Issuu on Google+

September 2011

šDec_MW]d[hšFW_dj_d]Jh[[i_d:_]_jWbMWj[hYebehš78bWij\hecj^[FWij


Welcome to the September issue of Digital Paint Magazine. Inside you will find several goodies. On the cover we are blessed to have with us Nomi Wagner. You will find a nice tutorial and some other work of Nomi’s inside. Take the time to read her bio also. Nomi has been painting digitally for awhile - she was an outlier, an early adopter. Skip Allen and Joan Hamilton are both back with great tutorials to share and we feature Heather Michelle in the blast from the past section. In terms of events and happenings we are doing a webinar this month with Nathan Smith. You will find an ad in the magazine that is hyperlinked to a page that will tell you more about the webinar. You can also find out by just going to Nathan Smith webinar. Lots of things going on in the studio here. I am up to my elbows in painting, papermaking and some new silk painting techniques that will also incorporate digital. Also I am very close to finishing up with a contract for the new Canon IPF 8300 44inch printer. Wow, what a nice piece of equipment. While my studio is not very high volume I need the opportunity to play with a printer for some of the silk things I am doing as well as the new transfer techniques I have been working with. It should be here just in time for the Fall workshop at the studio. Well that is it for now. Be well!

Live well, Love much and Laugh often

This magazine is free to distribute by any medium. You can print it, email it, upload it on your web server. You may however not edit any part of this PDF, copy the content, or split the pages. This PDF must remain whole at all times, the content of which belongs to Digital Paint Magazine. All art and trademarks contained herein are the property of their respective owners.

Digital Paint Magazine - September 2011

2


In This Issue A Dream Vacation in Venice by Nomi Wagner

Meet Nomi Wagner Cartoon by Victor Lunn-Rockliffe

True Colours Painting Trees in Digital Watercolor by Joan A. Hamilton

The Old Masters Manet By Nadia Lim

A Blast from the Past “Watercolor” Painting of a Ballerina by Heather Michelle Bjoershol

Right Click

4 6 8 9 23 27 33

Corel Painter 12: Real Watercolor Painting Demo by Skip Allen Cover

“Tour Group in Rome” By Nomi Wagner

Digital Paint Magazine - September 2011

Marketing Buzz: Social Contacts, Six Degrees of Separation and Your Income by Tim O’Neill

35 3


“A Dream Vacation in Venice” A Tutorial by Nomi Wagner My client wanted to surprise her husband with a portrait painting for their anniversary. This is her actual email comment: “HELP!! I can’t find a photo I love!!! My favorite for the scenery is the one taken in Venice with all the gondolas... but I am not crazy about how we look. The one of us at the table I think is the best of us.”

I asked her if she would like me to use her favorite photo of them as my reference source, yet I would paint them in the Venice setting. She was thrilled. I looked at a lot of Venice photos online, and simplified the setting to be more beautiful and less cluttered. Luckily, I

Digital Paint Magazine - September 2011

Using Corel Painter, I made a digital charcoal sketch of the scene and my source photo on one layer of a .rif file.

I then inserted a layer of white above that and painted with digital watercolor on a gel layer above those two. (Although my sketches are useful for pinpointing features at first, they become distracting to me as the paintings progress; therefore, the white layer enables me to turn the sketch visibility on and off.)

4


had a photo, from a previous project, of an actual marble bench that sits next to the canal in Venice. When the couple’s portraits were completed, I extracted them from their white background in Photoshop. Then I deleted the original portrait layer and painted the background and foreground in Corel Painter on a gel layer beneath the extracted portraits, now in a default layer. You can see that I actually changed parts of the painting a few times as I was working. I enlarged the portrait layer at the end, to make the couple more prominent. To finish the painting, I dropped the layers and blended them with my Soft Blender Stump in a .psd file. Finally, I uploaded the 76 mg file to Mandalay Fine Art, my husband Digital Paint Magazine - September 2011

Gerry Beane’s studio, and he printed a 20x24 on watercolor paper for my client. Email from client: “Thanks, Nomi.... it looks great :) You are soooo talented!!!! I don’t know what to say (except) thank you from the bottom of my heart!!!”

