yesterday that one of the main benefits of the new dhobi camera raw is its ability to actually have not only a spot removal to for retouching but also a spot removal brush, whereas now not only can you click a dot, which is what you could do in the past, but you can actually paint with it and then it's going to ask you what would you like me to put in that area? I could put two dogs if I wanted in here and have them chasing each other on the beach of that was my story or I could just simply move it on to another location. I can also come up here when I'm done with that and with my brush and get rid of something like a power line. If we were working in a city shot from in here, it could be that I would want to remove a power line so the same thing, by the way you can shift, click between your first and second point to a perfectly straight line to get rid of something like a power line. So in terms of retouching, these are the sorts of things that even though our painting you could kind of smudge them out there's no reason for you not to take the extra second teo do this sort of retouching that you need to get rid of those sorts of things I'm tapping the wiki in adobe camera that's thie visualized these spots or dots whatever any time you do a targeted adjustment you have these control points to tell you which point is active so you confined to knit and the wiki is what you use to tell uh duh became a raw to hide those points it's also down here known ashore overlay in um like room the keyboard shortcut is h for hyde v has left for creating blackened light images you can think julianne cost for that pneumonic device. Speaking of which I was actually uh I started tow dimensional but go when I was pushing my own snake oil in my light room class that if you do want to know anything about black room especially the library module we're talking about the bridge all of julianne costs whose head evangelist for light room and photo shop at adobe phenomenal teacher teacher we often teach together she's just a anek solent teacher all her movies are at jay cost dot com j k o est dot com which by the way my understanding is is it she's going to be doing a class here creative live coming up a light room class so look for that in the future and julianne cost in front of a live audience is not something to be missed yes so anyway so there's a little retouching that we've done there let's d'oh one more backto our pet portrait in terms of this the thing that I would do with this shot that's what I think came from the iphone has probably already been through snap seed this afternoon we're going to touch on some mobile apse that do painting and drawing which were actually really, really cool. I've got no problem teaching them, especially since a number of them you can actually download for a desktop app special if you're macintosh. User excuse me, the merkel mac app store for the desktop, not the mobile, not for the iowa's max door, but the desktop mac app store sells a number of companies that have mobile labs have full, complete working ones on one of my favorites is one called auto painter will show you that today so if you have auto painter on your phone, you could get auto painter for your desktop and you can make that as a export module out of flight room go right into auto painter cool, but in this case so this has already got a little bit of tweaking to it, but I want to do some fine tuning on it. If this is the port they want to dio this happens to be the renowned swamis cat that lives at swamis point this is where I live in san diego, this is my front yard is swamis point so I'm gonna do a little enhancement for this and this actually is probably one of the major types of enhancements that you would use prior to doing a painting and that's that targeted dodge and burn to pull out the tone that you want on your image that's the main thing that you would hate to finish painting and go gosh you know, especially with an analog painting I mention that yesterday it's one of the main benefits of a digital versus an analog painting oftentimes you'll finish an analog painting you go the colors are just might my palate I was not it was a more muted than I wanted or it was more saturated than I wanted and now it's a little garish when I want it more subtle um or you come to something like tone and you go that's great I just could I just intensify it obviously that's the benefit of a digital in this case I did a little bit of this yesterday I'm going to use the new radio filter that came in with four shops see sees version of adobe camera built into the new light room it's awesome already mentioned it's worth the price of admission just by itself and basically how it works you have as I mentioned the same settings for both the adjustment brush that graduated filter and the new radio filter are all exactly the same they share the exact same settings and with that it's basically you have the tango now in a brush or in a localized adjustment so it's awesome! So in this case I'm going to come up here I'm going to make sure that it's set up for inside so as I draw this radio it's going to be working on the inside or the outside, you can switch that in light room justus you can hear and I'm gonna click in the center and it drags out from the center so I'm gonna click and drag I don't have any setting if I want to, I can just start with one exposure I'm just going to click the plus sign over here to take my exposure up. I also mentioned yesterday that in light room, a good habit to get into is when you are working with these adjustments and we'll jump over here and we'll jump over to our new radio filter and we'll jump over to the exact same thing we're working on that if you start off any one of these targeted adjustments. The thing to remember is that these air sticky if you use this adjustment on your last project and you move to a different project, well, it's going to be the same and it's a good habit to get into two always reset those sliders back to a neutral setting or else you'll find that you're doing something I didn't intend so that is always found in light room that resetting of all your sliders an adobe camera clicking the plus or minus automatically resets everything all of your different panels in light room no matter what they are going all the way down can be reset if you'll down the option key on the mac or the old king on the pc, you'll notice one of the little labels in here is going to change and in this case is the word effect it's that the title of whatever you're working on even though we're in the radio filter effect is the title of this particular panel holding down the option key and clicking on it gives you a reset or just double clicking on the word once you realize where that what is the reset button you don't need to keep holding down the option key just double clicking on the word effect will do it clicking here is going to then change whatever parameter you have invert mask it doesn't tell you unless you once you use it you realize that is a default it wants to do the outside like a vignette so inverting the mask is going to be the inside but it doesn't tell you you know, inside or outside it just says and so I'll just start off and do this one here and you can see that I'm able with this radio grady int instantly do kind of a dodge and burn to this statue. This is part of the cathedral. This is a madonna statue that's part of the cathedral there and that's my exposure up, I'm going to jump back to light room, but since we haven't been jumped, acted double came around a second, but since we haven't been in light room, I know a number of people watching use light room as there, huh, before they go into photo shop for their painting. But the benefit of doing these sorts of target adjustments here before you get into two photo shop is whereas I could do something very similar in photo shop, but I would do multiple steps, right? I'd created like a brightness and contrast or levels of curves layer, and then I would go get thie grady in tool in the tool