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February 2011

“Philosophy” by Thom Rouse The Old Masters: Mary Cassatt Painting with Photoshop CS5


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Digital Paint Magazine - February 2011

What an awesome month! The New Year is off to a grand start with the many changes going on around here. Our first month of moving to the magazine reader has been shaky with techno issues all around. As I write this we just launched the Digital Art Summit and are just days away from the Darton Drake kicking off the Summit....and the servers are down, again. I have been with the same hosting company for 5 years with no problems. Now, in the last two months, we have had several outages, slow loading pages, noloading pages. Aaaaargh. So we are changing hosting companies now, in the middle of a launch. Craziness. Thank-you to many who wrote me and told me of various problems that helped me to get the hosting company to fess up to what was happening. Basically they told me we were having throttling problems. In my world as a Sprint Car Racer that meant something totally different. Here it meant they were cutting me off. We grew quicker than planned, we were on a shared server and we were using more than our share. Rather than allow us to buy a larger share they closed the gates so to speak. No biggie, we are moving to a dedicated server like the Digital Art Academy and the Digital Painting Forum are on. On the fun side of things. There are two new sections that will be here going forward. One is a section called “A Blast From The Past�. This area will feature an article or tutorial from the previous year. Success magazine does this and I think it is really cool. They of course can go back 10 years or more and pull something but I think the idea is the same. Next we have a section called The Masters. The idea here is to profile one of the master artists from a historical perspective. We will start with Mary Cassatt then move to John Singer Sargent and go from there. If you have a favorite shoot us an email and let us know. Also in this issue you will find a whole section on the Digital Art Summit. Even though we will be published after the Summit starts I think it will be a useful tool. We also will make it available on the blog as a PDF. That way if you decide you want to look at someones webinar after the fact you can see who is doing what. Another thing is I still want to encourage you all to take advantage of the 90-day free offer at Digital Painting Forum. Lets get the party started. There are over 90,000 files of useful information there plus a ton of awesome artist. The only restrictions on this membership is the big gallery and the critique. We have to protect that area for the paying membership. That is one of the things that make the forum what it is. Many professionals are in those area that not only put there work up but also spend their time critiquing others. To me that alone is worth the $49 a year. So anyay, there you have it. Another month of various change. We welcome your comments and feedback. Until next time: Live, Love and Laugh 2


In This Issue Philosophy

by Thom Rouse

Production Textures by Thom Rouse Cartoon

by Victor Lunn-Rockliffe

The Old Masters: Mary Cassatt By Nadia Lim Readers’ Gallery by Dianne Matecki Painting With Photoshop CS5 by John L. Stevenson  A Blast From The Past Digital Art for Beginners by Karen Bonaker Cover

Hidden Desire By Thom Rouse

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Marketing Buzz: by Tim O’Neill  Winter Digital Art Summit 

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Philosophy By Thom Rouse Judgment:

Judgment is one of many paradoxes in the creative process. We all cast judgment, we all crave judgment, judgment is integral to our advancement as imagemakers, and yet it is the nemesis of creativity. To be creative we must suspend judgment and allow our selves to fail. If we prejudge our work, we preclude the opportunity to be creative by foreclosing the option of ignoring the rules, overcoming the rules or utilizing old rules in a new way. I am of the belief that the creative experience is rare for a photographer. Most of our time is spent learning and mastering craft. In the rare case where we are truly creative, we are only creative the first time, and then the technique becomes just another in our bag of tricks. Evaluating our creativity is a matter of judgment, but we must not judge too soon, or we thwart those rare creative possibilities. As a young man I was terribly judgmental about many things, including areas in which I had no expertise at all. I would cast judgment about music, literature, and film and make many pronouncements about what was good and bad. As a result, I was often embarrassed by these pronouncements years later when I finally “got it” - the genius in a work of art or music that had earlier eluded me with my limited experience. I still make these errors in judgment (though most often privately and to myself) but I try to maintain a policy of being “descriptive” rather than “proscriptive”. In evaluating the work of myself and of others, I strive (not always successfully) to describe what I am judging rather Body Electric by Thom Rouse

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than insist on proclaiming something good or bad based solely on my consideration. It seems to me that I learn more, I share more, and I avoid a good deal of embarrassment by adopting this policy. That said, I do tend to get annoyed by those among us who proclaim an image good or bad based solely on his or her paradigm for image making. As an image-maker and as an organization member, I am enthusiastic about the vast range of image making styles and paradigms. Nothing could be better for our organization and our businesses than that we are distinct and unique from each other. It is my hope and wish that we enable, rather than discourage, a diversity of style within our organizations. If all our images are alike, we become a commodity.

Discovery: From the lessons of art history I have come to the opinion that we are discoverers more than we are the creators of images, a concept implied by Michelangelo when he told his assistant that he would not carve David – David was already contained within the block of marble - he would simple remove the marble that was not David. Within any defined space, at any given resolution there are a finite number of possibilities. All possible images exist in potential. It is our ambition as imagemakers to recognize and harvest those images, among all the possible images, that most appropriately represent the ideas, concepts, experience and sensibility of the maker. I don’t mean to sound “artsy” or “new agey” about this notion. I suggest the idea simply as a mental attitude that I find a more practical Digital Paint Magazine - February 2011

approach to image making than taking on the tremendous burden of “creating” an image.

Visual Literacy: I am a strong proponent of the notion that visual literacy is equal in importance to technical competence and craft in image making. Because photography is an equipment intensive media, we all to easily lose sight of the fact that no matter how well we know f stops and shutter speeds, cameras and software, if we are to create good images we must first know what they look like. I am a student (but not at all a scholar) of the history of art. Since our earliest recorded history our species has been banging on logs to make music and drawing on cave walls to make images. And the same visual ideas and concepts seem to resonate, not only through the decades, but also through the centuries and millennia. There are no new ideas – we simply rediscover and redeploy the same ideas within the context of our selves and our cultures. Picasso took inspiration from drawings on the cave walls of Lescaux France made some 18,000 years before – Jackson Pollock and action painting must pay homage to the calligraphy of Chinese monks. Gustave Courbet decided to paint real people doing real things as opposed to the painting the aristocracy posed in elegant formality. (Much like many of our current brides who wish to have their weddings photographed as photojournalism and not in what they regard as the “posey wosey” formality of their parents wedding photographs). And what we consider classical posing was not invented by modern photographers, nor during the Renaissance,

but in ancient Greece with the statues of Hermes and Aphrodite. We are tiny cogs in a long history of art making. We would do well to respect and study the traditions. Time will tell, but perhaps one of us will make a tiny but unique addition to the vast history of human art.

Equipment: I have done my best (and not always successfully) to avoid being seduced by the equipment of our craft. Although a late bloomer, I did enter the field early enough to gain experience with film and traditional methods. In those days, a Hassaleblad purchased in 1970 was nearly identical to one purchased in 1990. Chemistry, paper and emulsions changed periodically but remained fundamentally the same in principle. Learning our technical craft was difficult, and there was always something new to learn, but we could, for the most part, become proficient with our equipment and ignore it to be able to concentrate on the images. With the digital transition our equipment and software options expanded exponentially, and the current state of the art becomes old school in almost no time at all. We are in a constant state of flux and must expend a great deal of our attention just trying to keep up. As much as I have personally embraced the opportunities of the digital transition, I am concerned that it’s rapid progress deters us from concentrating on images. (It’s hard to remember you came to drain the swamp when you’re up to your butt in alligators) I am discouraged when a new version of Photoshop is announced. I would have a 5


lifetime of opportunity available if Photoshop had stopped with version .3. But I push myself to keep up, and three months after I adopt the latest version I can’t conceive of life without it. I continually remind myself that “it’s about the image” and that I want to maintain control of my images – I’m not ready to concede the creation of my image to the software. I feel a need for vigilance in not ceding the process to the equipment.

Process and Style: It has been a recent project for me to contemplate the nature of style: what is it and how is it acquired. I feel that I have achieved a recognizable style but I’d never contemplated how style occurs. During my early years in photography, I was consumed by just learning the technical craft. Although I’d considered the issue of style and was confused by it, I set the issue aside until recently. In retrospect I think that style finds you – you do not seek out a style. “Ready, Fire, Aim!” Looking for style is a little like looking for love - the more it is sought, the more elusive it becomes. It had concerned me that, while documenting artwork for students and faculty at a local university, I sensed that so much emphasis was placed on achieving a recognizable, individual style that, for many students, a gimmick was taking the place of genuine style. I thought that faculty emphasis on style was an inhibition to student style development, but I had no idea of how one develops style. I’ve come to the opinion that style occurs as the result of a number of factors and that these factors are all part of an individual’s “process”. I define “process” as all the myriad elements that ultimately contribute to an individual’s way of making images. These would include not only equipment and subject choices, but also such things as musical taste, religious views, and cultural background. My thought is that an inventory of one’s “process” might yield, not a style in itself, but a map and a guide towards style and an opportunity to identify elements that might be changed or be altered to influence style. I’d encourage all photographers to construct a “process inventory” for themselves. Such issues (among many) might include “Do you prefer to shoot at f2.8 or f11?” “Do you use a tripod or do you prefer handheld?” “Do you spend 3 hours setting up the shot and take 3 exposures or spend 3 minutes to set up the shot and take 3,000 exposures?” “Do you love digital or do you miss film?” These along with many other personal questions about subject matter, personal insecurities i.e. (“I’m not technical enough” “I’m not creative enough”) musical taste, favorite colors etc. comprise a “Process Inventory”. There are no correct answers, only an individual’s answers. Perhaps the only wrong Charles Street by Thom Rouse

