Documente Academic
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Create
digital art
today!
Official Magazine
Issue seventeen
Expert tips
Ink and
wash effect
Merge the pen with
paint and re-create
this classic style
Paint with
natural light
Over
45
pages olfs
tutoria
Vital skills
Understand
resolution
Learn to create
Visit us online www.paintermagazine.co.uk
acrylic a
art
Take control of this set of brushes
and paint your best-ever portraits
FREE CD
INSIDE
PC and Mac
Paint like
Give your landscape photos an
American Folk art makeover
Cover_OPM17.indd 1
Brush primer
Use the F-X brushes to create
wild and vibrant artwork
African art
We show how to paint in the
style of traditional African art
ISSUE SEVENTEEN
ISSN 1753-3155
6.00
17
771753 315000
www.paintermagazine.com
29/4/08 15:25:03
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Pg 46
Paint like:
Grant Wood
Have a stroll through the
hilly vistas and bubbly
trees of Grant Wood
Pg 52
Art study:
Sunlight
Inject realistic light into
your paintings for impact
and interest
ISSUE SEVENTEEN
Pg 34
003_OPM_17_welcome.indd 5
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y
t
i
n
u
m
Com
Tutorial xxxx
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
of costs, skill
and software
requirements,
as well as
duration of
individual
courses. DAA is
proud to include
many of the top names
in digital art training in the industry,
including many familiar faces from the
Corel Painter Oficial Magazine. Myself, Cat
Bounds, Scott Deardorff, Chris Price, Susi
Lawson, Marilyn Sholin, Anne CarterHargrove and more bring innovative
classes to life across the whole spectrum
of digital art software and inal output
through printing and embellishing,
says Bonaker. If youve ever wanted to
take your learning further with targeted
classes for Corel Painter, as well as other
major software players in the digital art
world, drop by DAA and have a look at the
ever-expanding course catalogue. There
truly is something for everyone.
10
010-011_OPM_17_News.indd 10
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ts
info n ews eve n ts res our ces letters web site info n ews eve n
TEACHING
RESOURCES
Painting In Five
Extra special
Graphicxtras.com
offers a range of
Corel-compatible
add-ons and plugins to extend your
creativity
010-011_OPM_17_News.indd 11
30/4/08 13:54:03
s
r
e
t
t
e
L
r
u
o
e
Welcome to the part of the magazine where you can com
and share your thoughts on anything you fancy!
Send your
letters to...
Ofcial Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond
Hill, Bournemouth,
Dorset BH2 6EZ, UK
If youd prefer to contact
us via email, send your
message to opm@
imagine-publishing.
co.uk
Wacom worry
Layer debate
Johs de Hoo
Have you
experienced
strange goings-on
after installing
Windows Vista? Johs
de Hoo has and we
want to know if you
have as well
Featured gallery
Chinese Lady
Nita Mata
www.paintermagazine.co.uk/
user/Nita Mata
Nitas work caught our eye with her
Arias in Piggytails image, which
became Pick of the Week way back in
March. Her collection of portraits, both
human and animal, have continued to
delight us with their excellent use of
light. One thing that really stands out in
Nitas images are their personality. Each
one is imbued with life and vitality, so
you really get a sense of the character
of the person or animal being painted.
But dont take our word for it visit her
gallery and see for yourself!
Corgi
Nita Mata
Nita Mata
12
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Sally Brown
Chris Rourke
www.paintermagazine.com
bsi te info
we
s
ter
let
ces
our
res
ts
n
eve
s
ew
n
o
inf
te
bsi
we
s
ces letter
ENTER T
WEBSITHE
CHALLE E
NGE
Dont be
shy
welcome everyones
t
www.pa o enter! Go to
in
co.uk/co termagazine.
mpetitio
ns.php
Yoda Kitty
Nita Mata
Nita Mata
13
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WEBSITE
JOB TITLE
CLIENTS
An interview with
Julie Dillon
With a flair for fantasy art and a strong emphasis on the narrative, Julie Dillon is
a young artist with a bright future. Nick Spence meets her
ulie Dillon lives and works in
North California, where she is
currently a part-time illustration
student, while taking professional
commissions and developing her distinct
drawing and painting style. A fan of
Corel Painter and encouraged by online
communities such as deviantART, her
work has won many fans and admirers.
[FAR TOP]
Julie Dillons
illustration for The
Runehound for Paizo
Publishing (best
known for its roleplaying games and
gaming aids tie-ins)
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Reassurance,
another beautiful
fantasy based
image that has won
Dillon many fans
and admirers
15
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The Dreamcatcher
Dillons favourite Corel
Painter tools are the
Smeary Bristle Spray and
the Palette knife
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17
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Alice In The Qu
een
Of Hearts Cour
t, by
Julie Dillon. On
e of the
many digital pa
int
that has won he ings
r
admirers, espe
cially
among her peer
s
I Shall Face
Damnation For You
Dillons work is heavily
influenced by fairy
tales and nature,
as well as taking
inspiration from all
around her
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READERIASL
TUTOR
20
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Readers
challenge
Discover how fellow readers tackled the
kingfisher photo from challenge number seven
arely a day goes by where we dont
receive entries to our regular challenge.
But even we were amazed at the
amount of images that arrived with the
kingisher photo used as the starting point.
It wasnt just the amount of images that
appeared, but it was also the range of styles. It
made our brain cells start to tick over and we
decided it might be nice to show some of the
different styles and how they were achieved. Not
only does this mean you get to have a nose around
someone elses way of working, but you also see
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Feature
Readers challenge
01 Block in
02 Building colours
03 Introduce detail
Brushes
Im using only one brush for the whole painting.
Its a round brush with some brush spacing and
based on an Oil Bristle. There is no secret, just
play around with the Oil Bristle general settings
until you get this effect. The main trick is to
change the subcategory to Flat Cover. Its really
easy as you can see!
04 Always varied
22
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01 Feeling nervous
I created the
wash effect in Photoshop and opened
Painter. I put the photo in layer one and put the
Photoshop image in layer two. I created a third
layer and lled it with a creamy white. I used a
fourth layer to sketch with the Nervous Pen set
to black. I hid the Photoshop layer and set the
transparency of the cream layer to 50%. I then
sketched the kingsher with the Nervous Pen.