5


Meet Nomi Wagner A graduate of USC and a Los Angeles portrait photographer for twenty years, Nomi’s clients included McDonald's Corporation, ARCO, many celebrities, and hundreds of loyal families whose lives she lovingly documented. In 1992, Nomi found an exciting new avenue to creatively express her passion for portraiture. When introduced to the brand new fields of painting and graphics technology, she was struck with a vision of what she wanted to do artistically‌ combine traditional painting and drawing with the latest developments in graphics. It was a transformative moment, taking her portraiture career in an entirely new direction! Nomi had been studying portrait drawing and art history at UCLA for several years. To further educate herself and develop her personal technique, she added courses in graphic design, color theory and

Digital Paint Magazine - September 2011

6


computer graphics. At the California Art Institute and at many weeklong workshops with top traditional artists, she studied life drawing and watercolor painting. Nomi is recognized as a pioneer in the digital art field. She is proud to be a Corel® Painter™ Master, and has consulted with programmers to develop new versions of the software. She also provides private classes in Corel® Painter™ upon request. As a young child, Nomi realized the preciousness of family with the death of her father in World War II and her beloved grandparents shortly thereafter. She spent hours poring over photo albums to recapture a sense of her family. These early losses propelled her into the careers of portrait photography and now portrait painting, so that others could enjoy their personal memories as elegant artwork in their homes. Nomi and her husband, Gerry Beane, live at Mandalay Beach in Oxnard, California. Gerry prints Nomi’s work Digital Paint Magazine - September 2011

and that of many artists and photographers, at his studio Mandalay Fine Art, in Ventura, California. They have five children and ten grandchildren. Nomi’s mission is to bring fine art into people’s homes by creating portraits of their loved ones. It is her wish to have everyone surrounded each day with beautiful images from their lives. She is deeply grateful to her clients, friends and family for their continued support, which has allowed her the opportunity to make portrait painting her life’s work. 7


http: //cargocollective.com/victorlunnroc Digital Paint Magazine - September 2011

“The Devil in the Detail�

Victor Lunn-Rockliffe 8


Painting Trees in Digital Watercolours

An excerpt from My New Lessons on Painting Elements in the Landscape JoanAHamilton.com

Trees, trees and more trees! One of the world’s most painted subjects and there is a multitude of ways to paint them in any medium. This article is about using some specific watercolour brushes and techniques to paint a few of them digitally. Trees are such an integral part of many landscapes. It makes sense if you are planning to paint landscapes to really look at trees, and paintings of trees to learn their shapes and colours. I have painted many trees (is there such a thing as too many?) in the past 5-6 years as a digital painter and my techniques are always evolving. I love to experiment with new brushes, but every now and then one brush will become a favourite. In fact, more than a favourite – an essential in your brush palette.

Digital Paint Magazine - September 2011

9


This is Skip’s brush Splashing Water Digital Square  Pool Blender on its default settings. You can see the  dark wet fringe which can be adjusted, softened,  diffused, blended outwards and all kinds of lovely  things. You can do this by maneuvering this brush in  different directions and varying the pressure on the  stroke. This is a great ‘responsive to wrist action’  brush!  

Digital Paint Magazine - September 2011

This is my modified version of the brush. Compare the settings to  see where the differences lie. I use a lot less wet fringe and  change the squeeze, the size and the angle on the fly as I’m  painting with it. I have also chosen Gradient  in the Colour  Variability and used Jungle Greens for the colour to get a mixture  of greens. You can also add additional colour by changing to a  straight Hue in the Colour Variability. 

10


Adjusting the Wet Fringe Really  Changes the Appearance of your  Edges 

The wet fringe in this is at 60% which is darker and harder.  It’s often a good point  to start from before blending and  softening some of these edges.