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answer is to answer “all of the above” to every question, in which case one might look a little harder at what one’s true preferences are. Developing a “Process Inventory” was a revelation to me. I contemplate it often and wonder what will happen if I change one element or another of my process. Deliberately changing elements of my process has become the source for many self-assignments and the pivot point for the occasionally need to get out of my rut. And ultimately, more than any other factor, I’ve come to believe that style is the result of three things”: • Being true to one’s self • Passion • Perseverance

RIGHT BRAIN – LEFT BRAIN High on the list of overused and misunderstood concepts (in my opinion) is the notion that we are primarily right brained or left brained with an emphasis on becoming more right brained and hence more creative. Although we all certainly have a propensity to work from one side or the other we clearly need both halves of our brains to be successful image-makers. In the original research of split brain patients by Gazzaniga and Sperry it was shown that individuals lacking communication between hemispheres of their brains exhibited serious cognitive deficits – deficits that would make it very difficult to navigate everyday life let alone to make successful images. We clearly need both halves of our brains to succeed as image-makers, the logical, technical left as well as the intuitive, spatial right. I Digital Paint Magazine - February 2011

Symbol Tree by Thom Rouse

hope that the popular notions of right brain vs. left-brain functions return to the realization that we need both halves of our brains. The

two halves are complementary to almost any task and the ability of an older individual to integrate the functions of both hemispheres 7


may well be the neurological definition of wisdom. Another catchphrase I believe it is time to retire due to overuse is “Thinking outside the box”. There is a danger in trying so hard to work outside the “box” that one is plastered so closely to its outside that the work remains defined by the box. On the other hand, it’s important to remember there is a whole lot of good stuff still inside the “box”. In either case, I’m personally ready to retire “The Box” as a metaphor for creative thinking – I fear it’s become an “inside the box” platitude.

VISUALIZATION – PRE AND POST: At one time, I felt that if I did not previsualize my entire image, than I was somehow cheating. I no longer feel that way. For my images, and for the images of others my only concern is the image. I have great interest in the process, but I make no judgments in regard to the “rightness” or “wrongness” of how they were created. The matter of “process” is a personal one – but the proof is in the pudding and the pudding is the image. It is of no concern whether the maker took 3 exposures or culled just the right exposure from 3,000. The questions about Mac or PC, Cannon or Nikon, pre vs. post visualization are all trivia. The image, no matter how it was created, has the final word. In terms of my own process, I create images in roughly equal proportions, in one of three ways. About a third of the time I have a very specific and detailed visualization about what the final image will be. About a third of the time I start with a specific visualization that evolves during the course of its development, Digital Paint Magazine - February 2011

sometimes in the camera room – sometimes in the computer. And, about a third of the time, I start with no visualization at all. Something occurs during shooting or, I’m simply fooling around on the computer and an image begins to take shape. I have no advice to others on what might be the best way. My only theory is that the most important rules are the ones we make for ourselves. Sometimes the pivot points in our careers seem to be overcoming something we learned years ago and have accepted as gospel ever since. It’s another paradox of creativity – we must work hard to learn our craft and then we must work hard to un-learn the aspects of our craft that hold us back. Assumptions about the “right way” sometimes need to be overcome in order to advance our creativity. Once we have found the first “right” answer it’s time to find the next “right” answer. MEANING vs. Experience My images are often considered “non traditional” although I jump at the chance to point out the very traditional influences in my work. I am often asked, “What does it mean?” My frivolous answer is that “meaning” is in the mind of the credit card holder. When I’m on the verge of a sale in a gallery – the image means exactly what the buyer wants it to mean. But more seriously, I think that meaning in itself is irrelevant to an image. We want to experience an image, not to know its meaning. I perceive meaning in many of my images, and other viewers, I hope, will perceive entirely different meanings, but without the experience of the image, the meaning is

irrelevant. Sometimes, it’s the very mystery and ambiguity of an image that conveys the experience. No matter how significant the “meaning”, if an image is not well crafted to convey an “experience” to at least one other viewer, it fails as art. You can tell me about your grandmother, her silver hair and blue eyes, but an image gives me the “experience” of your grandmother. “Meaning” is conveyed by words – images are to create an experience. We create images because some concepts are ineffable – they can’t be conveyed by words. If we knew what it meant, we wouldn’t need to make the image. In the few cases where I’ve constructed an image based on a meaning, they have failed miserably. I perceive personal meaning in my own work, but it only comes to light after I’ve finished the image and I have the insight that “Oh, that’s what that was about”. I am reluctant to share those personal meanings for fear of diminishing the opportunity of others to perceive their own meanings. I hope that many of my images are sufficiently ambiguous to allow a variety of “meanings” to be perceived based on the individual life experience of a specific viewer. But far more important, I hope that viewers will “experience” my work. As a culture, we are far more musically literate, than visually literate. No one asks what a melody means. We appreciate the experience of a piece of music or we do not. We don’t ask what the melody means, or rarely even what the lyrics mean. http://www.thomrouse.com/

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PRODUCTION TEXTURES Texture layers and blending modes have become a standard method for post-production image enhancement. When you find yourself using a favorite texture over and over, it’s time to save time, and streamline the production. Here’s a method for using textures as layer styles for speed and efficiency. Step 1 - Find and open a texture you use regularly. Either select the entire image (command A) or select a portion of the texture with the rectangular marquee tool. Fig.1 Step 2 – From the edit menu choose “define pattern” and name it descriptively so that you can identify it when you looking for it. For instance “beige rock” or “green stucco wall” Step 3 Open a subject image and create a duplicate layer above the original. (Command J) Fig.2 FIGURE ONE

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FIGURE TWO

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Step 4 - Double click on the new layer to open the layer styles dialog box. Select “Pattern Overlay” and open the pattern file by clicking on the arrow next to the pattern thumbnail in the dialog box. (The pattern you defined in step 2 will be the last pattern in the file) Fig. 3 Step 5 – With “Pattern Overlay” still selected change the blending mode at the top of the dialog box to you’re preferred blending mode. (In this example I’ve selected overlay) You can also scale the pattern using the slider just underneath the pattern thumbnail. Step 6 - Apply a layer mask to the to the top layer and remove or diminish the texture where appropriate for your image. (In this example I’ve removed the texture from the subjects skin) Fig. 4

FIGURE THREE

Step 7 – If you decide you like the effect and expect to use it again, double click on the top layer, and with pattern overlay selected, click on “New Style” in the upper right corner to save you layer style for future use. (Fig. 3) Name it something novel that you will recognize. Open any other image, copy the layer and select your new layer style from the style palette (it will be the last icon) and your texture FIGURE FOUR

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FIGURE FIVE

and blending mode is instantly applied. Fig. 5 Additional steps: You may find that the new layer style works well for low key images but is not appropriate on high key images. You can open you layer style on a new image, modify the style and save it as a new layer style. Now you have the same texture available with two different settings. In this example I’ve used a high key image and in the layer styles dialog box with “pattern overlay” selected. I’ve change the scaling of the pattern and changed its blending mode to “vivid light”. Fig. 6 & 7 In most of my work I treat each image individually with multiple textures and adjustment layers. But when I want a continuity of texture across a number of images, for instance a single subject album, I’ve found this technique and incredibly useful time saver. FIGURE SIX

FIGURE SEVEN

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http: //cargocollective.com/victorlunnroc Victor Lunn-Rockliffe

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Mary Cassatt By Nadia Lim “I have touched with a sense of art some people – they felt the love and the life. Can you offer me anything to compare to that joy for an artist?”  – Mary Cassatt Mary Cassatt was an extraordinary and unique artist. Her amazing gift for illustrating the sanctity of a home and her sensitivity in capturing life’s moments of repose made her one of the greatest impressionists from America. She pursued art as a career despite her family’s objections, painting in those times was predominantly a male profession. Despite the difficulties involved she remained steadfast and continued her work as an impressionist painter. Much of her enthusiasm and energy spent in pursuing art professionally has left a legacy and her paintings where Digital Paint Magazine - February 2011

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one of the most interesting and brilliant of all masterpieces of the impressionist artworks.