At the end
of this exercise I had a pen and wash
type image when the Photoshop image was set
as the background. This was when I just used
Painter and used the Nervous Pen to sketch
the kingsher in colour. I used the original
photo as the rst layer. I also used a plain white
intermediate layer set at 50% transparency. I
used the Eyedropper tool to pick up the colours
on the rst layer and sketched on a third layer.
http://www.paintermagazine.co.uk/user/Michael E
http://ephgrave.com
03 Colourful creation
The technique I
used to sketch was to pick up the main
colour in a given segment and roughly ll the
area. In small areas of colour I used quick, small
strokes. In larger areas I used longer strokes. For
the beak the strokes were quick and long, which
straightens out the nervous lines.
The sketching
looked okay but the colours were
not as vibrant as I wanted. Also, the nuances
of pattern that give a feathery feel to the
composition were not clear. I then put a layer
below the sketch layer and lled it with black.
The colours and the pattern of the sketch were
then closer to the character of this ighty bird.
The feathery effect was also much more visible.
23
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Feature
Readers challenge
Using custom
brushes
!
R
E
N
N
WI
01 Prep work
02 Masking
My next step
was to reopen the
kingsher photo. I went
to Select>Select All and
then Edit>Copy and Paste
in Place. I set up a mask
layer and masked out the
original photo using the
2B Pencil brush with the
colour set to black and
100% Opacity and Resat
values. I clicked the eye
icon on the Canvas layer
so I could see what I was
doing. With the mask
nished, I applied the
mask layer.
24
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Tip
Always make sure
your clone source is
set to the image you
are working on.
Dont be afraid to add
layers as you paint. I
may have ten or more
when I work. And
always save your work
after every step!
03 Background
04 Log painting
06 Finish
05 Painting Layers
Open
your PSD le
again. Once you have
your painting nished
and are pleased with
the outcome, save your
PSD le. Finally, go to
File>Clone and then
Effects>Focus and
Sharpen the layer at
3.00 with Highlight and
Shadow set to 20%.
Save your nal image as
a JPEG.
25
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Feature
Readers challenge
Other favourites
Be inspired by more stylish interpretations
It was very dificult to choose which images to represent in this feature, and we
wanted to try and squeeze in as many as we could! So heres a roundup of some of
the other sterling entries we received. Study the styles, compositions and brush
strokes and maybe have a go at applying the technique to your own work. At the
very least, pay a visit to these artists websites for more great images.
http://www.paintermagazine.co.uk/user/RT
http://www.paintermagazine.co.uk/user/B Christensen
http://www.paintermagazine.co.uk/user/carylwithay
http://www.paintermagazine.co.uk/user/Skyopal
http://www.paintermagazine.co.uk/user/GraceKelso
26
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Tim Shelbourne
Time needed
1.5 hours
Skill level
Intermediate
On the CD
FInal image
A sketchy start
Original photo
02 Preparatory drawing
03 Just outlines
Continue to roughly
outline the rest of the elements,
indicating the trees in the foreground. Dont add
any detail to the sky yet, as this will consist mostly
of washes in the nished painting.
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Tutorial
Traditional pen and wash
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Tourist attraction
Define your painting and add more detail
Using a ghost
image
Its always a good
idea to start a project
such as this by making
a clone of the start
image. To do this,
simply open the
start image and go to
File>Quick Clone. This
means that if youre
not too confident
about drawing such a
complicated subject,
you can always turn on
Tracing Paper and use
the ghost image as a
guide to your drawing.
Theres nothing wrong
with tracing, after
all, the object of the
exercise is to produce
a competent finished
drawing. In fact,
drawing aids have
been used throughout
history, even by some
of the worlds
greatest artists!
04 Watercolour brush
Choose a
very dark brown from the colour wheel.
Add a new layer to the image. Now choose the
Pens variants and select the Croquil Pen 5. Reduce
the brush Opacity to around 30% so that the ink is
slightly translucent. Increase the Grain to around
90% to make the pen lines smoother.
05 First washes
07 Dark details
Bright idea
Unlike when youre
drawing with pen and
ink in the real world,
in Painter its easy to
add bright areas of
highlight detail within
areas of very dark
shading even when
youve completed
these dark areas. You
can do this with one
of the Eraser variants.
Choose one of the hard
Eraser variants and
use it at 100% Opacity
on the target layer to
lift out small areas of
ink. This is similar to
using touches of white
body colour to add
highlight details with
real pen and ink.
dark areas
10 Larger
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14 Finer details
13 Building tones
15 Less is more
Fantastic foliage
Brush up on your scribbling technique
16
Its quite an
advantage to use
lots of layers in this
image. The best
way to approach
this is to use a new
layer for each set of
objects within the
image from distance
to foreground. So,
you can start with a
layer for the initial
outline drawing and
use another for the
main building tone.
Use another layer
for the details on the
building, and another
for the trees. This way
its easy to add details
to an area behind the
trees, for instance,
simply by drawing on
that specific layer.
11 Judging tones
Tutorial
Using layers
17 Foliage shadows
Having established
the midtones, increase the size of the pen
to between 8-10 pixels and scribble in the darker
tones in the foliage. Remember, we are going to
add more sepia wash over this area, so dont go
too dark you can always add more later.
Rotating the
canvas
There are lots of
straight lines and
geometric shapes in
this drawing, and you
may find it easier to
draw most of these
horizontally rather
than vertically. To do
this, simply click and
hold on the Grabber
tool in the toolbar and
choose the Rotate
tool. Now you can
simply drag within
your workspace to
rotate the entire
canvas. Generally,
its easier to draw
horizontal lines than
vertical ones. When
youre done, and
you want to return
the document to its
normal orientation,
simply choose the tool
again and drag it back
into position.
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19 Loose washes
20 Smaller dabs
21 Finishing touches
FOLIAGE TECHNIQUE
DARK VS LIGHT
INDICATING DETAIL
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BRUSH CATEGORY
F-X Brushes
PRIMER
SHATTERED VARIANT:
The Shattered variant is great
for adding real texture and extra
impact to the background in your
images. You rst need to paint
in some rough varied colour and
then use the Shattered variant to
distort and displace it. Its best to
use this one at high strength and
a large size.