palette, and then I would set up a radio. Grady and and I'd set up black and white, and I'd set up the transition area and I would set up this, and then I would add a layer mask and then I had the layer mask and then I would move it around, you know, I'd literally would have a dozen steps to do this, which I'm doing in one step by going up here. And this is exposure now if I say you know what I really want to do this is a painting I could go crazy with clarity and even pulling in a little bit of shadow detail so as we come up here and move up into our image I now just did exposure, clarity and shadow detail this is what I'm getting in one adjustment in one area in photo shop what would I have had to do to do a clarity which they don't have in photo shop but in photo shop especially before the current one which has a built in a dope a camera that we already saw I would be doing something like a high pass filter of the entire document I would put that on the duplicate the layer to a high pass create the layer mask get the grady aunt either duplicate the grady and from the previous one adjusted put everything into a layer group master group problem block one foot in one foot out do the hokey pokey and shake it all about in here I could do fifty different adjustments in this one smooth soft edge radio in one time targeted adjustments in a dhobi camera or light room or awesome they're quick they're easy thing nondestructive why would you ever do these sorts of things in photo shop ever again photoshopped as we know does ten million things that light roman is your can what the problem is is there's a huge number of people out there who are doing things that light women adore became a wrong cannot only do but do infinitely better faster, easier quicker with higher quality and yet they're still doing it in photo shop because that's how they learned it they bought photo shop and photoshopped five they unwrapped it they learned it and they still use photo shop like like like put her south five I know that's none of the people I'm talking to but you wouldn't believe how many people okay, so back over to your tio our light room uh that'll be camera so here we have that exposure up the same thing we've got a nice soft edge the one thing you can control and this is the feather so I'll always going to use a big feather typically for these radios click and drag out on my little cat friend here I can move that center point I can now see I can probably get away with a lot more in terms of the cat again I could come up here and pull out some shadow detail I can add that clarity to add a lot of pop to it I can take that highlight down so I don't get too much emphasis on the nose of the cat take that shadow up even more maybe a little saturation in here and in one fell swoop one two three four five different adjustments I can even add a little bit of sharpness if I want to just that area since I'm painting it I don't have to worry about that and in one fell swoop we did just a significant change to it especially when we're talking about doing a painting and pulling out the personality of this case are little furry friend here it is um great now I'm not doing the entire file because I like the fact that there's a lot of fall off on the file and that's going to be dark so I could do that or I could come back up here to my basic panel where I do the tango go you know what I can pull out all but shadow over all on it and maybe at clarity overall so that would be a global adjustment were as the radio filter is going to be a targeted adjustment so whatever you do remember that taking your image as far as is humanly possible before you start the process there's no reason why in the world you wouldn't if you have an image like this is a crystal shot again late night um and uh this is just as it was shot here it is there's the perforce we don'thave after on it so if I do an auto and hear that same pulling in shadow information I could even take that exposure up a little bit that highlights down I'm just jumping since I know the tango, I'm kind of doing that, not forcing you guys to sit through that again clarity I'm far enough away that actually even though this is a portrait, I can add clarity because that's going to exaggerate the eyes you know this isn't going to be a full face I'm going to do the figure a za painting if I were so I can even use something like clarity because all that's going to do is make sure that the lips and the eyes and the personality is popping out. I'm not worried about exaggerating poor structure here because that's gonna be the least of my worries if you did have that issue with things like, um, pores. What did I mention that first day in the tango? I talked about simplifying the image and getting rid of subtle details one way that you could do that in adobe camera I mentioned the fact that you could use this luminous luminescence is going to come up here. You can see this is obviously a high I s o noise late at night, no flash he's using natural light here beautiful shot, we'll zoom up to one hundred percent and that luminant ce is going to be something that you can use amazing to simplify that image and make sure that those none of those, you know subtleties or being exaggerated because it's a somewhat soft image I may take that sharpening up I don't mind the fact that I'm getting some artifact ing in terms of the sharpening because of what I want is I want those elements to pop okay it's much more important that I have source material for that paint that is going to show all those details because I want a painter would paint these lips as a separate little and kitty it's going to be something with you know hard edge to it so the luminosity is your friend as is sharpening even some potentially excessive sharpening if you do start sharpening things that you're not interested in the subtleties I mentioned this yesterday this mask when I mentioned threshold and on sharp maskin photoshopped all these elements in the detail tab in adobe camera and light room have actually a really cool little secret making mouse club hidden preview feature that if you hold down the option key on the mac or the old key on the pc and do something like radius it actually shows you the sphere of influence that's being sharpened and because I'm doing a painting again I'm going to exaggerate that detail is the area is the amount of contrast within that radius I tend not to use detail even though it does pull out detail that's going to make the image really crunchy and it's at a pixel level so it's that's a grand defying slider and for most portrait so I would just stay away from it the masking slider the bottom is fantastic because it actually says don't sharpen everything when it starts off life it starts off white every single pixels being sharpened, but you move it over here and it literally is creating a mask we're now no longer is it going to sharpen the skin tone or the noise and the sky or anything else it's just going to sharpen the edges, leaving the rest intact so here we're using it in excessive way for pre painting, but in terms of your portrait work again, that masking feature isn't even available in photo shop. This is the best sharpening this whole panel hear noise reduction sharpening is phenomenal one great thing I also mentioned that has never been there before since adobe put adobe camera raw into photo shop now even when you're at the end of a painting if you wanted to when you do that last step I mentioned where you create emerge copy you can run a doe became a raw and take advantage of these sharp innings for that final state I'm rather than the in sharp mask or for anything that you want, including the radio filter and the adjustments and everything so keep in mind that you've got the power of adobe camera now built into the photo shop so you can use it post painting as well as pre painting very very cool okay, so here the last thing that we may do I also like we have things like the grady and filter one of the things I like doing that with that is actually imitating