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Despite her family’s objections, Mary Cassatt at the age 15 went to the Pennsylvania Academy of the Fine Arts in Philadelphia to take up painting. She furthered her studies in Paris and since Ecole des BeauxArts did not accept women, she took an opportunity to study with JeanLeon Gerome who was a highly regarded teacher in those times. Afterward she jointed a painting class taught by Charles Chaplin who was a noted genre artist. She also studied with Thomas Couture whose paintings where more on romantic and urban settings. Her inspiring works include Portrait of a Little Girl, Autumn, Mother and Child, The Bath and so many others which particularly illustrated mothers and children. This was an unusual subject matter for impressionists at those times because Impressionists such as Monet or Pissarro focused mainly on landscapes, still-life and urban scenes. Her works were known to be a candid, display of naturalism and sensuality, pure and nonsexual in context. This uniqueness in her paintings and her distinctive way of portraying modern life created a lot of criticism. The Portrait of a Little Girl was one of her works which was rejected when she submitted in the American section in 1878 Paris Exposition Universelle. The rejection enraged her. The painting shows a girl almost exhausted, unsettled and almost bored where her clothing is pushed up to reveal her petticoat and her legs, her left arm is bent around her head. This nonchalant sprawl of the girl was dismissed by the jury and even thought to be a traditional display of erotic odalisque. Though actually, the painting reveals Mary Cassatt’s gift in portraying naturalism. Children are naturally less selfconscious and portray an certain innocence in any social conventions. Mary Cassatt recognized herself as a feminist. This may be due to her early encounters of her family’s objection to her profession. At first, critics such as Tamar Garb found Mary Cassatt’s portraits of women and children where contradictory of Cassatt’s feministic ideology and stated that her paintings were reinstating domestic life of women. Garb and other Cassatt’s critics may have failed to see that she was actually reclaiming the power of motherhood for women. Her paintings have highlighted mother’s role and how it holds the society together. Mary Cassatt’s passion and idealism for the art of impressionism and the quiet strength of women will remain remembered and will continue to inspire future generations.

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Readers’ Gallery

Sunflowers Dianne Matecki

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TrulyScene a column: exploring Digital Painting with Photoshop CS5

John Stevenson jstvnsn@photoscena.com February 2011

Introduction This is the fourth in a series of tutorials devoted to digital painting within the newest version of Adobe Photoshop (CS5). However, I’m going to be taking another major detour in this month’s contribution - to cover just one of the very best things that a Photoshop user with interests in digital fine art and painting could newly find. This is PostworkShop, which is currently a standalone application (developed by Xycod Informatikai Kft., based in Budapest, Hungary), but which will shortly be upgraded to include a Photoshop plug-in mode of usage. PostworkShop is compact, easy-to-learn and inexpensive, and - best of all - extremely versatile. It brings a whole slew of new creative possibilities into play, when used alone or if coupled with Photoshop. The work included as examples in this article was all performed using the version 1.1 release of the program, in its Pro edition. (This link: http://postworkshop. net/buy-postworkshop-now provides the basic specifications for the different editions.) The program is available for use with either Microsoft Windows or Apple Macintosh operating systems. Bob Nolin’s Digital Image Magazine blog contains a short introduction to PostworkShop, as of last October, http:// Digital Paint Magazine - February 2011

www.digitalimagemagazine.com/blog/featured/ review-postworkshop-by-xycod/, but misses a key point. Namely, that while there are indeed similarities between some sets of operational features in PostworkShop and Photoshop, there are also some fundamental and substantial differences. And, as a consequence, the two programs can be used with benefit in ways where the strengths of each are complementary. That is, in short, the focus of this article.

A Short Overview of PostworkShop Some very good “Getting Started” material for PostworkShop is provided by Xycod here: http://postworkshop.net/tutorial, in both written and video formats. So I have chosen not to repeat that here – rather to try and answer some inevitable questions (or, at the least, uncertainties): 1. It’s an auto-painting program, so why bother? Response: Yes indeed it is. However the auto-painting functions are highly customizable, are capable of very high fidelity outputs, and utilize a range of unique features. As just one example, it can paint correctly into and onto a transparent background.

2. I’m addicted to my Wacom Intuos – what could I possibly do with this program? Response: Well, the short response might be to turn off the tablet. However, there is no limitation to what types of images can be post-processed using PostworkShop. An output from Painter or ArtRage (for example) could well make an intriguing new starting point for digital art output(s). 3. It’s just like Filter Forge (at: http://www. filterforge.com/), isn’t it? Response: It does indeed have some similarities to Filter Forge. Mostly in that image processing routines can be assembled in a sequential assembly of component “filters”. However, PostworkShop is much more tightly coupled to Photoshop than is Filter Forge. For example, it uses a Layers stack and opens and saves files in the native (.psd) Photoshop format, inclusive of the individual Layers. Additionally, PostworkShop can use Photoshop-format Brushes directly (from .abr format files). 4. It seems that it doesn’t render an output in real-time – isn’t that a hassle? Response: PostworkShop builds an output preview in close-to-real-time. And, the previews are a good on-screen representation of what the program will render upon request. 5. It’s going to give me headache figuring out 20


yet another different user interface, won’t it? Response: Even buying upgrades to programs which have been around for decades leads to GUI-based aching temples. PostworkShop has just two control panel screens which are where the majority of its users will spend their time and effort. For example, Illustration 1 here is a screenshot provided by Xycod. It shows the straightforward control “cockpit” which is used for building unique Styles. One user community supported by Xycod is the beneficiary of a large array of pre-made Styles which are supplied with the software. These Styles have, generally, just a few adjustable parameters which directly impact the output image. And they scale certain internal parameters according to the size of the user’s selected input image. A second possibility is for the user to construct Styles from scratch, and that it what is captured in Illustration 1. There are – in that instance – two input images shown on the far left of the panel. The lower one is acting as the source of a color palette. A total of seven individual Building Blocks are in use in the center portion of the panel. This is the “sequential assembly of component “filters”” that’s already been mentioned. Please note that one of them is a simple Blend function – just melding two images into a single output at the bottom right. The three Layers shown altogether on the right-hand side are individual images actually placed in a stack very similar to the Layers Panel in Photoshop, with the entire same set of Blend Modes made available there also. As a matter of further introduction, the remainder of my article here will describe just some of the possibilities in using a three-segment workflow for a single photographic input image. In segment one; Photoshop is used to isolate the subject from its original background and to enhance the image tonalities. Segment two then covers some use of PostworkShop, in the same mode as summarized in the paragraph above (that is, not using any of the Xycod-supplied Styles other than those in their Building Block category). Emphasis is given to some of the Block image processing steps which seem to provide the most creative scope. Finally, in segment three; Photoshop is reintroduced as a means of compiling component images produced in PostworkShop into distinctive output images.

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Segment One – pre-processing Readers who have accessed my earlier articles will know that I have a preference for using some standardized input image; even in the form of a geometric test pattern; in uncovering the features of new software. In this instance I elected to use a photographic still life; it’s shown in Illustration 2 here and was lit and shot in-studio. (Yes indeed, those are artificial flowers! No problem.) Although a plain white matte backdrop was used, there was some shadowing of the subject onto the background. So the floral subject was Selected in Photoshop and isolated from a fully white, replacement background. (The improved sensitivity of the Color Range Selection feature in CS5 is a bonus for work of this type.) In Illustration 2, the selection is active and the Histogram Panel is open to show just how biased the luminance of the subject alone is towards the low end of the distribution. Last month’s (the January 2011) contribution to the magazine by yours truly provided some insights on using another modified feature of Photoshop CS5 – the HDR Toning Adjustment – as a precursor to digital 21


painting. And that is what was used again here, to transfer to the image of Illustration 3. Note that the deep shadowing of the foliage in the center and the mid-right portions of the original subject has now been “lifted”. This is the primary objective here. Please note: conventional painters only very rarely use a full black in rendering the type of deeply shaded areas which are present in the Illustration 2 screenshot. But also, the Histograms included in both Illustrations provide an excellent indicator of what has been accomplished overall. The median luminance of the subject has been almost doubled. (John Derry’s excellent blog contains some recent and impressive examples of use of the same HDR Tuning Digital Paint Magazine - February 2011

capability of CS5. These can be found here: http://pixlart.blogspot. com/2011/02/architectural-decay-in-hdr.html and also here: http:// pixlart.blogspot.com/2011/02/hdr-steam.html). The other difference between the images included in Illustrations 2 and 3 is the use of a transparent background in the latter. This, as will be detailed below, is a potential starting point for work in PostworkShop.

Segment Two – PostworkShop Illustration 4 is a screenshot gained from opening the pre-processed image file in the PostworkShop application. Here now we can see the second of the two control panel screens active (from the set of three tabs available at the top left of the screen). There are, straightaway, 22


several noteworthy aspects of this: i. image size is shown in the Preferences menu – here, in this instance, it is 1931 by 3000 pixels (the Pro edition of the application will render-out images of 4000 by 4000 pixels or equivalent; which is certainly nothing to be sneezed at!), ii. the color of my input image looks different from its appearance in Photoshop – this apparently arises from Xycod’s use of a specific color system internally within the program and also the absence of a color profile management feature, but it has not proven to be a major detraction to the author to date, iii. the transparent background of the input image is not included in the rendering unless the Preference for that is reset from the default, and also, iv. there may be other Preferences which the user can reset with advantage – for example, I have found that PostworkShop is really impressively stable when I allocated its Disk Cache to the same dedicated and empty disk drive as was previously set also for Photoshop, but then did not run the two applications simultaneously (in this instance in a 32-bit mode, under Microsoft Windows XP). The next Illustration (number 5, already) shows the input image with transparency activated. On the right-hand side of this screenshot there are some examples of the Building Block category of image processing functions integrated into the program. This panel can be left open when the Style Editor is selected. It too has just three tabs, at the upper left, indicating its operational options. The Project tab there is also important. All work performed in PostworkShop on any specific combination of input images (see Illustration 1) can be saved in a proprietary script file which records all of the details, on a project basis. (In addition, any customized Style, even if only partially completed, can be saved as a separate record. This is the means for applying a given and/or fixed set of image processor functions to a different input picture.)