The Wet fringe percent can be adjusted and will, in fact  change as you switch from brush to brush (if they have  different wet fringe settings) if your digital watercolours  are still ‘wet.’ Until you dry them the wet fringe is subject  to change. So, if you really like the edges you have! you  need to dry them to make sure you keep them. This  shows the wet fringe at 25%. Zoom in to see it more  closely.  

Digital Paint Magazine - September 2011

Use a slightly diffused Digital Watercolour blender  unsaturated (such as my DWC WIW) to blend. Vary the  blending between diffusion and no diffusion.  Settings for  this brush are further along in the article.  

11


Use the Square Pool Blender to paint some negative  shapes in your trees. As you can see! I am not painting  the leaves, but rather the spaces between the leaves.    You can vary the look of your ‘suggestion’ of leaves in  your watercolours by altering the size, angle, the  squeeze, and adding a little bit of jitter to your Dig"#$%  Square Pool Blender.    This a point that you can also add some captured dab  brushstrokes for variety. It will help add dimension to  your trees. They need areas of light and shadow  

This is the same thing as &mage 7, except the  watercolour layer has been turned back on.  The  colours are a little wild and the shapes a bit overdone  for trees! but I wanted you to be able to see the shapes  and how the wet watercolour underneath influences  the overall shape of the trees. 

TIP: The negative spaces shapes on the Digital  Square Pool Blender layer  ('ayer one in the diagram)  can be altered by using the same brush Squeezed  and angled to the left (Unsaturated). 

Digital Paint Magazine - September 2011

12


Some examples of  ways to use this  technique

Digital Paint Magazine - September 2011

13


Painting a Leafy Tree With Captured Dab  Brushes 

I used a couple of captured dabs in this. I changed  them to digital watercolours first because I planned to  use the  DWC WIW Blender to blend colours and vary  edges. As I mentioned earlier change your size, angle,  squeeze, colours from hue to gradients as you are  going along. You don’t  want to have too many of your  shapes look the same.   This view is after some blending  has been done, and  has the digital square pool blender layer turned off.     There are many Captured dab shapes among Skip  Allen’s and Karen Bonaker’s  Custom Brush Sets.  Experiment  with them. Learn how to make your own!  

Digital Paint Magazine - September 2011

14


Using Brushes with Captured Dabs for Leafy Trees   An important concept in painting digital  watercolours is that you have to look at  what goes on to your canvas from the  tip of your brush as a brush mark. Think  of the brush as a mark making tool,  rather than a ‘tree brush.’     Because brushes have to be named,  somehow they tend to get these kinds  of names.      I think in a lot of cases the brush  designer meant it as a brush that makes  a certain mark you would like to make  when painting trees.    The captured dab shown on the left is a  good example of what I mean. The way  it looks painted here is as if I dabbed a  loaded wet brush on the canvas and  allowed the colours on my brush to  mingle a little. I was using a Jungle  Green Gradient as the main colour.  

Digital Paint Magazine - September 2011

15


Another Interesting Captured Dab that is  useful for leafy trees  This captured dab is from SA RWC Raw  Dry Flower Parts   This dab has also been changed to a  Digital Watercolour Brush.     Varying pressure, changing the jitter,  changing the size, squeezing it,  changing the angle  and so on all  change the look of this dab and  therefore the look of the brush mark  you are making.      Experiment with it, and don’t forget  save your favourites as your own  brush variants. I like to change mine  on the fly because I get more  variables that way!  

Digital Paint Magazine - September 2011

16


Add additional shapes and colours by manipulating  the paint already on the paper  Use the Unsaturated Squeezed  Square Pool Blender to move  the paint around to give you  some jagged edges . Pull  different colours around with it.  It’s very versatile for altering  the shapes you have on your  paper.  Remember how it gave  us the nice sharp branch edges  in the coniferous trees.   Another brush to experiment  with!  Change your size, angle, squeeze,  colours from hue to gradients as you  are going along. You don’t  want to  have too many of your shapes look  the same.   This view is after some blending  has  been done, and has the digital square  pool blender layer turned off 

Digital Paint Magazine - September 2011

17


My Custom Digital Watercolour Wet Into Wet  Blender  ‐ Brush Settings  

My Favourite Digital Watercolour  Blender     This is one of my staple brushes and I  use it in various ways in my painting  process.  It is one that I change the  diffusion amount on quite often, as  well as the size. You might have  better results calibrating it to your  own pressure levels, although I have  included mine here.     TIP: When blending and softening  edges don’t get too carried away with  it. If you leave a variety of edges and  blends of colours it will look more  like wet watercolours.   