a shallow depth of field so here is my sharpness if you take sharpness down below fifty it actually becomes a blur filter so I'm going to come up here in my foreground even though this is kind of blurring at the in the foreground already because of the sand is drawing if I click and drag up I'm actually going to be adding a blur to that foreground and I can even add an anti clarity which is goingto also give me kind of ghosting to it and as with every one of these target adjustments if you like it once and it's good there's nothing stopping you from going twice and three times and now what I've got is a significant blurring and ghosting of that foreground if it's distracting to me I don't particularly mind that but you can add these multiple adjustments on top of each other which are especially useful with blurring if you're trying to imitate as some sort of tilt shift or a shallow depth of field and the same thing while I'm here in that graduated filter I'm gonna come over here and I'll say knew exposure down we'll just do another one here where I'm going to darken up my foreground and darken my background drawing attention to my subject okay so in one second with one adjustment exposure down one stop as it were dragging up dragging down I just did a targeted hand shaped vignette which is drawing my eye into my composition going to be an infinitely stronger image in terms of making this model shine um then if I had not done that and again let's go backto our snapshots I'll create a snapshot by after here's our before after before after there's no reason for you to use this as a source for your painting when this right here is going to be an infinitely better source did this one yesterday a sandy foster shot where we purposely kind of just blew out used a big adjustment brush here in the background just set too high setting really messy you can see how sloppy that mask is and and yet that is what's giving us our um our ability to drop out that background and therefore going back to our snapshots as a starting point for a painting is just gonna be much more traditional yes I used adobe camera or light room but with snapshots to their work like snapshots and our history and photo shop where you can if you were to switch snapshots would you be able to edit the file again from that state of snapshot or is it just visual snapshot and nothing is every it's a very good question it is every single thing associated with that file when you get that snapshot, it saves every slider, everything about it, and it stays with the file for life until you deleted so it's even better than the snapshot and photoshopped you can use it as a starting point in light where my mentioned yesterday, one of the nice things about a light room workflow is that you could make all these snapshots you come over here and let's say we do a black and white conversion because I wanted to a black and white so here's a black and white here let's see what's the color of the dress the color of the dress is sayin, so we'll use this as an example, so I love this here I'm in the hse l panel don't get me started and I'm going to come over here to that target adjustment tool. Click on the little girl's dress and I can isolate in darken or lighten her dress separate from skin tone and click on her skin tone light in the skin tone a little bit dark in the dress I can lighten the dress in dark in her skin tone okay freaky cool, but here's now is a nice black and white version of the file maybe I come even over here, tio r our, uh, little uh split toning and we're gonna come up here with just a nice, beautiful little sea peotone come over here to snapshot click on it two now I've got two versions of the file, a nice little cp atone and another one this stays with the file for life. Both of them are perfectly useful if I was in light room doing the same thing once I'd done all my different treatments. Aiken go, go stay out of these five snapshots I like three of them. I'd make three virtual copies, which is a unique thing toe like room where it actually adds images as if they were true versions of the document there just again there instances, they're referencing that but they're going to act just like three different versions and you've been out put them and print them and make a book with them or do it if you want in this case, if I want it now, I don't have done two versions of this file and adobe camera raw. What I would do is I would say done, go back to the bridge, do a command dear control d physically duplicate that file both of them have all the snapshots associated with them and open them up again and I would just on one turn on one snapshot and the other one turned another snapshot had done again and I've got my two original so snapshots are excellent because they allow you to experiment they allow you to do what if and that's one of the things we do as artists is what if if you don't have an easy way to save what you're working on multiple versions that's where save a copy and photo shop is not an easy version it's messy you don't know what you save that soon as you do save as the image is no longer open so it's not like you can't even compare the two snapshots you can easily go between him and like him there even better because you have this little preview in the upper left hand corner so, um anyway, so snapshots are great to that answer a question and since you haven't been and most people it's amazing how many people who have who know photoshopped and living in photo shopped for a million years yeah, I don't use the camera I don't know I just don't know it's like the amount of time that you would save there's three things that I look for in any workflow quality, flexibility and speed go for the highest possible quality you can that's why you're an artist if you didn't care about quality, you'd get in tow medicine or politics or you know, just kidding kidding, but you care about quality you're an artist, you're craftsman, crafts, woman, whatever you are flexibility if you are a professional artist, that means you have a client or a spouse, both of which are going to tell you that you're wrong, right at the last second, that is a good joke, and no, you need that flexibility, because by definition, at the last minute you're going to want to change. You do a quick test print and office, and you realize you need to tweak something you miss something or something so flexibility is important, especially in a commercial environment it's also incredibly important for the creative environment, because if you don't have flexibility to change it, it'll be like an analog painting where you kind of go. I'm stuck, I'm already down this road, I got to keep on going because I can't change the pallet now to brighter because I've already finished half the painting so that flexibility is also in, as in the snapshots or part of that is huge in terms of giving you that created flexibility to experiment with things, and the experimenting is where you going to do something you've never done before and possibly somebody else has never done before, because if you're not experimenting, that means you're being safe. You go, I know I can nail this portrait I've done this fifty million times and I'm going to do it again and guess what, you're going to burn out because you've done it fifty million times, so if you're an artist that plays it safe because you don't have the flexibility in your workflow at some point that just becomes depressing, right? Hopefully you are never going to stop learning and growing and experimenting and trying new things it's good for you, it's good for your clients, it's good for your mental health, flexibility and speed why do something in twenty steps if you can do it into those little radio filters that I just did, there literally could save you twenty minutes of multiple layers, multiple mass king's doing it by hand in photo shop. Why in the world would you spend twenty minutes on something that you can spend twenty seconds on? Okay, so you will be learning and it became a roar like always not