Captured Dabs
Get creative!
The Hair Spray variant is
of particular interest as it
does not paint with colour,
but has a high Resaturation
value by default, so in
effect it smudges and
blends with the existing
colour and pixels already
on the canvas. This can
be very useful, and really
quite subtle, if you reduce
the brush opacity.
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Primer
F-X brushes
Get to know your tools
Graphic Paintbrush
Fairy Dust
Fire
Hair Spray
Furry
Neon Pen
Glow
Piano Keys
Gradient Flat
Shattered
Gradient String
Squeegee
F-X Brushes
Confusion
WAY TO GLOW!
The Glow variant can add a really effective
graphic punch to your more illustrative
images, especially to outlines, by adding
graphic accents. Make sure you have the
Size Control set to Pressure in the Brush
controls so that the glow trails off as you
reduce pressure on your stylus.
Colour or Gradient?
The choice is yours
With many of the F-X Brushes you can choose
what the brush actually paints with. The Neon
Pen, for instance, uses a gradient to paint with,
and to do this it uses the currently selected
Gradient. You can easily paint with another
gradient simply by choosing it from the Gradient
Selector at the base of the Toolbox. To change
the methods that the brush actually uses to
paint, simply click the Source box within the
Brush Creator. From here you can choose Colour
to paint with the currently selected colour, or
Pattern to use the currently active pattern.
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36
036-41_OPM_17 Acrylic.indd 36
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Tutorial
Creating
Create
acrylic
with distance
art
Tutorial info
Artist
May Yeoshen
Time needed
A few hours
Skill level
Intermediate
Wet brushes
Glazing brushes
Thick brushes
The Thick brushes emulate quick and opaque strokes perfect for those
painters who are quick and dont want to blend in colours, for the sake of a
raw, more painterly look.
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Custom
brushes
One of the many things
unique in Painter is
the way you can create
custom brushes. To
shade some parts of
the skin, we used a
variation of the Wet
Soft Acrylic brush.
Playing around with
the Randomizer and
seeing the variations
of it, you can now use
a brush that will add
richer textures to the
skin while blending
the colours smoothly,
always using the
Dropper tool.
01
Setup First off, lets start with a line-art we will use as a guide. This
03
06
Add texture Use the Capture Bristle at very low opacity (say 10%)
line-art layer will be on top of any other, and it can be scanned from a
previous drawing or traced on top of the photo we want to portray. Its on the
disc in the layered le.
02
04
05
Reective
light and
cast shadows
When painting a
portrait, always
remember that every
object bounces light.
In this case, the red
dress bounces a red
light onto the chin.
Also bear in mind
that these objects
cast shadows onto
adjacent ones. The hair
casts a shadow onto
the skin, otherwise
it will look like a flat
object. Having a basic
knowledge of how
light works will make
your portraits much
more realistic.
07
The eyes Its time to add even more life to the face. Lets paint the
38
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11
09
10
12
Dening the
skin Create a
08
Tutorial
Zoom out
skin dont let the strokes ruin its tridimensionality. Change the size from time to time,
and use the Dropper tool to let the colours blend.
Dont worry too much about detail, well deal with
that later. Try zooming out (see side tip) to get a
better idea of your work. For very dark areas, pick
the hair colour and shade with it.
Details, details
Use special brushes for a special task
13
Skin details There are two special brushes to add details for those
zones where the other brushes were too big. With the aid of the
line-art layer, start adding details with the Opaque brush in a very small size
(2-3px). It doesnt matter about the opacity, as this brush is just plain opaque.
Then you can blend with the Wet Detail brush, using the Eyedropper over the
lines you previously drew with the Opaque brush.
14
15
39
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Alter colour
You may have noticed
that the background,
hair and lips are
different on the cover
to how they are in
the step images. The
changes had to be
made to fit with the
cover, but they were
simple to do because
of working in layers.
All the tweaks were
made without affecting
anything else and is a
very good example of
why you should always
use layers!
16
detailing. This is silk, so there are going to be very dark zones against
light ones. To add the buttons and other details, lets create another layer and
use the Opaque Detail brush. And just as we did before for the skin, we smooth
some of the details with the Wet Detail brush, varying the size and opacity
according to whats required.
18
Painting
embroidery
on silk
When some sort of
design is on silk, youll
notice that its colour
follows a pattern,
depending on the
location of the silkcovered object and
the light source. A
nice way to emulate
painted details on silk
quickly is to create a
new layer and draw
the details with
the Opaque Detail
brush, using just one
colour. Once you are
done, preserve the
transparency, and
with an Opaque Acrylic
brush, paint on top
of it using different
shades depending
on the place (in this
case, tuscan red,
carmine red and
orange were used).
Dress details With the same brush but at a smaller size, rene the
17
19
Start on the
hair Using a nice
with the rest of the painting. For example, we need to see part of the
scalp, otherwise it will look like a wig. Picking the underlaying skin colour with
the Eyedropper and using the Capture Bristle, paint some of the shown scalp.
Remember that the hair casts a shadow onto the skin and clothes.
22
20
21
40
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Final flourishes
23
Tutorial
24
25
CAPTURE BRISTLE
This brush is great, due
to its fastness and
features. Perfect for
shading big areas used
with low opacity (2040%), and also ideal for
texture of hair.
DETAIL BRUSHES
The Opaque and Wet
Detail brushes act just like
tiny brushes we usually
have for details. The
Opaque has a matte look,
while the Wet one works
more as an oily blender.
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File formats
and resolution
FEATURE
FOCUS
Resolution
Pixel perfect
42
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Here we
see a small detailed section
of the original TIFF format
le in Painter. The image was
painted in Pastels and saved
at 300ppi, as the nished
artwork was to be printed.
02 JPEG
Here we
see the le saved
as a JPEG. It should be noted
that this image shows the
painting after it had been
saved as a JPEG le and resaved in Painter 20 times. The
image has deteriorated quite
noticeably in several areas and
would no longer be suitable
for printing. Pixelation is
evident throughout the image.