Digital Paint Magazine - September 2011

18


A Fine Tip Digital Watercolour is a simple  choice for soft branches and trunks.   Painting Branches on Leafy Trees 

   I don’t pretend to be an expert at it, in fact, too many  of my trees end up looking the same. A problem I  think we can all have from time to time.  A good  suggestion comes from !"#$"%&'()*+%,-+./&0""1&23+& 4(5+#)"6"7#-/5./&8//+%5-(6&9"5+:""1&;(%$/)(<+/=&&He  suggests !"#$%&"'("#)*+#,*+"'&-)*+ the branching  characteristics of trees.  Sounds like good advice to  me…I’d better follow it! Lol!  Maybe it will show in my  subsequently painted trees! There is always room to  learn and grow in painting digital watercolours. Your  techniques will evolve as you paint more and more.  Your own style will start to shine through.     I used a DWC Fine Tip brush on these settings in a  brown colour for the branches. I couldn’t go much  tinier to make fine branches, so thicker ones were  made with side by side strokes. The tree trunk had  some rustier brown and darker browns blended in as  well.   Try some branches with a fine palette knife such as  Gordon MacKenzie suggests. I think that would  work well on wintery trees.  

Digital Paint Magazine - September 2011

19


New Real Watercolour Brushes in Painter  12 have a great captured dab shapes for  leafy trees 

Using the Real Watercolour Brushes    I confess that I haven’t used these  brushes and mastered them in any kind  of way as yet.  I do however, use the  captured dab and change the method to  a  Digital Wet Brush sometimes.   The hardest thing to control with the  new Real Watercolours  (for me)  is how  much it diffuses and dries afterwards. I  end of thinking …that’s not the mark I  made, so I Pause the Diffusion and dry  the layer to keep the colour, shape and  edges I wanted.   

Digital Paint Magazine - September 2011

20


Some General Tips on Painting Trees in Digital  Watercolours    1. Other captured dabs not from this set would be  appropriate too. I like the dabs in the Splashing Water  set a lot. Digital Closed and Open Splatter come to  mind. Try them to add texture and shape to your  watercolours.    2. Hopefully I’ve given you some ideas to experiment with!   The point  of this is to give you a starting off point. You  will go on and develop your own style of painting trees.     3. Remember to use lots of layers in your watercolours  and do use a mixture of Wet Watercolours, Digital  Watercolours and the new Real Watercolours in your  paintings.  They each have different properties that  enable you to paint the varied shapes and edges you’ll  want in your trees.    4. Don’t be afraid to drop all your layers (or if you are,  make a clone and blend on it ) and do some blending to  accent certain areas and soften others. Don’t make it all  blended in, or the eye kind of loses interest (if you know  what I mean lol!).     5. To make your textures more cohesive and authentic ,  use the technique to wet the canvas very slightly. It  helps get rid of those flat blended or overly diffused  areas.   