do like room is dirt cheap? You're already gonna be having photo shop because you're going to be doing painting, so you got it, you're done deal no, ok, good question, excellent question little things, I'm just because I've got that here here is another brick krystal shot here is a little tweak before I would do that, so here we're doing our tango and doing a little vignette again to draw it in for this beautiful thing that would just be a a beautiful painting um they're so by all means do that enhancing ok I think you get the idea what I've done in this for a step is taken django and did what we did yesterday let's go ahead and make sure that we can see our palate and we will come up here and show you this is the enhanced picture of django this you can see as we did yesterday this is our little review it's a smart object I did exactly what we just did I brought in from the bridge went into adobe camera did my jiggery pokery open it up is a smart object came in here if I were to double click on it because I wanted to find tune it takes me back to a cr so here's our the starting point that I did for this painting fine tune it if I want hit okay it's going to bring it back in in this case I applied the exact same action that we did yesterday right this one over here these are the ones that are available at my facebook fan page um which again I've left up here on the desktop for you all so again this is what we're talking about at jack davis wow like the page once you like the page jack freebie star will come up once you do that you will find access to this page which is a bunch of different links including this one right here case you're not a facebook person davis c l paint tinyurl dot com slash davis c l for creative life paint is where you're going to find the presense including the actions that I'll just show you that will give you this file on download zip file un compress it ends its stall it in photo shop if you don't know how to install it in photoshopped tough by the title that's what I know you were going to say is by the title so anyway it'll give you this folder full of presets and actually you can actually just come up here select ammon to a commander control ofer open that'll be your easiest way to open up your presense okay there's a little review because I know that people come in and different at different times so what I did tio start off this portrait much like I did with my mom the portrait we did yesterday was because it is so challenging to get this tea area of the eyes the nose and the mouth all the personality of you can get this right you've got the person if you don't have this right you got you know wonderful primitive image that person may say that's a nice painting who is it oh that's you I did that for you know okay so that section and even on something like this the eyes are so important that I'm going to take advantage that of what we went through yesterday morning with that oil paint filter and specifically my little action that I've given you that creates this smart filter recipe so zooming up here on our image here is django and I mentioned that oil paint filter is basically also a for filter yes jack so you showed us by clicking you could go back to that smart object let's say that I ran your filter or your your action and I thought oh no I need to go back to that smart object and tweak it a little bit do I have to rerun that action or does the action update very good question because it's a smart filter recipe you can go back to this one here let's actually we'll turn it on just so you can see it here's our brushstroke beautiful you know what this would be a great kind of ah black and white tonal study double click on it take it into a cr turn on gray scale say ok and it does exactly what you were hoping it would do completely reruns the filter recipe as a black and white even if you did a retouched if you came up there and you say I want to move that car you've already done the painting you returned you paint the car out and we touched it out in a cr come back here! It'll reapply the recipe to it without the car so that's the power of smart filters. Now this is a filtered painting, so don't think that you're going to hand paint it and then we move the car you know, that's witchcraft, yes, and does that work for all edit? Too smart file all edits that you do to that the only thing that you can really do to this edit this smart object is bringing back into a cr and tweaking it by definition it's this self contained entity so if I were to paint right on top of it, it'll bark. It means that dude you can't it's smart object what do you think you can paint on top of it, which is what we're gonna be doing, but the only really edit if you want to get in there as double click on it and send it back to the state and it was before in this case don't became a wrong. I mentioned also yesterday. One way you can use smart objects is if you did eh image on duplicated that layer did some retouching on it did another layer another layer, another layer you can take those five layers, select them all and say convert to smart object apply filters like this oil paint filter and that when you go you know what that other that third layer I wanted to change from that standpoint double click on it it reopens all five layers do whatever you want to those five layers say yes safe thank you very much and it will reapply that's part filter recipe so depending upon where the image came from again I mentioned you could bring it in from illustrator great thing to do is and we're going to be talking about doing this kind of these third party filters to even graphics or clip art to kind of give them on organic field you could bring in something that poster I had the poster of the america's cup that I did so that was created an illustrator so illustrator into photo shop a smart object do my painting jiggery pokery on it and then you go that dates wrong. It's now no longer consider that nineteen, ninety nine it's the year two thousand america's cup and it's no longer st thomas it's now has to be virgin island, you know so you literally double click on it sends you back into illustrator reset the type close it, come back and it re does all your filter effects so smart objects are very, very again the technical term is bitches they are bitches, okay so back to django and actually I'm goingto teo as a refresher and we'll just get rid of both of these things so this is that starting point just because it's so important we've got jango it's just the raw file I'm gonna come here to the actions I'm going to go to my smart object painting one option here so right now I'm going to take that history palate select that hit play and it's going to do it in just its default parameters so here is the resulting image which also has the that rough pastel I mentioned yesterday I'm going to be adding my own texture and everything else so I don't need that rough pastel looking over here at the resulting image I liked what it did in terms of media I like the oil paint I like that even faster to do a little m boss though again I'm probably going to do that is a later step so really all I need is it to do the oil paint I didn't really need to use this action. You guys are smart enough now to know what to do with the running of it um thie parameters, which I'll open up in a second but if you want and if you're lazy kind of guy gal, then I'm just going to turn off those and I'm on lee now using the basically the median and the oil paint filter what did we do yesterday if we wanted to you know, tighten up the details on a portion of the painting or change it if we want to make the's the hair is even mohr expressive then it already is which, by the way that's just so cool I mean, come on that's you know that is cool if we were going for put a realistic painting, it could be that you could use the oil paint filter, especially with these different rough pastels and that's your final painting you could literally use this action click and sell it to the client and it may be organic enough