It is quite easy to resave an
image 20 or 30 times on your
computer without realising
that the damage is being done.
03 Saving as a GIF
Reference Layers
Substitution solution
original
TIFF le
01 The
The use of Reference layers can also help with large, high-resolution
file sizes. Painter can create Reference layers with a low resolution
of 72ppi, which act as replacements or substitutes for the actual
image layers. You can then rotate, re-size, move and skew these
substitute layers more quickly than the original layers. When you
have completed your changes convert back to your original layers
and Painter will update your changes on the original file.
To make a Reference layer, select an Image layer and select
Effects, Orientation and Free Transform. Then select Layer Adjuster.
Use the Control and Shift keys to help you make changes. When
complete, select Effects, Orientation, Commit Transform and click
the Commit button to return to the original image.
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FEATURE
FOCUS
Shoot to
paint
If you use a digital
camera to get
photographic
references for painting
in Painter, keep in
mind that most digital
cameras save in the
JPEG file format. They
will also offer several
different quality
settings, which are
really different JPEG
compression levels.
Never shoot at the
lowest level; although
youll get more photos
on your disc, the
quality will be poor
when printed. Shoot at
the highest level and
immediately afterwards
transfer it into the
computer and save
as TIFF files. This will
preserve quality.
03 Iterative Save
RIFF files
04 Using Save
Photoshop/printer compatible
Saving your Painter file in the PSD file format
allows you to move your image file backwards
and forwards between Photoshop and Painter
while preserving the layers. It should be noted
that when a Painter file is saved in PSD it does not
preserve the Painter-specific layers wholly, such as
Watercolor, etc. It converts them to image layers.
The TIFF file format is the most universal file
for pixel-based images and can be read on PCs and
Macs. When all work is completed in Painter and
you wish to print your final work, the TIFF file is the
perfect choice for printing.
44
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06 Final image
As this painting
is to printed, the nal image that has
already been saved as a RIFF le is now saved as
a TIFF le. We now have a high-resolution le
appropriate for high-quality printing.
Feature focus
Go large
Remember
to strip
08
Saving
in other
formats As well as
It is extremely
important to protect your images on the internet. Do
not publish them at a size or resolution that will allow them to be
printed off by someone. Unfortunately, this can and does happen.
You can also use Paint Shop Pro Photo to embed a watermark
within your image to help protect it.
JPEG format
45
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46
1/5/08 13:34:44
Tutorial
Want to paint a farm scene like the old rural master Grant Wood? Then follow along
Paint like Grant Wood
Tutorial info
Artist
Susi Lawson
Time needed
3 hours
Skill level
Intermediate
On the CD
Source photo
47
1/5/08 13:35:07
Burning
Shadows
A great way to add
depth to any image is
by ensuring that the
shadows are correct
by checking the
direction of your light
source. In this image
the light source is
coming from the right,
which means all the
shadows will be on the
left of all the elements
in the image.
A quick way to
darken or paint
the shadows is by
selecting the Camera
icon in your Brush
menu and using the
Burn tool. This tool
can be overdone, so
be sure to use a low
opacity and glaze in
the shadows for the
most natural look.
Painting in
the grass
05
areas
When
you encounter random trees that have
not been cloned out, just paint right over them.
The colour adds more interest to the land.
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1/5/08 13:35:33
Make
a new layer and name it Foreground.
Now using the same brush, paint in a left to right
uid motion. Do not paint over the tractor, and
dont worry about overow as we will x that in
the next step.
Now
drop all layers and add a new one named
Tractor. Choose the Acrylic Detail brush 3 at 30%
Opacity and, by using your photos colours as a
guide, Alt-click to paint directly over the farmer
and tractor. Be sure to click on the shadows
and highlights as you paint. Do this by using the
Straight Color, not the Clone Color.
Tutorial
Using the
Straight
Color
Using
the same brush and technique as step 10,
choose a dark olive green and paint a shadow
beneath the tractor using the light direction in the
picture as a reference. Paint the little house on the
left in the same manner as the tractor.
Airbrush
with ease
For subtle effects
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Picture-postcard perfect
Brushes at the ready to paint in the detail
Perspective
Always keep
perspective in mind
when painting. This is
especially important in
a painting such as this,
where the foreground
and background are so
far apart.
Pay attention to the
patterns in the fields
as they flow over hills.
Make sure the lines
get smaller as they go
away from you, and
larger as they come
closer. Notice the tiny
mounds of the trees in
the distance and how
they become larger in
the mid-ground. Even
though this seems
elementary, many
people overlook this
simple fact and it can
really confuse the
viewer if you dont get
it right!
Make
another layer named Rows and decrease
the Opacity of the layer to 50%. Paint eld rows
following the sloping contour using a light brown
colour and a thick Acrylic Round brush for a 3D
look. (Use Straight Color).
17 Painting in shadows
To add depth to
the rows youve just painted, choose the
Soft Airbrush 20 at 10% Opacity. And using the
same colour as step 16, add some soft shadows to
the rows, painting softly at the bottom and top as
shown. (Use Straight Color).
Smooth and
soften the
19
hills
and adding more
grass colour
18 Smoothing
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Tutorial
21
choose the Distort Bulge tool at 70%. Use a brush as large as you
want the tree circle to be, and apply enough pressure in a circular motion
to create a circle. Do this to all the foreground trees and some of the
background, decreasing the circle as needed. This is not necessary if you
already like the look of your trees, but this will add a more pronounced Grant
Wood-style roundness.
20
Using
the Airbrush 20 at a very low opacity, add
a light green highlight to the right side of some of
the trees to give the illusion of sunshine this will
add more depth. (Use Straight Color). To nish off
the image, go to Effects/Tonal Control/Brightness
and Contrast, and increase the Contrast to add
more colour and denition.
his mothers quilting. Then, of course, there is Grants definite and rather unique way of
painting all his trees as though they were bunches of grapes as you can see, they are
round and full, just like the fruit. Here we will see how these elements were included in
this Virginia farm scene.
PATTERNS
ROLLING HILLS
Our source photo was pretty
good in terms of a hilly vista,
but you can always add more to
boost the effect, as we did.
