Painting With Adobe Photoshop

Lesson 24 of 40

Print Discussion with Q&A

 

Painting With Adobe Photoshop

Lesson 24 of 40

Print Discussion with Q&A

 

Lesson Info

Print Discussion with Q&A

We're now going to combine the oil paint filter when we get into a portrait. Something like that. You saw how expressive the line work was in our last little a project that is currently, um, still up. Here are a little sample here, how expressive that is. And when you get into something like the princess diana portrait, other things like that, the time, even though you can do it, you can shape it. But the subtleties on things like a lip, you know that the cheekbone, how when you want a person smiles there's, you know, a million little muscles in the face that go into something as simple as a smile and the position of an eyebrow on lee needs to move, you know, a fraction of an inch to go with difference between concerned or, uh, you know, and to capture all that in a painting or a drawing takes a lot. And of course, there are people who do that, and those of the people you genuflect to and you kiss their feet, and you touch their ring in the hand of the government and all that, because ...

that ain't me that's, bert and other people like that, who are fantastic, who, especially when you see those character people who can just go, yeah, that's, the person be gone with you that's not it so that's why things like some filter assist like the oil pan or other ones can be very useful for things like the portrait if we were going to do like the pet portrait which will do tomorrow I'm going to find django and we're going to paint django tomorrow for if you wanted to do for that didn't look like the dog stuck its finger in electric socket which of course is what you get and if you did anything quickly with this technique so to that the fact that you did that one of the samples up here you'll notice all these wonderful brushstrokes following the subtleties of a pedal that's the oil paint filter ok that's kind of a fake little paint but I'm using that but that you can see how the nice the brushstrokes are following the contours of it and it's giving me my painting so knowing when to use what and how much um digital augmentation you need versus your analog you know hand skills that's fine and at some point the one thing you do have to uh just throw it here because some people asked about the copyright and things like that what do you call these things? Okay that's been, you know, huge I have sold in galleries in the past, especially in san diego in north county where I live but I tried to get into some of this was years ago probably ten years ago I tried to get in on one of the local art associations and I do have traditional paintings and oils and everything else that I've done over the years but I brought in some ghee clays of simply there were watercolors and the watercolors as you as I mentioned look really really authentic so I brought in some watercolors they were my polynesia and you know surfing and stuff local to san diego and court just beautiful love it yes certainly of course you could you know be part of our club our group of artists and and you know how did you do this what you know kind of techniques and I got what these air done in the computer and the face just all the blood drained out and they're going you know like satan themselves and walked in the door and you know coming and white clothes or something like that and the immediate response back then was no I'm sorry we don't do any digital art here you know this is this's for riel artists I go I painted every bloody paint stroke of that watercolor is I painted it and I I pulled my own prince I was using my own you know oversized printer so I was even eyes I also have a background in etching you know, awkward tents and copper and uh middle point and so you know I pulled my own prince they were artists proof they were they were you know, limited edition art it's proof that I had pulled off my inkjet printer well they hated that too because when you pull an artist proof technically an artist proof that something that you actually hand printed in some analog fashion now artist proof khun associated with in chet orgy clay prints but back then to even use the terminology of traditional art like pulling a print they were curious about why it was funny so what do you call these things? One a cz muchas they look like analog paintings I'll leave that up to you what you call them and how you want to sell them or market them or whatever most people nowadays don't have a problem with some sort of digital being part of the process the nice thing is that's part of the process now is that every single piece of art reproduction on the planet is all done the same way they're all logy clay ji clay friends french for spurted ink so all every inkjet printer all g clay prints are all being done the exact same way whether you're going to buy a picasso or something else everybody in the world is using the same process now because it's an excellent process and their pigmented being so their last for a long time their archival that fight is over thank goodness so the fact that you are selling she clay archival quality g clay and making sure that whatever prints service you're using is using archival pigmented inx not the dies of ah cheaper, you know, and jet printer make sure they're pigment and make sure that there aren't an acid free substrate your canvas, your watercolor paper is going to be acid free, ok, as a dad default, if you're just going to costco or something like that, there's a good chance you're not getting, you know anything that's archival you gonna put that up in somebody's room and it's going to fade? So go to your quality reproduction houses and then again, a lot of them are using photographic processes for their main prints. But when you get into the water colors or the can perhaps you no do that. And if you are using the archival pigmented ink on acid free substrate, then you are making g clays and you can sell them as she plays. They are g clays in terms of what process you used that's up to you, whether it's a digital painting that would be the standard way of colonies that these are digital paintings. Some people get very creative, trying to hide the fact that their digital, you know they're elektronik lee induced pigment transfiguration sze of you know you when you get into the real fine art market it's I'm sure you've heard people's descriptions of their work that's just awesome, you know we won't be part of that community, so I'm not making fun of them confused about etching, mary trevor said please ask jack about using a meso tent filter because you haven't edging background there are some there are some third party filters that do etching most steel point eyes going to be what you like the dollar bill the typical thing when you have two straight lines, that kind of etching is what people normally think of a mess, a tent or an awkward tent, which is where you're doing more of a dot surface where you're laying down uh uh uh a resist what saunas resist ah powder usually it's a resin on top of the plate and then you should burn it and then do that. So the different resist methods, including resident um are typically done now with a texture and a blend mode. And let me see if I can bring that up tomorrow with to show that, um I use things related to that kind of a staple. One of my most favorite ways of drawing is what's known as own co quill paper, which is a a raise surface and you can skip across it with a charcoal charcoal or even a crayon and get just beautiful results. Um, I have samples of a true etching style where you can actually use the computer and you do all the lines that follow the edges, but the color that the tone of it all the shading is being done by the computer and it's awesome, but it's very time intensive to do a computer. One that's a real etching. Some of these third party ones are beautiful on how they do simulated curved, you know, etched lines. Excuse me. So I'll try tomorrow. Teo certainly can show the sample of an elaborate process for doing etching, but the measure ten, actually kind of fits into it. And when this is one of the things that was planned for tomorrow of, um, using these textured patina sze to not necessarily do a painting, but to do a it's only just because instagram is so popular hips, dramatic instagram, these kind of and taking or aging of ah photograph or imitating what would be a wet process something had done in the dark room so that's part of tomorrow to do that, and some of those can be associate it with painting, withdrawing, sketching, pencil, charcoal or, you know, even possibly, uh uh, mess tent, so

Class Description


Learn how to reshape your photographs into expressive original art quickly and easily with Adobe® Photoshop® Hall-of-Famer Jack "Wow" Davis. Clients love artistic expressions of their family and pets, especially as large (profitable) gallery wraps or watercolor prints. Join Jack as he shows you simple step-by-step techniques for transforming your photos into gorgeous oils, pastels, watercolors and sketches – all by cloning and filtering your original photographs.


Software Used: Adobe Photoshop CC 14.0

Reviews

Shannon
 

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.

Shannon
 

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.