for your purposes, but in this case what I want to do is I'm going to customise that oil paint just we did yesterday I'm going to come up here I'll take that stylization remember that's kind of the length of the brush strokes so I'll take that up to ten that's going to make that more expressive it's going to make the eyes it's going to get a little bit funky in terms of the eyes. So what did we do yesterday? We wanted to have one portion of the painting have more detail and one less wait duplicated the layer come up here, duplicate that layer and simply change the setting for that oil paint so now when I come up here and zoom up on that oil paint not excessive zoom so here's the eye so I take that stylization down I'm just doing the eyes okay and actually there's one other thing since we're getting away with hair I did something yesterday I showed you something the default setting and they will paint filter that I said I don't like and I also made a reference that when we get to for it has some potential use for shine exactly right zoom out just a little bit because and we'll take that stylization back up just for now because shine is going to come up here and exaggerate those brush strokes and on for it looks amazing okay on a person it's annoying because it's going to do all these swirls on a skin tone which you would never do but on for a little bit of shine is really cool and groovy, so I'm just going to add a little bit of shine I'm not going to get too carried away, but a little bit of shine is actually going to help it's kind of like him boss, we are going to em boss at the tail end but this little bit here is actually not going to hurt, so I'm adding a little bit of shine and in this case this is the eye so I'm gonna take my my stylization down I'm really only looking at the eye right now this is what this is my secondary layer so I'm doing this and again you can see how that shine is going to make it you know look like dollops of paint um a little bit so I'm gonna say okay mei background layer doesn't have any shine on it so let's just kind of get that so it matches I'm going to add a little bit of shine to it okay now I only this top layer that has a little bit more detail I only want it where the eye is so what am I going to do to isolate just the eye when her layer mask what was the shortcut you folks at home to get a black filled layer mask is a default setting so it hides everything so I just painted what I want it wass option click on the mac will click on the pc on the atom ask icon down here at the bottom starts off black it's completely hidden come up here I can use a good old fashioned paintbrush or I could even use one of my solid color brushes from yesterday make sure that I have white as my foreground color and now I'm gonna paint in that more detailed on okay so you can do this for not just a pet portrait but it's any kind of portrait where you want to bring in more detail so I'm bringing in a little bit more detail around the nose and uh any other area that's gets a little bit too wispy what is that leaving behind its just giving me these portions of the image ok has to head you can see if I brush lightly am getting a light you know I'm getting to see that I pressed a little hard so lighting since I'm using that brush that we did yesterday that's solid color brush like a kind of you know soften that and hit the ex key if I wantto remove some of it I'm basically creating this mask how am I looking at the mask since you guys are not third day? This is an advanced class now holding down the option key on the mac but they all count the pc lets you actually view the mask what if I want to turn off the mask and see what that entire layer layer looks like without the mask shift click on the mask turns off the mask that's the shift key on the mac and the shift key on the pc slightly different don't get confused actually the shift key is exactly the same with the mac in the pc and I'm being a smart ass okay, so back to it so this is our beginning part for our painting we've enhanced it which was our first topic of of today and let's go ahead with this I've actually have the layered painting open or will in a second I put these into a group, so this is my starting point here, so just for simplicity, you may have seen that I like using groups for those of you who have not been using groups let's, just go ahead and get it out of that group and throw away that folder because this is especially when you get into all these different layers that we have with the painting, I've got my two layers here, I could just drag him down to the folder icon, and I just made a little folder. I also mentioned that sometimes you may want to color code your layers, so it could be that my original image is coded red, and now I'll start coding all these different layers between folders and colors to help it. I'm now ready to do my painting on here quick, I'm going to come up here to actions I'm going to use that while mix of brush painting set up, I'm going to use this stroke version as the source of the painting there's really no reason it's also some means that I can use this version of the file for my final little touch up, right? Just like I did yesterday, well pull in the eyes using this filtered version, I'm going to come up here and say, play yes, please, thank you very much come up here I'm really not going to need to do the brightness or contrast, but I'll go ahead and do it that's a little excessive in terms of that since I've already done that I will not when those dialog boxes come up when we see our little hand sketch we are now ready to go we've got our reference we've got our leinart here's our reference it automatically selected the paintbrush for us one of the ones that we've already loaded by using the davis while presets I can use my I think I'm going to use my art pan here so I'm going to get the rotation of my brush like I said it's definitely worth it for you guys to upgrade your walking brush for that and then I'm just going to start you know, painting so I'm not gonna do this entire painting from scratch that's why I got up early so I could do the painting but any questions so far? Well, I'm doing this yes, you didn't put a background color layer under him or do the complementary colors like you did on your landscape if you remember what I did with the landscape I typically I do my first rough painting as I'm doing here purposely leaving some gaps because you're seeing here and then I do my under color painting after that you could do it as a starting point, but I actually for whatever reason I do it after I've done my initial blocking of some, um color and tone in the file I just do that um you can do it at any point that you like that's exactly what I'm gonna do if you remember the final painting of jang go way back when you saw a few seconds ago it actually had some blues in it even though jang go's for is all on the gold brown variety I did that complimentary ground foundation and that gave me a little blues little blues that popped out through the forget it's one of those things that's going to set europe painting aside from everybody else's so let's say that we'll do it right now as a starting point so it's a very good thing if I wanted to do the, um complimentary ground the advanced way I did yesterday what was the coolest grooviest way was actually I think you may have even mentioned it up that that brought up the way of doing it slightly different than how I typically do it do you remember? Okay dude no do not do that, jimmy I'd have no clue nor do I care this this back up this whole set in the bottom that that action creates and again those of you who are just joining us today and going I am so lost I have no idea what you're doing this's a review of the previous day's I certainly can't start each day fresh so go back to the previous days and you'll know exactly what we're doing watch the movies in sequence don't jump into day three going I'm going to learn how to paint that's why we got three days this is an action I've given you