ROUNDED TREES
Any tree in a Grant Wood
painting is treated to a bulbous
makeover. You can do the same
in your landscape, either painting
freehand or making use of the
distort tools.
A TYPICAL SCENE
Landscapes were a much-loved
topic for Grant Wood, so when
you try and re-create his style,
keep this in mind.
PASTORAL FOLK
We found this farmer willing
to let his image be used. If you
nd people in the scene you are
photographing, check its okay.
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How to
Pa in t sun light
Unsuccessfu
Successful
TIMID HIGHLIGHTS
x
HIGHLIGHTS
THROUGHOUT
Wa ter hi
Have you ever spent idyllic hours, maybe an entire afternoon, happily painting
away, sure this was going to be your nest hour? Only to discover after youd
done your nal save that your painting was a bit of a disappointment? Maybe it
just didnt have that certain something. Chances are you were too sparing with
your lighting. Painting highlights and shadows is not at all difcult. In fact, it can
be the most fun part of painting. It just requires thinking in terms of making your
highlights the focal point the star of the show.
Water highlights can be achieved with various brushes, from Leaky Pen
to FX brushes. Try them all and have fun! Splashes are mainly white,
but vary the opacity and brush size, thinking watery as you work.
Splashes will sometimes have a darker shade of blue beneath them.
In this art study we will take a closer look at adding light throughout the
painting, not just a sprinkling of highlights here and there. Well consider which
colour palettes might be more effective for painting light at various times of day
(especially when were going for a more painterly and less realistic look), how
to paint direct, hazy and dappled light, and well discuss painting shadows in
various lighting situations.
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Art study
How to paint sunlight
JEWEL TONES
TO PASTELS
SHADOW AS AN IMPORTANT PLAYER
The scene before us takes on a romantic atmosphere as we gaze across the meadow
through early morning or late evening haze that rises from the moist earth. The farther
into the distance we can see, the heavier the haze becomes much like depth of eld
in photography.
The progression of
colour from vibrant
to pastel provides
a push/pull effect,
and adds energy to
the painting. Here
were concentrating
more on shadow
than on highlights.
There are many ways to paint dappled light, one being to paint the image somewhat
realistically and then overlay it with a mottled layer (set to one of the Screening blend
modes). We chose another route, and painted this one abstractly in a colour palette that
speaks of dappled light and shadow.
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For this segment we divided the image into three sections to form a triptych,
and painted the rst one as early dawn, the middle one as midday and the third
one as late evening. Denitely not your typical triptych, but it was great fun
to do! And because we can envision the sun beginning on one side, swinging
overhead and ending on the other, it serves as a good example of how to deal
with sunlight in your paintings.
Dawn
Its important to consider the time of day when painting, especially with
landscape scenes. Each segment has a denite mood, and you can exploit this
once you understand which one is most relevant. Dawn and dusk are the more
mysterious times of day, with midday offering harsh light and little shadow.
Dusk tends to be hazier than dawn, especially in cities, as the pollution has built
up over the day.
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Art study
How to paint sunlight
Just as light provides the focal point in paintings, the shadows map out the
shapes and are no less essential in helping a viewer work out the forms in your
scene and move around the canvas.
In the following examples we painted the entire images, but then
desaturated half of each one to show just how perfectly the shadows and
highlights map the image elements providing a map of where to paint light
colours or white, and where to paint deep colours that advance to black. This is
a great trick for complex scenes or if you arent feeling condent with applying
the shadows and highlights freehand.
Its also a good way to make sure your image is tonally interesting. When
youre in doubt about whether your painting contains enough highlight and
shadow, make a copy of it, desaturate, and then squint your eyes as you look
at it. If you see a nice pattern of darks and lights, then you have succeeded. If it
seems at, boost things up!
This cabin in the snow painting was created in a limited palette, but when the image
is desaturated we see even more clearly where the major shapes are. Because we
painted it with a Wide Impasto brush, the brush strokes themselves provide interesting
shapes within the image.
Bell ton es
The little bell shapes in this pretty, white hyacinth painting create a playful, somewhat
delicate vertical pattern, with shadows of the petals describing secondary areas of
interest. Notice that the desaturated side takes on a somewhat sombre appearance,
while the coloured side looks light and airy because our minds respond to colour.
Chalk pa ttern s
This bright painting of ordinary pieces of chalk actually becomes a study in cylindrical
shapes as the shadow map describes those large, dark areas. Notice that the medium
greys were painted with medium colour values, the light greys with light colours and so
on. A useful tool for when youre painting with light.
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Tutorial
Create African art
Paint in the contemporary colours of Africa, in a style rich in movement and expression
Tutorial info
Artist
Cheryl Blanchard
Time needed
1.5 hours
Skill level
Beginner
02 Artists Oils
01 Create a palette
Artists Oils
might be intimidating if
youve never used them
before. Well only be
using two brushes for
most of the painting; the
Wet Oils brush and Wet
Oily blender. Here are
the settings we will use
for the Wet Oily brush
throughout this painting,
changing only the Opacity
as the layers build: Grain
40 per cent, Viscosity 75
per cent, Blend 66 per
cent, Wetness 82 per cent.
Take a few minutes and a
big brush to experiment
with the Opacity and
blending capabilities of this
marvellous medium.
03 Background colour
Begin by
selecting a background colour from the
palette youve created. Well use a warm ochre for
this painting. Select the colour and use Effects> Fill
to ll the canvas. This gives an overall connection
to the whole painting, as the oils will mix with the
background as we paint.
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04 Textures
African art
colour palette
Dominant earthy tones
The colours used for this painting are based
on James Cudjoes palette from his painting
The Story. Many of the colour schemes
in contemporary African paintings are a
beautiful combination of earth and jewel
tones. From the subtle yellows to the royal
blues and hot oranges, these colours depict
the land and the very fabric of African life. The
most vibrant of the colours, the lime green,
red orange and electric blue, help to bring
excitement and life to a painting. Here, we
are using the darker hues, the deep purples,
browns and blacks to accent the figures and
suggest the richness of earth. Experiment
with these colours and see what catches your
eye. To create this palette you can begin with
the light and dark value of each colour. All the
values in-between and the complementary
hues can be mixed right on the painting as the
work progresses.