Digital Paint Magazine - September 2011

6.  Remember your tree is not one 

dimensional  and will need areas of light  and shadow.  Decide where the light is  coming from and paint the undersides and  edges where the sky holes  are darker.  My  diagrams and videos show a way to get you  started with brushes that will help you do  this.      7. Practice doing it ( I still need a lot of  practice to develop my own style) and you  will soon start to get the hang of it.    8. Observe the trees around you closely and  paint the branches somewhat realistically,  but much simplified. There are many  resources on the internet for ways to paint   trees in watercolour.  Whether you are  painting digitally or not, they will give you a  better understanding on how to paint  trees.     9. I have only demonstrated a couple of kinds  of trees here, there are obviously many  more to be painted!  Happy Painting,   Joan    PS (For further demonstrations please check out my website at:  JoanAHamilton.com for  a recent post with links to two   short video tutorials on Painting Coniferous Trees with this  method. There may even be one on Painting Leafy Trees by  then. !)  21


Digital Paint Magazine - September 2011

22


The Old Masters Manet: The life of a Painting Elite By Nadia Lim Both his personal life and his painting life is an interesting introspective for any struggling painter. You see, Manet by anyoneâ&#x20AC;&#x2122;s standards was never considered a struggling artist like many of the Impressionist painters that came before or after him. Manet was part of a selection of elite in Paris whose success came easy because of their stature. He did however have plenty of personal, political and even moral issues that may have hampered or strengthened his artistry. Manet was born on January 23, 1832 in Paris, France. His family was an important one and so they had plenty of political connections to make use of. His family, because of such connections, initially did not approve of him leading the life of a painter. The mother was not only connected to the Parisian elite but to the Swedish elite as well, being the goddaughter of Charles Bernadotte, the Crown Prince of Sweden then. His father, on the other hand, was born to a family of lawyers and became a lawyer himself. Auguste Manet expected his son to follow in his footsteps however this would not be the case. He even encouraged Manet to join the Navy but Manet failed the examination twice. There are relatives though who encouraged him to follow his true passion such as Charles Fournier, his uncle, who took him to the Louvre once in a while and helped him enter into a special course where Antonin Proust was Head. Digital Paint Magazine - September 2011

Manet, Luncheon on the Grass His most famous work was and probably still is The Luncheon on the Grass, a controversial piece because of two dressed men and one naked woman on a picnic. At this time, Manet started to veer away from the realistic renditions taught by Courbet. His work was rejected however by the Paris Salon. Other paintings of the same style are The Tempest and the Pastoral Concert

23


Digital Paint Magazine - September 2011

24


Prevmious Page: Manet, Young Girl on the Threshold of The Garden at Bellevue Because of his frustration regarding the Paris Salon, Manet became friends with other Impressionists such as Monet, Degas, Renoir, Sisley, Pissarro, Cezanne, Cassatt and Morisot. Morisot is said to be his closest friend among the group. Morisot would eventually become his sister-in-law. Manet would go on to go through other transitions in his paintings. He painted social scenes and cafĂŠ scenes of which he was so fond of. He particularly liked to paint the upper class in many of their activities. He experimented with printing as well. He was awarded the Legion of Honor in 1881.

After his attempts to join the Navy, Auguste Manet finally allowed his son to enroll in an art course. Thomas Couture was an important name in Manetâ&#x20AC;&#x2122;s education and like many other Realist or Impressionist Painters, Manet often went to the Louvre to copy some of the old masters. Like many of the painters he would become friends with, Manet was also an avid traveler, extending his thirst for learning as far as Italy, Germany and the Netherlands. He particularly liked the works of the Spanish Velazquez and Goya. It is important to note that Manet initially trained himself to be a realist. His first attempts would show this with his careful attention to detail and his loose brush strokes. His subjects were mostly people on the streets such as singers and beggars. His most famous work of this period is the Music in the Tuileries.

Manet, The Railroad

Digital Paint Magazine - September 2011

25


Digital Paint Magazine - September 2011

26


“Watercolor” painting of a Ballerina

t s a P e h t m o r f t s A Bla

Beginner to Intermediate About an hour

Heather Michelle Bjoershol Corel Painter Master Before you start in Painter, I highly recommend making any color adjustments, retouching, sizing, and color space profiling in Photoshop or similar photo editing program. I’ve saved my final image as a jpg. Open up Painter, and the jpg image. I’ll be working from a clone source, so go to FILE>Quick Clone. Now working from the quick clone, you can see your canvas (right now it’s white) or your clone source as a ghost image by clicking CTL + T (tracing paper toggle). OR you can find this by clicking

the top right of the image on the icon with two papers. This allows me to use only one layer (thus keeping my file size relatively low) but being able to see the original image. Before I start, I’d like to change my paper texture to ARTIST CANVAS. The paper texture box can be found on your tools palette on the bottom left side. Its default is set to a smooth paper. This will allow some canvas to “show” through. ***NOTE on the brushes. I will use brushes in both CLONER (Painting with an image) and COLOR (painting with pigment, or blending) settings. To change this