an action has over four million steps in it will simplify your life one of those is I'm actually creating this secret mickey mouse club layer that has my entire painting in it so I remember all these layers actually have the entire painting in there at one percent regular color full color there if I duplicate that I put them in this backup so you khun duplicate this and make its many copies of this is you want to do whatever you want with it this layer if I come up here and put it underneath is my entire day painting okay I hide that right there that is my entire painting in regular color and this was that really this is a mind tweak and I'm going to go right to the mind tweak yesterday I did it with the regular colored file just to show you the concept but now you guys were advanced that has my full color document I want to do inverted color scheme all I do is come up here to image adjustment hugh saturation shift the color wheel one hundred eighty degrees everything that was going to be orange is now blue everything that's green will be purple everything that's blue will be yellow that's what? This is showing you here when you look at this that's what those sliders are doing down here at the bottom again if we were doing a photo shop class consider these is all little freebies for you all that is what that's telling you this is before this is after whatever is this color will be this color this is in the master section of this dialog box so it's affecting everything if you come down here you can say I just want you to change one of these and you have a targeted adjustment tool here so you can say a specific one I don't have time to go into it trust me its cool someday I'll do a photo shop class your creative live and we'll go through that but there I've just switched the color wheel one hundred eighty degrees I flopped the color palette and now when I paint on this layer it is ah blue django and a blue background it is my inverted color ground automatically and I'm still using I'm getting my gestural strokes be careful that you don't do a stroke too long because remember you are smashing this photograph that's there so you know just you could do a stroke from here to here and you're going to be pulling that color all the way across so when something like this as with everything you know keep your strokes fairly small and um that way and I'm not worried about the eyes okay? I'm just going is past I can't since I'd leave my gaps of the edge I certainly want the edge of the painting what could be actually kind of cool is that if I don't cover up these strokes it means that as I get to the edge of the of the canvas I will see these inverted colors whether I want to keep them or not that's up for I can do that but at least this is giving me the option okay, so here we go yes your brush strokes there uh this is from cayenne who's joining us from new orleans and diana's jack can you give a bit more detail on your painting theory? Why, for instance you do strokes in certain directions to tell the story like whatthe sky yesterday can you give a bit more detail on the y you do certain strokes from certain directions? Um uh certainly one I'm going to try and do the breast strokes like a wood in a traditional painting so I'm going to typically follow scoped out the shapes, the darks and lights of my original composition so I'm going toe that's what I would do in a real painting and in this case is an under color painting, and I'm just kind of scribbling because I know ninety nine percent of it's going to be covered up, but you're always going to be using your brush strokes like you use everything else in your photography to strengthen your story and that's usually going to be how you going to lead the eye through your composition, ultimately ending up on whatever your subject matter is so in terms of the sky yesterday, where wasel expressive was actually a pretty big, flat blue sky except for some clouds in the upper left by using the brush strokes in this kind of direction, drawing it down into the hut area, which was my my conceptual focus point I'm just adding that one extra element to it, so that was using brush strokes to lead the eye into my composition in the other times, a lot of times, your breaststroke is just going to be your you're always gonna want, as I mentioned also yesterday, that a breaststroke typically pulling from the upper right to the lower left toward the body is always going to be the most comfortable breaststroke for an artist going away is okay, but not as good pushing away its example if you were if you were cutting with an exacto knife. Right you would never cut away from you you'd always have feel more control if you're cutting towards you being very very careful you wouldn't cut away from yu um so the one thing we mentioned yesterday is this idea of on your walk um if you've got your we set up our click wheel to cycle through and here is our rotate so if I feel more comfortable going in this direction that I'm actually going to rotate my canvas to make sure that I've got that comfort level in this case it's not on the under colored portion of it it's not that big of a deal, but um one is comfort and two is conceptual using texture in the case of django you're going to see I'm going to be following the fur patterns even though I'm going to be using some parts of it so it's you know it's how I would think and and it's a very good question because and a digital painting sometimes you forget how you would do it in the real world and real world remember we can't lower to brush up with five different colors like we can with this this little thing that I'm doing here such a cheat I mean, you know it is like I said it's satanic the fact that you can do this real painter would go you blankety blank that's just so wrong so try not to do that the shorter strokes, so it looks like I've taken this color and painted that color, as opposed to doing a stroke that is so has so many different colors in it in the real world, it would never exist, so that has to do with our wet and load features of yesterday. We're also talking about in this smearing where I'm using all the colors from below, and I'm not loading in any colors from this one, if you remember that's also the difference between this brush, this is our, you know, cloning, brush, and the other brush that we made yesterday, because they this one what is known as are solid color one, if you remember, I mentioned that this one in this beta version that we put out for the previous class, this one right here had that same wet and load reversed, so I made this one, which had it correctly, that the wet should be at zero if you want to paint from scratch and not just smear having the wet at zero, what is the canvas you're not picking up any color load is your foreground color that's? What you're putting into the brush, um, is important, and that way you can come up here and use something like your swatches, and when it comes to doing an under color this's exactly a case where you would come up here and maybe I'm going to come up here and do exactly that little bit more expressive, so I'm going to pull in some reds around the edge of jang go if I want to use it, maybe even a few in the fur. So now I've got the option to penny pond where I leave these gaps of having, you know, blues and reds and greens I mean, depending if this is, you know, painting of mick jagger, you know, I darth maul who would ever do it painting of darth maul, you could come up here and you could add all sorts of expressive colors that have nothing to do with either an inverted color scheme. Itjust be, it may just be because you were that kind of, you know, freaky person that wants these colors popping out from behind the image, so now we're we've gone in, we've turned back on this rough under painting, and now I've got this kind of psychedelic painting, you know, going on here, so as I come back up here, let's continue on that painting process and again, we're going to I'm going to jump to the more finished version of django, but