Here is a link to this painting and many
more from a variety of contemporary African
painters: www.african-encounters.com/
african_painting.aspx.
05
Weve provided a link in the Textiles and patterns boxout so you can
venture out to nd patterns that appeal to your sensibilities. Or you can follow
along with this one. Paint one motif in the upper left corner of the canvas.
Create a
repeat
07
pattern
Finally,
adjust the Layer Opacity to 15 per cent
and change the Layer Mode to Screen. This will
create a soft pattern that will blend nicely into the
background colours.
09 Basic shapes
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12 Faces
10 Movement
11 Clothing
Tutorial
Textiles
and patterns
Dene
and
14
detail
13 Blending
Create a new layer for this next step and change brushes
to the Wet Oily Blender. Use this one at 20 per cent with the default
settings. Select nearby colour directly from the canvas to smooth and
blend some of the brushstrokes. Dont blend too much or youll lose the
spontaneous look of the painting. Keep some of those brushstrokes alive and
distinct, especially the strokes that create the patterns in the clothing.
15 Colour accents
Now,
lets go back to
the Wet Oily
Brush at 80 per
cent Opacity for
some denition.
Add a little more
interest to the
faces, dening the
eyes and mouth.
Shape the hands
and feet by using
the surrounding
colour, as well as
adding fresh paint.
16 Outlines
African
sculpture
African sculpture
inspired many early
modern painters in
Europe. The origins
reach back beyond
6,000-year-old rock
carvings in Niger.
The simplicity and
beauty of the fertility
dolls and evocative
ceremonial masks are
not something soon
forgotten. Study the
shapes and lines of
these pieces and use
them to inspire your
own paintings. The
National Museum
of African Art has a
wonderful collection
of sculpture and art
online: http://africa.
si.edu/collections/
index.htm.
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Epilogue
Copy
and move the textile
layer to the top of all
the layers and set the
Layer Mode to Screen.
With the Eraser, remove
the pattern that falls
on top of the gures,
leaving the pattern
around the edges of
the gures to replace
what was previously
painted out. Next, at 30
per cent with the Eraser,
continue to lightly and
selectively erase some
of the pattern in the
background. This will
help add some tonal
variety to the pattern.
Painting
between
the lines
Very often,
contemporary African
paintings are a mix of
collage and realism,
abstract textures
and patterns. When
you begin to create
a piece of art in this
style, develop an
idea, a statement of
meaning. Combine
multiple photos and
textures before you
start painting have a
definitive plan with an
end result in mind. Say
something about the
life around you, your
feelings or beliefs, your
joys or heartaches. Tell
us a story!
21 Unsharp Mask
22 Levels
18 Colour wash
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BRUSH CONTROLS
Bristle
Rearrange
the Brush
Controls
palette
This palette comes
to you with a default
arrangement. Do
you find yourself
using some of your
Brush Controls tabs
more frequently
than others? You can
rearrange those tabs
simply by clicking on
the dark grey of the
individual palette title
bars (the cursor will
change to a hand) and
dragging them to the
top of the stack for
quicker access. Or you
can place them closer
to the Size Preview
when that tab is open.
Keeping it real
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PRIMER
A SOFT BEGINNING
Primer
01
DEGREES OF VARIANCE
With the bottom slider, we
added greater variation to the
bristle set. We like any control
that allows for more random
placement of effects so that
things dont turn out looking
greeting-card perfect, but
instead more painterly. With
the Medium Bristle Oil brush,
we scattered this new variant
throughout the image.
02
04
Size matters
03
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NEW
SERIES
Understand how to
Use pastels
Understanding how traditional art media works will help you get a better feel
for how Painters brushes are set up. Over the next few issues we will be looking
at the major art media, starting with pastels
ometimes only the convenience of
pastels will do you could be sitting at
your table after a hard day and even the
idea of getting a pot of water might be
too much effort. You reach for your treasure box
of art materials to seek inspiration. Watercolour
may seem a little insipid, coloured pencils too
labour intensive and grey pencil, emotionless.
This is when you reach for your pastels with a
weary, but inspired tingle.
They are essentially little blocks of pure
colour compressed. They need no wet medium
to invigorate them and work directly, swiftly
and without compromise (in terms of colour)
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Drawing 101
Making marks
with pastels
The techniques used for defining
and shading
01 Simple lines
Leonardo da
Vincis drawings that ranged
from anatomical illustration to pioneering
fantastical inventions were typically done
using black and red chalk on off-white papers.
Use your pastel pencil to achieve similar
delicate, yet condent, marks to describe
shape and form. Sketch in the general shape
lightly and then conrm the outline deftly.
02 Sweeping blocks
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01 Finger blending
This technique
works especially well on skin. To begin,
draw a rough sketch, look and choose a pastel
closest in shade and colour to the middle tonal
value of the skin, ours was an orange. Cover with
pastel; notice that if you use pastel paper, such as
Ingres paper, the rough surface will only take up
some of the pastel, leaving some exposed paper.
Spread the pastel evenly, continue to build layers
of dark and light blending and create shine with
more specically targeted white.
This
subtle technique demands lightness of
touch, and sensitivity to the base shadings colour.
It is a technique that is subject to happy accidents
as well as conforming to the rules or the shape of
the form you wish to work up. It is excellent for fur,
hair, feathers, wood or fabric anything grainy or
soft. First put down a base of both random marks
and scribble and blend gently or leave untouched,
depending on the roughness of the texture. Then,
following the form or direction and length of the
grain or hair, overlay with a lighter tone to blend
and highlight the surface. The pencil does the
random blending for you.
03 Solid blending
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Pastel paper
Quick effects
Render objects with pastels
So now its time to look in more detail at
how pastels can be manipulated to render
different effects. Can something chalky
represent something solid and hard and,
even more challenging, something watery
and shiny? We are going to explore in
detail how natural gases, liquids and solids
can be represented with the adaptability
and compliance of pastels.