Digital Paint Magazine - September 2011

27


simply look at your color wheel. If it’s grayed out, that means your brush is set to CLONER mode. If it’s in full color you are painting in COLOR mode. To toggle, click on the clone stamp icon in the color wheel box. When working in detailed areas, it’s easier to paint in CLONE mode. Then I add color on top of the areas free hand in COLOR mode. If you want to change any brush into a blender, simply dial your resat to 0. This means 0% color is being laid down = blending.***

Using the brush CLONER>WET OILS CLONER 10> as a CLONER set to: Opacity 100 Resat 100 Bleed 0 Feature 3 or more **NOTE for Painter 11 users: this brush has a “vortex” issue meaning when you stipple the brush (lightly dabbing versus long strokes) it creates a vortex stroke. To fix this simply open up your brush preferences by going to WINDOW>BRUSH

Digital Paint Magazine - September 2011

CONTROLS>GENERAL. On the Size, and Well tabs, make sure both Expressions are set to NONE and unchecked. Voila! No more vortex! I will paint and stipple in all of the image detail. This brush removes the photographic pixels because of it’s brush attributes. So I don’t have to worry about any original photographic pixels showing through. Leave the edges messy as this will be a watercolor. This brush is excellent if you ever overdo an area and just want to return it back to its original

(without photographic pixels) state. Think of this as your eraser. ***NOTE - if you’d like to save your brush simply click on the arrow on your brush palette, and SAVE VARIANT. My workflow is simple: background space, clothing & props, arms, neck, face, eyes, hair, finishing edges. So let’s start with the background. Since this is a watercolor I’m going to give it the pretty “hand painted” edges. For this I will use BLENDER>WATER RAKE as a NON CLONING brush set to:

28


Opacity 10 Grain 10 Resat 0 Bleed 30 Jitter 0 This is an excellent blender brush but it must be kept small, under 5! Or else it turns into a nasty monster brush. I’m going to start dragging white space into my edges painting in various directions from the wrist. Feel free to change the opacity. I go from 10-40. To add a bit of color to the background space, simply add 40 to the resat of your Water Rake brush. Then block in large areas of color. I’m selecting light pastel greens, blues, and lavenders to compliment her skin tones, and outfit. You can also add extra white space to the edges if you’d like. You’ll find when working on the background you will have to blend, lay down color, blend some more, and change brushes to achieve an interesting look. To blend the background areas a bit more I’ve used the ACRYLIC>THICK ACRYLIC ROUND brush as a color brush set to: Opacity 90 Resat 20 Bleed 30 Feature around 7

Digital Paint Magazine - September 2011

29


On to the dress.

First I will rough in large areas lightly with my WATER RAKE brush. I will use the brush ACRYLIC>THICK ACRYLIC ROUND as a CLONER. My settings are: Opacity 100 Resat 0 Bleed 20 Feature 7 (this will change depending on the size area you’re painting.