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In previous explorations of software which might be considered as forerunners of the PostworkShop program, the writer here concentrated on developing routines for establishing specific elements of visual grammar (see, for example, an “historical” essay published at Harald Johnson’s digital printing and imaging website: http://www.dpandi. com/howtos/artmasterpro/). The very same approach was taken with PostworkShop. The aim being to uncover just how different a range of outputs can be obtained from a given set of image rendering steps (even if those outputs themselves are only suitable as individual components of a final output). So, Illustrations 6 through 9 herewith cover some simple outlining, shading and re-coloration (or painting) schemes. In each case, the left-hand portion of the image deliberately contains a distinct rendering which is “coarser”, bolder and/or looser, than its counterpart on the right. The high fidelity of the graphics toolkit which PostworkShop offers is immediately apparent from these comparisons. Note that they all originate from the same input as is included in Illustrations 4 and 5. So, when reset to a file with (say) 180 ppi, each of these specific images would print to at least 8 by 14 inches overall. And there would be no problem in attaining prints up to twice as large as this (by saving the Styles developed and then redeploying them on a larger sized input image). This high fidelity at large output format is the advantage which comes about because of the non-real-time rendering step in PostworkShop – which is the very last processing step the user needs to invoke, prior to saving the final file. It is to be stressed that the outputs shown in the four Illustrations (6 to 9) are simply examples. Xycod provides Styles which accomplish similar results. But these are not as customizable. Key Building Blocks which contribute to each of those which I have developed to date and included here are as follows: a) outlining – the Edge Detection Block: which is to be found in the Vectorial Tools category, and requires to be ganged with a partner Block which lays down a pixel-based array as an output; there are two to choose from, both resolution-independent, in the same category, one of which is … b) outlining – the Generic Stroke Renderer, which accepts a texture input and can deliver very delicate, “traced” outputs, Digital Paint Magazine - February 2011

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c) shading – the Luminance Key Block: to be found in the Utilities category, which can be used to parse an input image into constituent “slices”, where only a given range of luminance is represented (i.e., its shadowed or lowlight portions), d) shading – the Crosshatch Block: located in the Simple Styles category, and which has a auto-threshold setting, e) re-coloration (or painting) – the Random Painter Block: which can be found also in the Simple Styles category, to provide (for example) a traditional “underpainting” output, and, f) re-coloration (or painting) – Simple Strokes: also from the same category, and which is totally a misnomer by that name (it can accept up to three inputs additional to a starting image, which provide additional sets of instructions for stroke direction, color palette alteration and localized detailing).

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Importantly, each of these Blocks respects any transparency included in the input image. Either natively so, or by appropriate image processing introduced in parallel. The Luminance Key Block already cited above is the principal means for accomplishing this. Each of the images contained in the four Illustrations 6 through 9 were actually obtained as finalized outputs on fully transparent backgrounds. It has to be noted – unfortunately – that this is simply not the case for advanced digitally-painted work attempted within Photoshop itself, even when using the CS5 release. Geoff Priest’s blog provides an independent verification of this: http://gapriest.blogspot.com/2010/08/ photoshop-cs5-mixer-brush-tips-and.html - as follows: “One of the major drawbacks of Photoshop’s new Mixer Brush is that it doesn’t blend with transparency, making the process of painting on layers a bit of a hassle. Instead, Adobe opted for the ‘Sample All Layers’ feature … However, the Mixer Brush can fake blending with transparency just fine using most layer blend modes, provided the layer is filled with the appropriate ‘neutral’ color.  A ‘neutral’ color is any color which appears transparent when using a certain blend mode.” The same is more-orless the case with Photoshop’s closest thing to an auto-painter; the Art History Brush. None of this faking is necessary with PostworkShop. It can use the power of each of the individual Blend Modes in the cleanest way. This may, at the least within the writer’s realm of digital painting experience, be a unique advantage. So therefore, any of my component outputs - representing very different results - can be used without restriction in combination(s) to generate a final, composite image. (Essentially this is the amalgamation of the grammatical elements I referred to above.) To date I have found two means of accomplishing this internally in PostworkShop – there may be more. The next three Illustrations, 10, 11 and 12, provide some examples. They are all the outcome of using PostworkShop in two separate sessions. Firstly to produce a range of individual component images. And then second, to construct output images by blending several of these components together. It is also possible to include a degree of selective masking in these assemblies. Illustration 12 confirms this – the preview image at the top left of the screenshot there shows the approximate output of the Style Layer which is highlighted in the stack (and which contains an Alpha Layer Block to establish localized emphasis). Digital Paint Magazine - February 2011

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Segment Three – post-processing Nevertheless, it is still tempting to grab the PostworkShop outputs and head back to Photoshop. One advantage thereupon is that the latter provides a restoration of real-time processing. Another lies in the sensitivities of the Masks Panel adjustments. And a third is some ability to retouch portions of the image components with a stylus and tablet (of the Wacom et al variety). Another is to make color corrections with a specific color management profile in place. Then there is the matter of printing ‌ The last three Illustrations in this article provide some basic models for these activities. The two final outputs captured in Illustrations 13 and 14 bear a similarity one to another (since they have component images in common). They use only digitally painted (and re-colored) variants of the original subject. But they are also more subtle developments beyond those contained in Illustrations 10 and 11 respectively, primarily due to the availability in Photoshop of better masking schemes, including Clipping Masks. Note the full range of brush sizes represented in Illustration 13.

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Lastly, Illustration 15 includes just a magnified portion of a single painted output from PostworkShop. I show this simply as a confirmation of the very fine fidelity which the PostworkShop “painting engine” can produce and exhibit. The zoom used in the screenshot is exactly four times that of the actual printed size (shown nominally for the entire image in the Image Size menu shown on the right-hand side). The level of detail deliberately rendered-out in this specific case would definitely reproduce convincingly, if so required, in a print up to 30 inches in full width.

Resources I always welcome any questions or feedback the reader may have. Just send e-mail to: jstvnsn@photoscena.com. Additionally, I will likely also review the new version of PostworkShop which is due for release soon (version 2.0), in a separate column for this magazine. For interested potential new users of PostworkShop: please note that a purchase of a v.1.1 edition of the software will now automatically qualify for a free upgrade to the 2.0 version. Additional details are available here: http://postworkshop.net/forum. (Please note that the author here has no business affiliation at all with Xycod.) For an excellent set of insights into the relationships between photography and the other visual arts, I highly recommend: Varieties of Visual Experience: Art as Image and Idea, authored by Edmund Burke Feldman, and originally published by Harry N. Abrams. Its last edition (the fourth) was made available by Prentice Hall, in 2002. Digital Paint Magazine - February 2011

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(This book provides some key, critical insights into the elements of visual grammar (and even vocabulary), with respect to both 2D and 3D fine art, which have been un-thoroughly skimmed over within this article.)

An Afterthought or Postscript – On Being Painterly … In a generalized and public response to a question which I received by e-mail after publication of last month’s magazine … The whole purpose of digitally painting an image which refers back to an original photograph seems - to the writer here - to give some stylized re-representation of the original a better chance of being evocative and intriguing to a viewer. After all, traditional media artists (the “wet” painters amongst us) have no choice in this matter. Their whole aim is to promote interpretations; through whatever style or medium they elect to work with. In the digital domain though there are a set of precursory decisions to be made. First, can the photograph itself stand on its own merits? (Often photographers who exhibit original printed work say that there can actually be two images marketed now for every DSLR shot that makes the cut via Adobe Camera Raw: one is color, while the other is a black and white version of that!). And secondly, if a digital painting is to be pursued, should it be generally “painterly” or rendered in some style which directly emulates a specific medium or artist? Personally, I have become convinced that the best tools which Photoshop offers nowadays are those which allow the biggest set of freedoms. And we’ve seen here in this article what a powerful adjunct PostworkShop can add to that. Initially however there’s the supposition that all two-dimensional artwork is an abstraction. And that includes photographic images! The human thought process is constantly making visual references and “look-ups”. Our eyes have a much narrower zone of static focus than any conventional camera lens. So, we constantly interpret visual cues from a rapid set of glances. It is one ambition of the artist to capture these mind’s-eye images in some form of permanence (so as to communicate them onwards, in a stimulative

Digital Paint Magazine - February 2011

way, to others). That this “communication of a glimpse” has a set of grammatical rules is well understood; albeit with the proviso that the rules themselves are less strict than their linguistic counterparts. Perhaps it is best then to regard our reference photographic material as extractions of reality - being close, if the photographer wishes it, to the most grammatically clinical and accurate representation that can be made of a specific scene. Thereafter, a looser scheme of formalisms can be established, picking - as now the artist wishes - some emphasis in the composition from amongst the substitution of different colors and shifted contrasts, changes in tone, some emphasis (or otherwise) of lines and edges, the enhancement of textures, some reworking of shapes and forms, and so on. Here then begin abstractions from our starting point. Which, within the digital domain, let there be no doubt, can be much more deliberately controlled than traditional painters might achieve. This is not to imply that there is anything fundamentally wrong with creating a set of brushes and scripts in Photoshop with which to imitate the output of Paul Seurat (for example). It’s rather that where one original photograph might yield a good impressionistic (with a lowercase i) and pointillist rendering with exactly those tools, the subtleties of another photo-capture may be less successfully interpreted by the same means. Such is the intriguing language of art. I would argue that rather than looking for a digital emulation of, say, watercolor, it is better to develop a sensitivity to re-rendering images with transparency becoming one key grammatical feature. And so on.