back here let's, go back to that brush one remember, these are a, b, c d these air all ordered based in terms of the order in which you would normally do it. So I began taking our brush size up, and I'll turn back on my reference, so I can kind of see where I'm going on this. So now I'm going to continue on this rough, under painting and leave some of those colors now that I can see that now you can see kind of why I do that under painting after the fact it just gives me a reference if I had a, you know, a freaky red jango as a starting point, it would just be a little distracting, so I usually save that for later on in the process. So now I'm coming up here doing maura detail, and again, I'm going to switch in a second to the final painting of django I do have the oil painting is a reference. The great thing about starting off with that the oil paint filter is I can use that filtered original as what we're going to end up with. So I'm not just using that as a reference that actually, you know, will be used in the final image, so here we've got that question yes, if you're doing your under painting afterwards, say you feel like this one part like by his lower jaw um you'd like a highlight of green or something? Uh, how would you deal with that so that it would come back through? You'd probably take all your painting layers a simple way to do it would be to take all your painting layers when you're done put them into one of those folders folders can have masks, you click on the atom, ask icon and then you'd use thie mixer brush that solid color. One you'd do is paint on it black, like we've kind of use that's similar technique for some other things and you would actually take all your paintings except you're under painting and put those into a folder at a mask and then you would just revealed portions of your under painting using a really like, you know, so shipping across. So it was a really light removal, um allowing it wherever you is, so I should do that it's actually there's a really good point, because how many times do you wish you could do exactly that? You know, so it's awesome. Okay, so that is our wonderful painting. You can see it's django is basically done right now. Um no, I'm going to go up here, I'm going to do the I'll do the blending I'm going, I am going to jump too that the final done one but just so you can see that that blending if you remember that is the one step where you come up here and you are now blending the different paint strokes together this is a full rest file you're going to notice that that lag that's one of the reasons why my initial brush was designed for the way it is and the spacing it's very responsive you'll notice that as I'm painting, every single thing is following me I'm smearing I'm doing all this stuff and there's no lag whatsoever if you use the mixer brush in the way that it's typically used where you used the sample all layers turned on you will not have any brush that has any kind of you know gestural feel to it just because it's going to do what this current brush is right now it's lagging and even though it will eventually catch up with me I just did this let's see how long it takes so now it just is catching up I'm going to now just jump I'm gonna cheat I'm going to go to the end here, which is this version of django we talked about that that's actually is my filtered a version of this right? I automatically put that is part of the action at the top if I wanted to I could come up here do that little trick of option click to make a layer mask so that is up here. I'm gonna go to that solid color and I'm going to this is not this is gonna be really rough, but just so we can do it within our time frame. I'm now going to come up here and bring in some of django in here to get some of the personality of django and some of the hair. So we're going to really express I'm probably going to use most of the filter painting and that the center portion here leaving the freaky stuff way on the outside so I'm gonna do but this is that little magic, you know, reveal mode where this should be on a children's tv show, something like that and because it's got the, um brushstrokes on it, but the's brushstrokes aren't matching the final step is you're going to blend this version with it. This has to be below your final blending because you're going to want to blend that final painting in with it let's, just go ahead and open up the final, because by going here I'm cheating too much, so here is our steps, which did I did do it without if I wasn't chatting, I did do it in probably a half an hour this morning, so here is our source file doing exactly what we did before here is in this case the under painting thiss when I just inverted the painting here I didn't paint it so I inverted it so that is gives me my color this is what was used as far as thie under painting um portion of it I didn't use that until the end here is my paint here is my first rough and see how little that was in terms of that rough under painting adding mohr detail remember we're working up we're finding that here is mohr let's just look at each one separately so you can see how rough heading mohr adding more is exactly what we did yesterday in our portrait here is adding a little bit more this is my final highlights we talked about so here I'm hitting the white portions of the for the tips of the ear things like that these are all the portions of the painting right now okay this is our final shadows you can see I'm not even bothering with the eyes and portions of that because I know I'm gonna cheat here is the uh final um blending brushwork and I think I did a final blending on top of that here oh I added the logo yesterday we talked about how to come up and did the logo so on one separate layer I used our custom brush from yesterday and added to the painting I then um um actually did youse are are under painting so in this case I have the original photograph and this under painting showing through all the way to the bottom I turned off that paper so now this is the stuff that I painted and this is filtered and this was turned on just like this for this final mixing layer okay this one right here final blending this is where I came in with that blender brush and mixed the filter with the painting I mixed all the paint strokes together and I mixed that painted version of it that was my base with the original and so that is thiss mixing so there is my really brush strokes so to speak with a mix of brush and then that is the blending of the two they're my signature was added in here I then used two of the filters remember then we're at the enhancing stage of it one was the m boss and it works out great one with this one remember I add the m boss afterward so there's before after you're getting the impostor the race edge this is what that layer looks like by itself it's literally using the embossed filter that also if you remember is an action it's called in pasta subtle wow imposter of subtle so it automatically does the abbas for you and I also added another one this one right here which we didn't cover yesterday and that's an action that I've created for you all called paint enhance extreme paint enhance extreme and that one comes up here and it creates your layers and emerges the visible and it does all this wonderful stuff for you and it uses the photocopy filter I mentioned that this is the one that I typically use for water paint, watercolors, it's the exact same this is the one that we used for the watercolor when he did that the first day so this action just makes a copy of your file and runs the photocopy filter on it and that is giving me this really intense exaggeration after the fact of the brush strokes. So these two both the embassy as well as the edge extreme using the photocopy filter set to the color burned blend mode way we've done all this we did this with watercolor is giving me my painting of django and because that's got so much stuff going on, I don't even need I didn't even need to come up here and do a sharpening I did put in the