Digital Paint Magazine - September 2011

This is important. We need to disable the IMPASTO setting on this brush. So open up your brush controls again> WINDOW>BRUSH CONTROLS> SHOW GENERAL and go to the IMPASTO tab. Now change it so it’s only painting to COLOR. We’ll use this brush to blend the dress areas by following the direction of the folds. I will also use this to paint in color into the dress to make it pop. Simply change it from CLONER to COLOR (click on the clone stamp icon in the color wheel) and add 20-40% to the resat. 30


Use a brush slightly smaller than the area or plane you’re painting. I’m following the direction of the hair, and lightly painting the edges. OR changing your Resat to 0, and Bleed to 80 will make an excellent, smooth, non CLONER BLENDER. To finish the edges use the non CLONER WATER RAKE brush to blend into the background. I’m roughing in areas of the teddy bear and the top part of her dress with the WATER RAKE brush. Then to pull out details I will use the Smeary Camel Cloner brush as a CLONER set to: Opacity 30 Resat 20 Bleed 40-80 (higher number = more smooth) Feature 2 Digital Paint Magazine - September 2010

To add color, I love using CHALK>SQUARE CHALK as a COLOR brush set to: Opacity 10 Grain 12 Resat 10 Bleed 10 Jitter 0 To lightly smooth out my newly added color I use this awesome brush: DISTORTION>DIFFUSER as a COLOR brush set to: Strength 25 (can go higher if you’d like) Grain 21 Jitter 0

Using a fairly large brush I will follow the direction of the arms. Feel free to take the opacity down to 10. Light brush strokes will make this look realistic. I take a smaller brush and feature to work with the hands. Follow the lines of the hands, and mimic the shapes and planes the light/shadow create.

8

Eyes, to add details, use this COLOR brush: OILS>DETAIL OILS 5 set to: Opacity 10 Resat 20 Bleed 0 Jitter 0 Be aware of the natural light pattern in the eye. The easiest way to make it look realistic is to remember the catchlight is the HOTTEST point in the eye. This is where the light is

hitting it. The counter catchlight (the area exact opposite of the catchlight) is the second hottest part of the iris. I’m building up highlight upon highlight here to create depth. Simply sample the color of her eyes (use the dropper tool, or select D on your keyboard) and then making it lighter on the color wheel. Don’t forget to hit B to return to brush after sampling the color.

On the face I’ll use the same brush. You’ll have to play with the feature to see where you’re comfortable. A larger area will require a larger feature. Follow the planes of the face. I work out from the nose like applying makeup (sorry, guys) and pull it out into the cheek area. As you go into smaller areas, remember to take your feature to a smaller number as well.

Digital Paint Magazine - September 2011

31


Eyelashes. Using the same brush sample a dark color near her lashline, and then from the inside of the eyelid, swoop up and lift the pen. These should be feathery and light. Don’t overdo the lashes for spider eyes. The bottom lashes will more than likely be lighter as the light is hitting it and she is fair skinned/hair. I’ve added some highlights to the tear duct, lower lash lid (where the light hits) and added some eyebrows. For the hair I’m using the CLONER>SMEARY CAMEL CLONER brush set as a CLONER to: Opacity 50-70 Resat 20 Bleed 80 Feature 3-5 Using a fairly large brush (larger than the section of hair you’ll paint) follow the direction of the curls. Start from the roots and paint outward. Feel free to go light on the edges where the hair meets the background space. Then if you’d like you can take the DETAIL OILS BRUSH 5 to add some light hair strands. Keep in mind where the light is naturally hitting it. Digital Paint Magazine - September 2011

I used the SMEAR CAMEL CLONER as a small brush with a small feature to finish the crowns and voila!! Enjoy!

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 11’s advertising and within 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. “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

BIO: Heather Michelle Bjoershol was born with a paintbrush in hand. From early on she would paint anything with any medium she could find.

M.Photog, M.Artist, MEI, Cr. Hon.M.Photog. F--ASP, Hon.F-ASP, A-ASP,

In 2004 Heather’s work won her top honors in her PPA state convention and a Loan Collection print later that Summer. In December, 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

Past President, Professional Photographers of America

F-BIPP

Corel Painter Master www.HeatherThePainter.com 888.372.4689 http://www.digitalartacademy.com/courses/old_ masters_style_painting/