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A Blast from the Past Digital Art for Beginners By Karen Bonaker From a very young age, I enjoyed drawing and painting and was completely content with that until the day I found 速Corel Painter and realized I could create beautiful art on my computer. I turned a deaf ear to my colleagues that told me digital art was not art, something deep inside told me that this was a new frontier just waiting to be discovered. The next question was where to begin? As I started my research, I found that there were many options for learning how to paint digitally; the hardest part was to find what worked for me and what will ultimately work for you. For the beginner Painter student, this can be a difficult journey. From the experiences of my own journey, I would like to share some of the best resources for learning how to paint with pixels. Years have passed since I first picked up the stylus. Today, there is so much more available to us, offering the beginning digital artist the opportunity to really discern about how they want to learn to paint digitally and what works best for them.

Online Classroom Training Digital Art Academy

Digital Paint Magazine - February 2011

Online classes vary from site to site but, what you can expect at Digital Art Academy is a personal experience with plenty of support along the way. Classes run six times a year and each session last four weeks. Generally, each week your instructor will give you a written lesson and a video which you can download to your computer and view at your convenience. Your classroom is accessible to you twentyfour hours a day and your instructor is there to support you and answer your questions in a forum venue. DAA was founded in 2007 as a center of creative excellence; where art, passion and talent converge with some of the best digital artists, nurturing the finest digital artists of tomorrow. The mission is to empower students to realize their fullest potential in the fields of Digital Artistry, Content Creation and most of all, Creative Expression. Classes are taught by highly qualified digital artists and software professionals. If you enjoy working with other students and a live instructor who offers help and guidance, then this is the place for you. Classes are very reasonably priced and DAA is a Corel Training Partner. Most classes include written lessons and video to enhance the learning experience.

LVS Online: LVS Online is a pioneer for online training and offers a smorgasbord of opportunities to learn Painter as well as other software. Although not focused specifically on Digital Art; you will find affordable online training for Painter by Elaina Moore-Kelly as well as other creative applications. Paint box J: Jeremy Sutton recently launched this wonderful site where members can learn from his techniques and inspirations while obtaining advice from one of the foremost Painter Masters. The site offers video and in-depth articles all about digital art. Most recently, Jeremy added a new critique section where members can learn from each other as well as share. Jeremy takes this opportunity to offer practical in-depth analysis and advice that is relevant to all PaintboxJ members. Critiques are offered on a monthly basis.

Workshops and Webinars For the student who enjoys a hand on approach to learning, the digital art community is full of wonderful artists who offer hands on workshops on a continual basis. Not only are many of these workshops onsite but, some are being offered over the internet using various webinar providers such as Go To Webinar. 34


For those who have the means to travel, workshops are wonderful ways to learn for the beginner. Here are just a few of the many talented digital artists to help you get started on your journey. Marilyn Sholin Jeremy Sutton John Derry Scott Deardorff Helen Yancy Jill Garl Ann Carter Hargrove Karen Sperling Heather Michelle Bjoershol Fay Sirkis

Forums and Blog Sites Forums offer a student support and a community which they can feel a part of. There are some excellent forums available to the beginner however, one word of advice - study the forum before you join, make sure it will be a good fit for you, a place where you can grow and not feel intimidated. Look for support from other members and, most of all, make sure that it is a place that offers guidance, knowledge and a little hand holding. This can go a long way to create a comfortable place to meet new friends and learn from the best. There are many excellent forums; here are a few choices which offer the beginning digital artist a great place to learn and to feel supported as they learn.

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Painter Factory Painter Factory is place for all things Painter. The forum is full of useful information and offers digital artists of all levels a high level of support. The forum is moderated by Jinny Brown. Digital Painting Forum A fee based forum primarily focused on Painter. The forum offers a wide variety of support for the professional and beginner digital artist as well as the armature and professional photographer. The forum founder is Painter Master Marilyn Sholin. Digital Painting forum offers gallery space to showcase your work. Painter Talk Painter Talk is a free forum dedicated to digital art. It is a special place for learning and growing in a supportive and friendly digital art community. Painter Talk offers a Gallery to showcase your work. Concept Org A web based community of artists who are focused on helping members learn about art and showcase their work. John Derry Pixlblog John Derry is a pioneer of digital painting and one of the original authors of Corel® Painter. John’s authors a wonderful blog to follow with helpful information and resources for the digital artist. Pixel Alley Founded by Jinny Brown, Pixel Alley is one of the primary educational forums

on the web. Jinny offers support to users of Painter with many interesting and enlightening links.

Books and DVD Training Perhaps you learn best by watching a video, DVD or reading a book. Artists tend to be visual learners so DVD’s and books are a great alternative to travel or going on the web. There are many wonderful training DVD’s available to you including those that come with the software such as Corel Painter and Painter Essentials. These products offer a solid fundamental approach to learning the software. I have highlighted some of my favorites for learning Corel Painter. Jeremy Sutton Learning Corel Painter X with Jeremy Sutton Painter X Creativity Cher Threinen-Pendarvis Painter Wow book series John Derry

Painter 11 Essential Training My final advice to the beginner digital artist is to take the time to find what works for you; look for instructors that encourage you to be the best you can be, instructors that challenge you and help you see your full potential. It has been a wonderful journey for me to see the growth in the digital art community and the generous support from many of the finest instructors and artists who give of their knowledge and talent so graciously.

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Marketing Buzz By Tim O’Neill

3 Steps to Build Your List A tremendous amount of time and effort goes into building the email list here at Digital Paint Magazine and Digital Art Academy. It is one of the means of communication that we have with you, the individual who loves digital art. My personal art sites are currently scheduled to undergo a major overhaul. Sadly they get neglected as the Magazine, Academy and other sites tend to use up time and money resources. When they are refurbished in April I will also beef up my email list building efforts. If you are a traditional studio that wants to communicate with your clients and prospects or hybrid boutique studio that wants to sell more art developing your list building chops is paramount to your success. So let’s look at a three step guide that will help you get started or help to improve your list building activity. Step 1: Create an Opt-in page and put an opt-in box on each page of your site. Really this is fairly simple. The best way to start promoting yourself in my opinion is to start with a blog. Dump the super creative popular whiz bang sites that use a flash component. They stink for traffic. Being in an industry that is predicated on an awesome visual appearance this is difficult for many of us. Bottom line though you may have a pretty site but if it gets no traffic it is useless yes? (this is another rant for another day) So start with a Wordpress Blog, where you pay hosting NOT the freebie one. We will put up two pages first. The first page offering FOR FREE something that most of your potential clients want or need and giving them a way to “opt-in” or subscribe to receive what you that which you are offering. The second page will be a page for thanking your new subscribers for giving up their contact information, thank-you page. Step 2: Use an Auto responder or list management system to make Digital Paint Magazine - February 2011

your list building easier. As your list grows it become more difficult to manage, you will want to automate as much as you can. Simple things like subscribe and unsubscribe become a time sink even with a few hundred subscribers. Using a professional auto-responder system like Aweber or infusionsoft, Constant Contact ect will make life much easier. Another reason to use a system is to make sure you are adhering to the ICANN spam laws. I detest spam as it drains resources as well as being a privacy issue. By using a double opt-in system you and your clients can be sure that you are doing what you need to be doing to alleviate as much spam as possible. Double opt-in just means that when someone comes in on the list another email goes out to them saying are you sure? This prevents spammers from using your info to opt in to a site because no matter who put in the info the second email goes to the email address listed. Finally a list management system will make sure you emails are delivered. If you try to use your gmail account or hotmail or something like it chances are your emails are not going to make it to your prospects or clients anyway. The top professional auto-responder companies use servers that are white-listed or A-listed. That means our correspondence has a better chance of actually making it to the folks that want it. There still are some challenges that way. Hotmail and other free accounts sometimes will make the decision that a piece of email is junk or spam and block it from you...even though you asked to be on the list. Step 3: Create a tool for an incentive. What I mean here is that you want to create a tool that will help incentivize your prospects to open the conversation, or in this case leave an email address and name. To do that put yourself in a place of service. Ask yourself some questions like: How can I really serve my 36


clients and potential clients? What do they need? What challenges do they have I can help solve? When you answer those questions then take the time to develop a report, ebook, or short audio program that will help them. Then GIVE that away when they opt-in to your list. Make it awesome and useful content for them. These days with all of the hacks out there many of us are very cautious about giving away our email address. I am like many of you in that I have 150-200 emails daily, it is a chore to go through them so I don’t want junk to come in on top of the items I need to run my business. These are the primary steps to starting your list. The final thing will be to consistently give more information and keeping communicating. Statistics show us over and over again that the highest number of sales and revenue come from a 1x weekly mailing. In my businesses it is usually more like 2x a month unless there is something special going on. Be you, be genuine and transparent and remember that this is a relationship building process. People buy from people they know like and trust.