Drawing 101
DARK PASTEL
LIGHT PASTEL
CURVACEOUS DROPS
AND WATER
GRAINY BLENDED
TEXTURES
GENTLY CLOUDY AND SMOKY
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Traditional pastels
HATCHED LINES
HATCHED LINES
SMUDGY CURVES
TAPERING TONES
SOLID BLOCKS
ZIGZAGS
SIDE SHADING
ZIGZAGS
SIDE SHADING
MERGED CONTOURS
ERASER HIGHLIGHTS
MERGED CONTOURS
ERASER HIGHLIGHTS
TAPERING TONES
SMUDGY CURVES
SOLID BLOCKS
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Your
questions answered
Simply does it
Any good advice for a simple
graphic style? I dont want
to get bogged down in using
lots of colours.
Jo Cole
When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out
SHARE
YOUR
PROBLEMS!
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Q&A
Art class
beginnings
01 Dark
02
Foundations
Create
a new layer, and on this
layer paint the subtle
elements in a not so
subtle way! The colours
and brightness dont
really matter at this
stage, but we suggest
trying to use monotone
and just picking out
highlights rather than
going into laborious
amounts of detail.
lip
03 Bottom
Now
turn down the opacity
of this layer and youre
done! You may be
reluctant to lose the
initial impact, but trust
us, itll denitely keep
your viewer intrigued for
much longer.
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Scrapbook challenge
I want to start using Painter to make scrapbooks
and keepsakes. I need a way to make quick creative
borders and would like to know more about the
Image Hose option.
D L
The Image Hose is perfect for the job of borders, as
you literally spray an image onto the canvas. Painter
comes loaded with various hoses, although it is easy
to make your own. Use the Help menu if youd like to find out
how or let us know if you want a tutorial.
You select the Hose pattern (or Nozzle, as its called) from
the Nozzle selector at the bottom of the toolbox. Once youve
done this, select Image Hose from the Brush Category menu
and start spraying! For single images, just click once, or click
and drag for multiples. The Image Hose Variants let you alter
how these images are distributed. The Spacing command in
the Brush Creator lets you set how bunched up the Image
Hose elements are as they come out.
The Spacing command allows you to set how much room there is between
each image. This is very important for tasks such as creating borders
Bright eyes
How can I make eyes look striking without looking like
fake contact lenses?
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Juxtapose
Q&A
Art class
decisions
01 Early
The non-graphical
element: a rough
sketch around
a photo gives a
guideline for later
work. Sometimes
this is the best way
of getting an idea off
the ground.
03 Perfect pattern
We need something
pretty for the clothing, so were using a
William Morris pattern here. Select the section of the
image you want to make into a pattern and use the
Capture Pattern function.
04 Pattern Fill
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Clever chalk
My great wish is to draw
a realistic chalk portrait,
but I can never seem to
get things quite right. Do you
have any advice?
J W
There are a couple of
good techniques for
no-hassle chalk, but one
of the best comes from Jeremy
Suttons Painter IX Creativity book.
He concentrates on getting a
charcoal effect by using a clone
drawing as a paper texture. Once
this is painted over again, the
results are as if youd used real
charcoal. But the technique can
easily be adapted for chalk, and
heres how its done...
01 Go black-and-white
03 Paint again
Composition query
Ive just bought Painter X and have been
looking through all the new tools. Ive found
the Composition tools and wanted to ask
a question. I understand about the rule of thirds
and using grids, but can you tell me what the Divine
Proportion tool does? Ive looked it up on the
internet and have got very confused!
R B
There is a vast array of literature about the
Divine Proportion theory that will make
your head spin if you study it too closely. Its
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Watercolour sketch
Q&A
Art class
Option 1
Open up Painter Essentials 4
and select Painting from Photo.
Browse to your photo, select
Watercolor Sketch from the
options and hit the Play button.
Let the program do its job and
either click Stop when youre
happy, or let it run its course.
Option 2
If you havent got Essentials 4,
you can still let the program do
the work. Open the photo and
create your watercolour painting.
Save and rename. Now go to
File>Open and open the photo
again. Go to Effects>Surface
Control>Sketch. Use the Preview
and the sliders to control the
effect and click OK when happy.
Select All, copy and paste into
the watercolour and put the
composite method to Multiply.
Option 3
Your other option is to
open your photo and go to
Effects>Tonal Control>Adjust
Colors. Move the Saturation
slider to the left and go to
Effects>Equalize. Move the
Black and White sliders close
together so you can see the
outlines of objects. Click OK
and set the image up as a clone.
Use the Pencil tool to trace the
outlines and then ll with colour!
79
1/5/08 17:02:09
Colour me
beautiful
The test shots reveal that
the Ixus 970 IS handles
colour reproduction
impeccably. Take a look at
the tonal range in these
vivid greens, and the
vibrancy of the pink and
purple flowers
Slippery grip
Although the smooth pebble-like
ergonomics of the camera feel
great, there is very little grip
provided by the camera body itself,
so fix the wrist strap provided
Dynamic D-pad
This unassuming D-pad is actually
surrounding by a separate dial,
which enables you to scroll through
your images and menu functions at
a super-speedy pace. The normal
D-pad functions also remain
Eye-spy
This camera is equipped with a
separate optical viewfinder as well
as the LCD. However, the separate
viewfinder is extremely small and a
little trick to spy through!
Shooting
mode
Print
Playback
Display
Menu
2.5 LCD
Viewfinder
D-pad
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Price
ISO sensitivity
camera specs
Exposure modes
Megapixels (effective)
Flash modes
Max resolution
Connectivity
Sensor information
Weight
1/2.3-inch 155g
Lens data
Dimensions
Batteries
5x optical Li-ion NB 5L
Focus/macro
Storage
LCD
Chromatic aberration
Zooming in on some of our test shots reveals the lens does
produces some artefacts in the image, especially chromatic
aberration (purple fringing) which appears in areas of high contrast
Magic of macro
This cheeky-looking fella is gamely showing us how detailed this
camera captures macro shots. Check out the great texture and tonal
detail shown in this image. Depth of field is pretty good too
Menus
The menu screens are exceptionally bright and legible, making
them easy to read, even in bright, sunny conditions. They are also
very easy to navigate and understand
What we like
we say
A really reliable
compact camera,
which is versatile
in all conditions.