canvas, jess oh texture and the regular canvas texture so there is our final jango where did the whole thing without talking? I did it and maybe half an hour this morning, okay, which I really like I think that does django um does django proud and here again is our before after before after as I said, it could be the oil pain filtered by itself is good enough for your client, especially with a pet portrait. You go. I like that better. Sorry, dude, but that scares me no that's up to you, whatever you like, but, um use it in concert, you know, to do whatever you whatever you think is best question from mark man who would like to know how this, how different this would look if you were using a mouse instead of the pen? It would look a lot different than the thing with a mouse is. There is no changing of the brush stroke from the beginning to end. It starts there's no. So there's no pressure sensitivity to a mouse. So a breaststroke. Even though you can use the mixer brush and it will work, it has no, it is not going to have anywhere near the personality that welcome tablet would you can do it, you can play around with it. You could do that watercolor technique that we did the other day with a pattern stamp because that's a round brush and the direction really isn't nearly as important. So there are certain techniques where it's not a significant, I would say well, especially working with the wet on wet where the walk um, actually takes into account the pressure in concert with the mix of brush and that's how much it's going to smear it so you'll notice that when I did light I was able to skip across and I saw the raising of the surface on the canvas all I saw was the the pigment just writing across the tip of the canvas which is awesome is wonderful look on a mouse there's no such thing is that because there's no such thing as a cz capacity or intensity based upon pressure so you could do it if this floats your boat in any way, shape or form go out and get some kind of tablet even if you were to get a bamboo I'd get the bamboo touch you're really on a budget that would give you the gestural aspect of it and it would give you brush pressure sensitivity if you think you're going to do this and any significant way just go right to the into us and I'll do the intros five because of the click wheel and things like that I think that just, you know gives you a lot more control. Great question jack, don't you mentioned earlier that a lot of people maybe aren't using camera and they're not aware of how beneficial it could be for a project like this? So iowa mom had a question asking about can you crop and camera raw or do you wait until you're in photo shop and how does the post crop vignette in a cr where if you postpone the crop until photoshopped maybe just some guidance on that work flow if you have any recommendation won everything that you do in a doe became a raw and light room again I I'll use those interchangeably because they're the same concept there non destructive procedural processors photo shop is a pixel pusher completely different you have to create if you have a ten megapixel file you're working with ten million pixels per layer and photoshopped keeps track of every single one of those double came around like room is a process editor all it needs to remember is the process this slider here this went here the brush started it x y moved to here and it saves those coordinates it's just a numeric that's why the snapshots could be safe with the file that's no memory you could have twenty versions of the file and it's as no memory in photo shop if you had twenty versions of a photograph you'd have twenty copies of the file and it would be twenty times bigger so every single thing in it open camera on light room is not destructive including the crop. It is impossible to damage your risen original in adobe camera or like room even if you start off with a jpeg or a tiff or raw, none of those can be damaged because it doesn't actually work with pixels that's the one thing to remember with adobe cameron like room you always are going to have to export it to cook them into the pixels. Hence the raw analogy you're goingto cook whatever you do in adobe camera raw into a file and that you'll send out put on the internet send out for prints or whatever so cropping is completely non destructive in the only cropping that I do typically in a c r s I mentioned as part of the tango was I crop to remove anything that's not part of the tunnel range I'm interested in because that will affect my history graham I'm really not concerned about whether it's going to be an eight by ten or limb by fourteen you want to give yourself a much freedom to print out a different sizes when you're done right that's the bloody problem with american paper sizes is a five by seven and eight by ten eleven by fourteen or all different aspect ratios and if you crop one at one and then you go I need this printed this size you're gonna be tempted to crop again so leaving as much flexibility as you can and there is great if you know you're gonna have this certain campus eyes you know you're going to go to a twenty for about thirty six campus then yes crop it in there, especially if you're using these edge effects you can crop it in and double camera or in photo shop is your first process the crop tool in photo shop also has the option of either to delete or not delete the pixels that are off the page so I'd recommend not turning on delete cropped pixels because that will give you that flexibility to go when people go well doesn't help me if I if you didn't delete him where are they and big deal if I can't see him can't work with them you have to know image reveal all if you don't know that secret making mass clip handshake then the non destructive deleted photo shop is you know you can go back to the crop and take it out but reveal all takes anything that's officer out of the size of your canvas and reveals it it expands your campus automatically jack is an edgy is educating folks like me that had no idea what all adobe camera can be oh so thanks jack for that I thought it would be useful even though that's not the topic if you can't enhance your image, you're only going to take your painting as far as you can enhance it since we're talking about cloning so for me it's huge and that's why we spent a lot of time on that we're going to continue on with painting we're going to get into some or even mohr expressive things related to painting we've got, um, I want to do another water color because we touched on that watercolor, because water color has no raise surface to it. A print. Ah, watercolor print is just perfect in terms of doing a gallery print and selling something like that, because that's, how a watercolor and edgy clay look identical. So we touched on one, has a starting point on the first day, so we're goingto probably continue on with a watercolor to emphasize that technique, because I think it is so good. And now that we've got the basics of it, we can elaborate, maurin that. So they'll be the first thing we do.

Class Materials

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Painting Files

Ratings and Reviews


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.


Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.

a Creativelive Student

Thank you Jack Davis. Having tried to paint, both in the real and digital worlds, this is the first time I have seen a comprehensive demonstration of the techniques and philosophy for the artist. This course is valuable for any aspiring artist, digital or otherwise. By the way thank you CreativeLIVE for the long form training space you offer both the teachers and students. Jack is inspirational, talented and sometimes funny. Watching him paint in real time is by far the most impressive sight but the information about why is more valuable. Overall this course will give you ideas, knowledge and skills (if you practice). I highly recommend this course for anyone that has tried to paint in the past and was underwhelmed by the results.

Student Work