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Contents

4 . . . . . . . . . . Dwayne Vance 6 . . . . . . . . . JuliAnne Jonker 7 . . . . . . . . . Marilyn Sholin 8 . . . . . . . . . Scott Dupras 9 . . . . . . . . . Tim Oneill 10 . . . . . . . Darton E Drake Digital Paint Magazine - February 2011 Digital Paint Magazine - February 2011

11 . . . . . . . Heather Michelle Bjoershol 12 . . . . . . John Derry 13 . . . . . . . Marco Bucci 14 . . . . . . Odwin Rensen 15 . . . . . . Thom Rouse 16 . . . . . . Wayne J . Cosshall 17 . . . . . . Woody Walters 18 . . . . . . Jane Conner-ziser 19 . . . . . . Darrell Chitty 20 . . . . . . . Summit Dates 2 39


Dwayne Vance

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I graduated from Art Center College of Design with a BS Degree in TransportationDesign . I began my design career with Troy Lee Designs in Corona, California, as a designer of high-end motocross protective gear . I then became a Senior Designer for Mattel, Hot Wheels division . While at Hot Wheels I designed and developed several cars and led teams for entire toy lines . I eventually returned to Troy Lee Designs . There, I continued to design cutting-edge motocross gear including the SE2 helmet and other protective equipment . I now have my own company, “Future Elements - High energy art and design-” and do work for companies such as Mattel’s Hot Wheels, Batman and entertainment divisions, Hasbro’s Transformers and Star Wars division, Texaco, Oakley, Warner Bros, Mazda, Chumba racing, Upper Deck, Blackstar Paintball, Arctic Cat snowmobiles, Corel Painter, Jada toys, Fly Racing, Troy Lee Designs, Flying Lizard Racing, EA Games, Activision, DC Comics and a few others . My designs have been widely published in magazines and books including “How to draw Hot Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

Wheels the Hot Wheels Way” and “35 years of Hot Wheels”, Official Corel Painter magazine, Imagine FX, Car Culture Deluxe, 2d Artist magazine, Digital Painting Techniques and Secrets of Corel Painter Experts .I self published my own book along with 12 other hot rod artist called “The Hot Rod Art Book: Masters of chicken Scratch” and now The Hot Rod Art Book: Masters of Chicken Scratch Vol 2 . My art work is featured at the Peterson Automobile Museum in Los Angeles, California . I have a series of my own prints and artwork based on Hot Rod and Muscle car art that are created in mixed media’s . You can find the artwork for sale on www.mastersofchickenscratch .com

www .MastersofChickenScratch .com www .FutureElements .net

Dwayne Vance’s passion for design started at age 3 when he started drawing pictures on his closet door . His natural talent became apparent at that early age, and was nurtured through art classes that began when he was just 5 years old . Cars became another passion, as his childhood collection of Hot Wheels grew into the hundreds . By junior high school, his love for cars and talent in art were converging, and Dwayne knew he would become a car designer . He began his design career with Troy Lee Designs in Corona, California, as a designer of high-end motocross protective gear . Dwayne then became a senior designer for Mattel, Hot Wheels division. At Hot Wheels, he became a prolific designer, developing everything from Hot Wheels cars to entire lines of new toys . Following his success at Hot Wheels, Dwayne returned to his roots at Troy Lee Designs . There, he continued to design cuttingedge motocross gear including the SE2 helmet line and other protective equipment . He now has his own company “Future Elements” - High energy art and design- and is in demand for companies such 40 3


as Mattel’s Hot Wheels, Batman and entertainment divisions, Hasbro’s Transformers and Star Wars division, Texaco, Oakley, Warner Bros, Mazda, Chumba racing,Upper Deck, Blackstar Paintball, Arctic Cat snowmobiles, Corel Painter, Jada toys, Fly Racing, Troy Lee Designs,Flying Lizard Racing, EA Games and a few others

hot rod artist called “The Hot Rod Art Book: Masters of Chicken Scratch” . His art work is also featured at the Peterson Automobile Museum in Los Angeles, California, in the Museum’s Hot Wheels collection . In a new venture, Dwayne launched a new online store called MastersofChickenScratch .com and it features all of his artwork and art books .

Dwayne’s skill as a designer is deeply rooted in his love for automotive art . His Hot Wheels design drawings have been widely published in die cast car magazines and books “How to draw Hot Wheels the Hot Wheels Way” and “35 years of Hot Wheels” . Recently he published his own book with 12 other

Dwayne Vance has a Bachelor’s Degree in Automotive Design from the prestigious Art Center College of Design in Pasadena, California . His hobbies include spending time with his wife and three children, restoring his 1967 Pontiac Bonneville and riding his mountain bike .

Design and Render Vehicles Some quick basics to getting set up to use Painter. 10min 1 . Set up a quick drawing pallet for yourself .

Some basic Perspective Principles 1 . Creating wheels for your vehicle . How to make your wheels in the correct perspective

Using the major and minor axis principle. 10 min 1 . Using wheels as your proportioning scale . Using a side view to measure out your ¾ perspective view . 5 min 2 . Draw car using Painter and talk about different design languages . How to use those design languages to create you final design. 15 min 3 . Make textures by using markers, pencils, paint strokes, 5min 4 . Talk about rendering process using Photoshop . Talk about reflections and different surface treatments on vehicles . Man made surface vs natural surfaces . How to use different rendering techniques in Photoshop and Painter . Render vehicle drawing . Using vignette techniques to make eye flow through the design. 25 min 5 . Using textures to add further interest to your vehicles and design . 5 min Question and answer time . 15min

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o create s of art for

nker has every gree availProfessional s of America ates at the gional, and including aster of Degree raftsman Degree complete rds and o see more work, visit ry .com

Mixed Media Painting with JuliAnne Jonker Coming from a background in traditional painting, in recent years I have enjoyed some of the digital tools available to photographers allowing us to create mixed media paintings from our photographic images . I believe it is paramount that photographers learn basic traditional art principles, and study fine art painters (both past and present) as part of their training for digital painting . I will be touching on a few of the art principles that I think are most imperative to a successful painting in any media but especially for photographers . We will look at real examples of where these fundamentals are being used successfully . I will also share my personal step by step thought process in using photoshop as well as painter to complete my mixed media paintings . This class would be appropriate for any art lover from beginner to advanced . See you there!

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Marilyn Sholin

Webinar: March 2, 2011 Digital Artist Toy Box For a change, let’s not take things so seriously . This webinar is about freeing your mind from the “rules” and details that often get in the way of allowing your creativity to flow.

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Corel Painter Master M .Photog .CR PPA, photographer, artist, author, educator With over 25 years as a professional photographer, author, artist, and speaker, Marilyn knows how share and teach her techniques in a manner that inspires others to go further with their art and photography than they ever dreamed .

I will show how I release my creativity and let my own mind wander over images to create paintings that please me and broaden my scope of subjects, colors and styles . Using a variety of software including Corel Painter 11 I will share my thoughts as I choose brushes and probably make plenty of mistakes also . Without mistakes there is no journey to the finished piece of art. It’s through the mistakes and the exploration of new methods that we find ourselves in that special place where creativity hides . There is nothing I like more than the Digital Toy Box full of brushes, filters, plugins and variety of colors to explore . Join me in this one hour journey while I try to create “Magic” and have more fun and creativity . Our journey will also include some specific instruction step by step on techniques to spice up your digital art and will also include my workflow for finishing the files before printing. Join me in the Digital Toy Box Journey

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Scott Dupras

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Scott began his photographic career as a full time professional in 1987 when he and his wife Julie purchased a wellestablished portrait studio in Marquette Michigan .

Digital Paint Magazine - February 2011 2011

Scott holds the degrees of Master Photographer, Craftsman and master of electronic imaging . Scott has received numerous awards at the regional and national levels . In 2004 Scott received the prestigious ASP Gold Medallion award for his print titled “An Artistic Passion” . He has received over 38 loan collection prints from the Professional Photographers of America . As an approved national juror, Scott has judged at the regional and national levels . Scott has presented programs on his successful portrait techniques, hand painting backgrounds and utilizing the Corel Painter software throughout the continental United States, Hawaii and Puerto Rico

Creating an Environmental Pastel Portrait

This program will show Scott’s techniques for creating a pastel portrait in Corel Painter . He will discuss the use of papers and various chalk variants as well as how you some tips and tricks that will help to make your digital pastels emulate traditional media .