There is a limited
manual control
for added
creativity
Features
verdict
Overall
score
No grip
Signs of chromatic
aberration
Pretty pricey
8.0
Ease of use
8.0
Quality of results
9.0
6.0
8.0
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Test shot
Here, the bright white
rocks maintain detail in
the highlights, although
the foliage does appear a
touch on the muddy side
Memory card
LCD
Batteries
The Li-ion compartment is at the
bottom of the camera be careful,
you have to lock the compartment
shut yourself as it doesnt have a
click-shut system
Lens
The great Leica lens offers a 30mm
wide-angle view. It also offers 4x
optical zoom that offers decent
magnification, although we did wish
for more
Mode Dial
Menu Button
D-Pad
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Price
Exposure modes
Batteries
ISO sensitivity
Storage
camera specs
8 -1/2,000secs Lithium-ion
A, 80, 100, 200, 400, SD, SDHC, 50 MB
800, 1,600 [high internal
sens mode: 1,600 to LCD
6,400] 2.5
Build design
The design is simple and sleek. There are no
extra bells and whistles, it is what it is. The
fashion-conscious buyer may be disappointed
Connections
There are USB and AV connections with the leads supplied in the
box. Simply hook the camera up to your HDTV and then enjoy your
images in high definition
D-pad control
The D-pad is situated to the right-hand side of the LCD. While
its quite compact, it is still pretty easily operated even by those
blessed with larger digits
What we like
Crisp shots
High resolution for
big prints
Good shadow and
highlight detail
Its a great
camera but
doesnt quite
have the power
to really dazzle
we say
Features
verdict
Muddy greens
Sluggish shot-to-shot
Fiddly power button
8.0
Ease of use
8.0
Quality of results
7.0
8.0
Overall
score
8.0
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Reviews Books
Step-by-step tutorials
The tutorials are beautifully
accompanied with great artwork,
which is printed nice and big for
easy viewing
Creative gallery
If youre lacking inspiration, head to
the Gallery section where a range
of landscapes are portrayed in
different media styles
Authors
Hazel Harrison
Price
12.99
Publisher
Search Press
ISBN
978-1-84448-325-9
Photo directory
The last section of the book offers a
gallery of landscape photographs,
with tips to suggest the best way of
interpreting them artistically
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John Barber
Price
9.99
Publisher
Search Press
ISBN
978-1-84448-351-8
atercolour painting is a
fantastic artistic medium,
but its not always obvious
how versatile and exciting
it can be... until you get your hands on this
book. The Watercolour Wheel Book is an
excellent accompaniment for anyone won
over by washes and loose painting styles.
The front cover actually doubles up
as a colour wheel, which you can rotate
to determine the end result of mixing
various colours. This hands-on extra is a
very useable tool rather than a gimmick,
although were not sure how much wear
and tear the wheel will withstand.
Inside, pages mimic the look of real
watercolour paper but without the
thickness, which really makes the images
shine on every page. The projects are
engaging and provide an insight into
how to be bold with the medium rather
than simply sticking to pale washes. Its a
meaty book with plenty to get stuck into
and well worth the 9.99 price tag.
China
Author
Anchee Min
(foreword)
Price
25
Publisher
DK
ISBN
978-1-4053-1627-9
Basic techniques
Watercolour isnt just about washes of colour. Here youll
learn about some far more creative uses for your brushes
and paint
Project work
The projects are truly stunning in this book, with plenty
to appeal to even the fussiest artist. We love this vibrant
tutorial inspired by Venice
Beautiful
landscapes
The book kicks off
with some inspiring
photographs
of Chinas best
landscapes. These
double-page
stunners are great
reference pictures
for your own
artwork
Strong spirit
The Spirit of China chapter has some amazing examples
of traditional Chinese art. These are really inspirational
and offer studies that you can try re-creating in Painter
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Output
Using a mountcutter
Using a mountcutter
Create professional borders to your images from the comfort of your own home,
using the MatMaster product from FrameCo
Tutorial info
Artist
Jo Cole
Time needed
20 minutes
Skill level
Beginner
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Buying your
mountcutter
to
cut
02 Prepare
01 Marking out
With your
four guidelines marked
out, return the ruler to the
metal base and slide the
mountboard underneath
it. This holds it rmly
in place. Shimmy the
mountboard about a bit
until the pencil line is ush
against the edge of the
ruler. When youre happy,
move the backstop down
and tighten the handle.
Now reach for the bevel
cutter and slot it over the
ridge on the ruler.
04 Rotate
More creative
ideas
The images for these
pages were taken
from a project in
our sister title the
Official Corel Paint
Shop Pro Photo
Magazine. This new
launch, on sale now, is
packed with advice for
using PSPP to create
great images. We used
the cutter to create
a bespoke keepsake
frame for a wedding
gift and each issue the
magazine will contain
lots more in the way of
inspirational projects.
If you are a fan of
Paint Shop Pro Photo,
simply head over to
www.officialpspp.
com today!
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Gallery
01
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02
03
Title: Siesta
Longing for the summer to be good, dry, and well,
normal, I painted this with a free and very lazy style. I
was very relaxed and just painted and painted.
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Gallery
04
Title: Holiday
Market
A simple holiday snap
can turn into a fantastic
painting, as Dean shows
here. I used the Jeremy
Sutton lesson from issue
14, and this was the
result. It changed the
way I paint.
05
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06
07
Title: Archangel
The model for this angel was actually a beautiful
woman my wife! I then painted in the beard and
evened out the chest to make it more masculine. Its
about good overcoming evil.
08
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01 Register
02 Your prole
03 Set the le
Waiting
for approval
When you have
uploaded an image,
there will be a short
delay for the image to
be approved. We have
to do this to make
sure no offensive or
legally questionable
images are uploaded.
We approve images
throughout the day,
but take into account
the time differences
if you are in another
country. We are based
in the UK, so are
tucked up in bed while
some of you are just
starting your day!
of
wisdom
05 Words
04 Uploading
Once uploaded,
other members
can rate and leave
comments on your
image. When you
look at your gallery
(or anyone elses),
you can see which
images have a rating
or comments and
how many.
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Pa ge 28
Pa ge 64
Pa ge 46
Pa ge 58
Official Magazine
100_OPM_17-back cover.indd 1
29/4/08 15:57:56