32


Right Click Skip Allen

Corel Painter 12 Real Watercolor Painting Demo Hello Everyone, It is amazing how easy it is to emulate traditional watercolor in Painter 12, and it is a lot of fun. I decided to do another painting demo for a couple of reasons. The first is I love painting with the new real watercolor brush engine, and I am having a blast making new brushes. The second is to let everyone know that I am teaching a class at the Digital Art Academy called The Basics of Watercolor in Painter 12, which begins Oct 22; registration is now open. My custom watercolor brushes that I keep promising will be ready by then, hopefully sooner. You do not have to join the class to get them; I will post them on my blog. With the basic class in mind, I did this very simple watercolor. During the first part of the watercolor class, as we would do if we were taking a traditional watercolor class, we will focus on brush use and

Bud Vase 1

Digital Paint Magazine - September 2011

33


how to develop washes and other typical watercolor marks. I find that most, including me, have difficulty because we do not play with the brushes enough and develop a feel for how they behave. Is it wet, is it dry, will it run, will it diffuse, can it pick up color, and many other questions need to be answered. Little by little, we build our knowledge of how real watercolor brushes emulate the look, not necessarily the feel, of traditional watercolor. But before I forget, I want to mention that I am also going to teach a class called The Basics of Brush Making in Painter 12. In this class I am going to demystify brush making and turn it into a fun experience. Do plan to experiment in this class and keep a sense of discovery in your attitude. Brush making is like panning for gold, but you are guaranteed to strike it rich. Follow me as I create Bud Vase. The last time I tried to demo a painting, it took 7 videos, which is way over the top too many. This time I painted the image and then in the video, explained the process by revealing layers in the order they were done. I have posted the video on my blog, Skip Allen Paints. To get to the video on my blog, click here. While you are there, look around and download my brushes; all are free. Skip

Digital Paint Magazine - September 2011

34


Marketing Buzz By Tim O’Neill

Social Contacts, Six Degrees of Separation and Your Income A ton of information has been written about social media. Internet marketers were the first to tap into the poser of building large social networks in cyberspace, offline marketers and sales geeks followed soon thereafter and now it has made its way to the conscience of most small business people. Many folks still scratch their heads and wonder why it is important or even necessary for success. Six degrees of separation is defined by wikipedia as follows, “Six degrees of separation refers to the idea that everyone is on average approximately six steps away, by way of introduction, from any other person on Earth, so that a chain of, “a friend of a friend” statements can be made, on average, to connect any two people in six steps or fewer.” Let’s look at how these may work together to make a difference in your income. Taking a peek in the history books let’s do a quick comparison of two well known artists: Pablo Picasso and Vincent van Gogh. Even though they both are considered to be artists that have made a huge impact on our modern day art there lies an important difference between them. van Gogh died penniless. Picasso, on the other hand, had an estate that was estimated at $750 million in 1973 when he died. What is the difference between them, why did one live a life of abundance and success and the other lived and died a pauper?

social network, which included artists, writers, and politicians, meant that he was never more than a few people away from anyone of importance in the world.” By contrast van Gogh’s connection to the art world was through his brother. By social networking terms he was a solitary “node” who had few connections. Picasso was a “hub” who embedded himself in a large network that stretched across various social lines. Where Picasso smoothly navigated social circles van Gogh had to struggle just to maintain connection with even those who were closest to him. Picasso was a social magnet and therefore lived in a much smaller world. So the question becomes how do we connect talented loners to networks so that their creativity and ideas can be captured and shared? How do we ensure that our skill set on the social side more closely matches Picasso’s and less like van Gogh? I surely don’t have the answer but a good starting place is in social networks. While there are thousands of social networks out there Facebook, Twitter and LinkIn seem to be the most pertinent at the present time. Take the time to learn how to build and communicate network of people, it will be well worth your time.

van Gogh was a loner and perhaps diametrically opposed to Picasso in the social vein. Picasso was charismatic and an active member of many social circles, his social connections provided him with access to commercial dollars. Gregory Berns in his new book, Iconclast: A NeuroScientist Reveals How to Think Differently, “Picasso’s wide-ranging

Digital Paint Magazine - September 2011

35


September Issue of Digital Paint Magazine