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Tim O’Neill

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Tim began his career as a photographer working in a darkroom lab and processing film for a local company in his high school years. An express desire to travel and become a professional photographer led him to the US Navy in 1979. Trained as a photojournalist at the US Navy Schools of Photography in Pensacola, FL. Tim finished his Navy career attached the Combat Camera Group at the Atlantic Fleet Audiovisual Command in Norfolk, VA. Since 1979, there

Digital Paint Magazine - February 2011

have been many different directions of study Tim has pursued: fine art, photography, marketing, personal development and entrepreneurship. The digital revolution found its way to Tim’s studio in 2002 and now commissioned mixed media portraits are becoming more and more prevalent with discriminating clients. On the entrepreneurial side Tim has owned various franchises and start-ups in several industries including the health and fitness, insurance, investment, securities, automotive, fine-art and photography areas. Current pursuits are building his online businesses and working with his commissioned portrait clients. A passion for time freedom has led to serial-entrepreneurship and an in depth pursuit of internet marketing. Tim is the founder and CEO of Tim ONeill Studio and Prosperity Publishing Global, a company that specializes in producing educational materials for for photographers and other visual artists. The Digital Art Academy, Mamarazzi Academy, Digital Paint Magazine and Digital Painting Forum are part of the Prosperity Publishing teams internet real estate. Tim also founded Life By A Vision, an internet marketing company specializing in teaching and training fellow entrepreneurs abundance creation, personal development and business skills. Mamarazziguides.com is the most recent addition to the company. The new internet company is designed to educate and train work from home parents in the area of photography and art. Tim has four children ages 23, 20, 9 and 4. The ONeill’s lives in Nebraska, USA. 844


Darton E Drake

Worked for and with Life Magazine photographer •  Frank Scherschel – 1971 -1972 •  Owned and operated a photographic portrait studio in Baraboo - 1973 – 2008 •  Chicago studio 2008 – 2010

Professional Photographers of Wisconsin Achievements

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Born in Madison Wisconsin lived there until the age of four and moved to Baraboo Wisconsin Lived in Baraboo Wisconsin until the age of sixty Presently in Chicago Associate degree from Madison Area Technical School in Commercial Art Bachelor’s degree in Fine Art from Layton School of Art in Milwaukee Wisconsin

•  Photographer of The Year – eight times –Portrait •  Photographer of The Year – one time Portfolio •  Photographer of The Year EI completion – once •  Photographer of The Year Northern Lights – once Numerous traveling loans and court of honor awards

Professional Photographers of America Achievements

The Journey I would like to show and discuss my thought patterns on how we might go from the power of the raw image to the transformation from it’s cocoon . The journey through the heart and mind using the knowledge of our applications and our art to serve how the image speaks to us of it’s needs . We must learn to listen patiently and have a oneness with the image . We must live in the now, without interruptions to the relationship . When the journey is complete you will hardly remember the details of it, only that it was a beautiful one .

•  Masters Degree •  Craftsman Degree •  Special award for more than twenty-six national loan prints accepted •  National Lecturer for twenty years Lectured in Canada and Puerto Rico

My enthusiasm for the photographic arts is stronger now than when I started!

Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

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Heather Michelle Bjoershol

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Heather Michelle Bjoershol was born with a paintbrush in hand . From early on she would paint anything with any medium she could find. In 2004 Heather’s work won her top honors in her PPA state convention and a Loan Collection print later that Summer . In Decemeber, 2005, two of her portraits, “Little Miss” and “Not a Girl, Not Yet a Woman,” were chosen for Ballistic Publishing’s “Painter” book . Among thousands of entrants only a 135 artists were chosen to represent the world’s most talented digital painters . In 2006 Corel has used Heather’s image “Little Miss” in their photography magazine ads in North America and Europe . In February of 2007, Corel named Heather as one of their Painter Masters and has included several of Heather’s paintings in their advertising for Painter X . Her painting, “Blue” was featured on the back of the Painter X packaging and can be seen in various magazines as their ad image all around the world . Several of her paintings are featured in Painter XI’s advertising and within Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

the program’s revolving gallery . Heather has been interviewed and featured in various magazines such as After Capture, The Official Corel Painter Magazine, and Digital Photo Pro UK . Many paintings of Heather’s are featured in PPA Loan Collection books over the last 6 years . In 2011 she will be teaching an all day seminar at Imaging USA in San Antonio, TX on how to utilize Painter to create Impressions of John Singer Sargent . Heather has been teaching Corel Painter at workshops and PPA affiliate schools for the last five years . Her thorough and easy-to-follow Corel Painter tutorial DVDs series “Breaking Out of the Box” have received rave reviews and are available at www .HeatherThePainter .com .

Smoke & Mirrors - Painting Backgrounds with Depth & Interest In this webinar Corel Painter Master Heather The Painter will take you through a few simple steps to create backgrounds with depth and interest . Learn how to choose colors that will compliment your subjects as well as subconsciously bring the viewer’s eye straight to your focal point . With a few simple brushes that will add both color and texture, and a fool proof way to select color you’ll have breath taking backgrounds in no time!

Beginners welcome!

“Heather was a wonderful student, and her work is equally wonderful—creative, original, and a credit to her background in photography.” Helen Yancy, PPA Certified, API M.Photog, M.Artist, MEI, Cr. Hon.M.Photog. F--ASP, Hon.F-ASP, A-ASP, F-BIPP Past President, Professional photographers of America

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John Derry

Visual Vocabularies: Interpreting Photography into Painting I like to think of various art forms as each having a unique visual vocabulary . Painting, for example, has a unique visual vocabulary: brush strokes, canvas weave, and oil paint’s color range are attributes unique to a painting . Likewise, photographs have a unique vocabulary . Key elements of the photograph include sharp focus, depth-of-field, and high detail.

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John Derry is a pioneer of digital painting and one of the original authors of Corel® Painter™ . Since 1985, he has leveraged his background in drawing and painting to advance the look and experience of traditional art-making tools on the computer . John has a master’s degree in painting from Cranbrook Academy of Art, is a practicing artist and photographer, and has two U .S . patents relating to expressive digital markmaking . Adobe in 2010 designated John as a Photoshop Painting Pioneer . John teaches digital painting workshops internationally and holds a Photographic Craftsman degree from Professional Photographers of America . John is a lynda .com author specializing in digital painting titles .

Digital DigitalPaint PaintMagazine Magazine--February February2011 2011

As photography and digital tools have converged, there has been a growing emphasis on modifying a photograph from its original appearance . This is not new to photography; in fact, subjective decisions are applied to an image at the moment of exposure . The appearance of software such as Painter and Photoshop—coupled with the phenomenal growth of digital photography—offers photographers and artists even more expressive choices with regard to the photograph . A current trend is the interpretation of a photographic source into a traditional painted appearance . This session describes the implementation of visual vocabularies to expressively interpret your photographs into successful painting .

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Marco Bucci

Have you ever wanted to take a vision, dream or special imaginative place and put it on canvas, paper or monitor? This webinar demonstration and lecture is for painters who wish to create compelling, beautiful digital paintings completely out of their imagination . I will be discussing and applying the basic painting fundamentals that I teach in my classes, such as drawing, value, composition, and color . You will learn how to approach a digital painting, and gain valuable insights on painting convincing light and form without the aid of reference .

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Marco Bucci has roots in traditional art . On his journey to becoming a painter, he spent years obtaining foundational drawing skills, studying from life . That eventually led him to discover oil painting, where he began to develop an accurate, powerful sensibility for light and color . Soon after, he fell in love with painting digitally . Marco regards digital painting as a great opportunity to use his traditional experience in addition to skills with digital tools, to create beautiful paintings that have a life of their own .

Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

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Odwin Rensen

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Born almost 39 years ago in a town nearby Rotterdam, The Netherlands, he discovered at a young age his creative abilities . He started drawing many different things and by doing that he found his love for making portraits . Although he went on a different path in his professional career as an IT specialist, his ambition to be an artist never left him .

Webinar In this webinar we will have a closer look on how to paint portraits and in particular aged faces . Although it is much harder to paint aged faces it gives us more room to experiment as is contains much more structure and texture than young faces . In this webinar I will demonstrate the use of several brushes and techniques to paint aged faces as well as my technique of creating a classical background and how to compose it in according with the subject like the choice of colors, shadows and highlights and masking . Next to showing you my technique and the way I build up my paintings I will speak out my thoughts during the process of painting as these will reveal the choices I make while I paint . Sometimes making mistakes turns out to create the best solution for a particular problem or to discover new things . So don’t miss out on this great tutorial and join me on this webinar .

Through the years he found the ideal mix to combine his passion for painting and curiosity for technique in the form of Digital Painting . And in recent years he is getting more known his digital portrait paintings as his work can be found in some Dutch art galleries and fairs as well has his work been published in several digital media magazine like Advanced Photoshop and Official Corel Painter Magazine. His style could be described as classic as he is a great admirer of the old Dutch masters like Rembrandt and Vermeer . His ultimate goal would be to be a modern time’s Rembrandt . Digital DigitalPaint PaintMagazine Magazine--February February2011 2011

For more information on commissioned portraits or general questions: Odwin Rensen +31 6 26096394 odwin@studioodwin .com www .studioodwin .com (will be online soon)

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Thom Rouse

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“After the Camera—Before the Print: Photoshop as a Creative Medium” For many of us Photoshop has become more than a post-production tool to repair and enhance our photographs . For some of us Photoshop has become an all-new visual medium unto itself—a blank canvas from which we create an all-digital image . Thom will be demonstrating the process and techniques he uses in Photoshop when creating in the computer . To paraphrase Ansel Adams . “Photographic images are our instruments—Photoshop is the performance”

Thom Rouse began his career as a portrait-wedding photographer in 1993 . Based near Chicago, he now divides his time between commercial, fine art, and commissioned fine art images, with his clients as the central subjects of his pieces. His conceptual fine art images utilize real world photographs blended and manipulated to create an alternative to real world perception .

Thom holds the PPA Master of Photography degree, the Award of Excellence, the Master of Electronic Imaging degree, Photographic Craftsman degree and is a Fellow of the American Society of Photographers . He holds three Diamond, four Platinum and one Gold Photographer of the Year Awards from the PPA . He is three time recipient of the Illinois Photographer of the Year and MARC Photographer of the Year, 2010 . Other awards include numerous Kodak Gallery and Fuji Masterpiece Awards, 40 images in the PPA and ASP Traveling Loan Collections, and the ASP Gold Medallion in 2006 and 2010 . Thom’s work has been exhibited throughout the United States as well as in Canada, China, Japan, Korea and Europe . Digital Paint Digital Paint Magazine Magazine -- February February 2011 2011

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Wayne J. Cosshall

Wayne has been a teacher, educator and communicator all his adult life . He started his university teaching career whilst still an undergraduate student himself. He created his first computer graphics image in 1979, built his first computer in 1980 and constructed his first digital camera in 1986. He cut his teeth on photography as a child doing astrophotography, hooking cameras up to the telescopes he had and built . This grew into a general interest in photography and art . He has exhibited his photography and digital art (predominantly mathematical and fractal imagery, up until quite recently) in group and solo shows within Australia, including invitational survey shows, and internationally . He was Assistant Director of the prestigious International Digital Art Awards for 5 years and has curated several major exhibitions .

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Wayne J . Cosshall is the publisher of Digital ImageMaker International www .dimagemaker .com, Photography Wisdom in book (Amazon) and app for iPad forms and involved in a number of other Internet publishing ventures . He exhibits his digital and photographic art nationally and internationally .

Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

Wayne works in series . His two great imaging passions are infrared photography and digital collage . A number of recent infrared series includes “Better to be a wolf than a sheep”, “Mullock heaps of central Victoria”, “Infrared panoramas” and “The rural landscape” . He is working on a substantial collage series called “Road to Elysium” that delves into the esoteric and another series interpreting the Kabbalah through imagery .

Infrared Photography Webinar This webinar introduces you to shooting infrared images using digital and film cameras. Infrared photography is a beautiful, yet different way of seeing the world using a part of the light spectrum that our eyes are not sensitive to, but digital cameras are . It results is a stunningly different look to landscape and people photography . Topics covered include: ♦ What is infrared and why is it interesting ♦ How digital cameras work with infrared ♦ Converted vs normal digital cameras for infrared ♦ Filters ♦ Photoshop handling of infrared images It takes you through what you need to get started and guides your experimentation in infrared .

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Woody Walters

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Woody Walters has become one of the nation’s premier artists . Walters’ photographs are a celebration of renewal and change . In his latest portfolio “Reflections of Christ,” Walters has pushed the boundary of photography to new and exciting limits allowing him to give a visual testimony in strikingly complex imagery . During a career that spans decades, Walters evolved from a commercial photographer and fine art black and white landscapes artist, to one of the newest Christian artists . His client list included Walt Disney World, Blockbuster Video, Ilford Photo, Mamiya Camera, Calumet, and Burger King .

The reason for the inspiration for “Reflections of Christ” came from a very spiritual place within his heart . “After viewing the many negative portrayals of Christ that are found in art today, I felt compelled to take a positive approach to the depiction of Christ . With the experiments in combined imagery this work is now a reality .” Through his diverse portfolio subjects, Walters’s work is sought after and appeals to a very wide audience . Walters’ works appear in museums and galleries throughout the world, including Ansel Adams private collection, the Smithsonian, the Tampa Museum of Art, the Yergeau-Musee International d’Art in Canada, the Milwaukee Art Museum, the Hoyt Institute of Art, the Pensacola Museum, the Madison Museum of Art, a private collection at the Vatican in Rome, and is featured in many international tours with the United States Embassy .

2003 . Sixteen images were chosen for the prestigious loan collection and he received the coveted Medlar Award for the top portrait at the April 2000 affiliated competition. In 2005 he received the Imaging Excellence Award from Professional Photographers of America . To date Walters has collected an astounding eight Kodak Gallery Awards and two Fuji Masterpiece Awards . He is one of the only photographers to receive two perfect scores in print competition for his images “My Ex Wife” and “Born in the USA .” Walters contributes to many business and industry magazines on a regular basis and is in demand on the lecture circuit . He teaches across the country offering photographic workshops for beginners to the very advanced and his self published instructional DVDs “Inside Woody’s World” has been highly regarded by professionals .

Walters has been in the top five photographer’s in Iowa seven times . He has also received the Top Heart of America Photographer five times, a record in the state of Iowa . He received his Masters and Craftsman Degrees from PPA in July

His black and white landscapes are reminiscent of Ansel Adams and depict the beauty of nature’s diversity . The portfolio ”Faces In Time” takes the viewer back to an age of Americana that is forever lost . One of the images from that portfolio, “Lill”, was purchased for donation to the Smithsonian . In 1994 his distinctive photographs of Florida were published by the University of Florida Press in a book entitled, “Visions of Florida .” Digital DigitalPaint PaintMagazine Magazine--February February2011 2011

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When he is not teaching he is doing what he loves most, creating images and teaching digital imaging at his website digitalphotocandy.com Digital DigitalPaint PaintMagazine Magazine--February February2011 2011

Learn how to add Digital Makeup to your subjects to add drama for illustrative portraits. In this hour, you will learn how to add makeup to cheeks, lips,eyes, and eyelashes. You will also learn creative eye en-

hancement for dramatic results. Learn how to sculpt the face and add interest. You can’t just slap any old portrait into an illustration, Woody’s techniques will show you how to take it to the next level. 17 53


Jane Conner-ziser

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Jane is a photographer, digital artist, premier educator and independent consultant . With over 25 years of experience, 19 of them in digital imaging and evolving technologies, the techniques Jane developed for facial retouching and enhancement and portrait painting are widely emulated by photographers and digital artists worldwide through her classes and educational products . She was named as one of Canon’s Explorers of Light in their PrintMaster program, is an Adobe Photoshop Expert, a Corel PainterMaster and a Craftsman Photographer of the Professional Photographers of America . In addition, she is past co-chair for the Digital and Advanced Imaging Committee for the Professional Photographers of America . Considered to be one of the most versatile artists in the industry, Jane’s engaging style, impressive knowledge of her field and her easy and entertainDigital 2011 Digital Paint Paint Magazine Magazine -- February January 2010

ing way of presenting challenging material make her one of the most significant educators in the industry today . I think in my session I’ll spend some time with you going one step beyond the basics in classic portrait painting and show you some of my favorite techniques for painting some of the more challenging things, like hair - I love to paint hair! - and how to construct clothing - and how to add details, jewelry and decorations that were not in the original photograph . After all, if the painting doesn’t look different than the photograph, no one will want to spend extra money for it! AND, I think I will use the default brush set to make it even easier for you to follow along . For me, the joy of painting is using the photograph as an inspiration for a fantasy and the best part is decorating it after the drudgery, oops - “repetitive - of underpainting is completed . It’s easier than you think!

task”

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Darrell Chitty

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Darrell Chitty, is the owner of Darrell Chitty Fine Arts and is located in the Shreveport/ Bossier area of Louisiana . Darrell is not just a photographer, he is a 21st century artist who paints with not only a brush but with his camera and computer .

Darrell creates impressionistic masterpieces by combining his modern technological skills with an abiding appreciation and in-depth knowledge of art history and the age-old techniques of the Old Masters .

“Once in a blue moon you meet a person that has the passion, talent and drive to create outstanding artistic impressions of the world around them. Darrell is that person. His understanding of all of the elements of color and design give him the ability to create beautiful masterpieces on a consistent basis.” Scott Dupras, master artist and photographer

Darrell’s March webinar will focus on one painting by John Singer Sargent entitled “Interior in Venice” painted in 1899 . By taking an image of a lovely elderly couple captured in their beautiful and historic of home, Darrell will apply Sargent’s style . Special focus will be placed on Sargent’s compositional skills, limited detail and brave brush stroke . Participants will see the entire painting develop from start to completion in front of their eyes . Time will be given to answering questions with a detailed explanation of Darrell’s unique process . Total time of the webinar will be approximately 2 hours .

The consummate professional, twice named Louisiana Photographer of the Year; he conducts seminars and teaching workshops, is a professor of Fine Arts at a local college and manages a thriving business . Darrell has a following of admirers and patrons around the world .

Digital Digital Paint Paint Magazine Magazine -- February February 2011 2011

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      15  1 - Darton Drake, Tuesday—February  2 - Odwin Rensen. Wednesday—February 16      17 3 - Thom Rouse, Thursday—February 4 - Woody Walters, Tuesday—March 8  5 - Heather Michelle, Thursday—February 24        6 - Marco Bucci, Friday—February 18   7 - JuliAnne Jonker, Monday—February 28     8 - Marilyn Sholin, Wednesday—March 2     9 - Dwayne Vance, Thursday—March 3   Friday—March  10 - Jane Conner-ziser, 4   11 - Scott Dupras, Monday—March  7   12 - Darrell Chitty, Tuesday—March 1   Wayne Cosshall, Wednesday—March 9  13 -    14 - John Derry, Thursday—March 10    Friday-March 11  15 - ONeill,     

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February Issue Digital Paint Magazine