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CorelPainCorel Painter - 08 - Magazine, Art, Digital Painting, Drawing, Draw, 2d
CorelPainCorel Painter - 08 - Magazine, Art, Digital Painting, Drawing, Draw, 2d
PAINT
digitally today!
Work with Chalk brushes
Learn vital art techniques
Tips for using Corel Painter
Official Magazine
Issue eight
Airbrush tools
An intro to the Airbrushes
and how to use them
FEATURED
IN THIS ISSUE
Over
40
Drawing eyes
Achieve realistic eyes with
this step-by-step guide
pages of
tutorials
Tree study
masterpiece
Discover how you can create better
artwork with our in-depth tutorials
Special feature! See page 20
portraits
ac
nd M
PC a
FREE CD
INSIDE
001_OPM_8_COVERfinal.indd 1
Collages
Use the composite methods
to create a digital collage
Sci-fi landscape
See how one artist went about
creating a futuristic landscape
ISSUE EIGHT
ISSN 1753-3155
6.00
08
771753 315000
www.paintermagazine.com
21/8/07 16:44:07
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Program guides
Learn about the Chalk
brushes and how to use
them correctly
Pg 40
Paint like
Edvard Munch
Use surface texture for a
truly 3D painting
Pg 68
Drawing 101:
How to draw eyes
The eyes so often elevate
or extinguish the soul of
the painting
ISSUE EIGHT
Pg 32
005_OPM_08_welcome.indd 3
23/8/07 16:57:19
Collage pg 46
Fea ture
Pg 20 PORTRAITS
Pg 56 TREE STUDY
96 Readers challenge
98 On the disc
A full breakdown of
the content on this
issues free CD
30 Painter showcase
The rst in our special pages
dedicated to outstanding
Corel Painter art
74 Art class
Another merry gaggle of artistic
problems sorted out
92 Readers gallery
Discover more about what a
fellow reader is getting up to in
our gallery section
Original artwork by
Sue Stevens
portraits
pg 20
WIN!
YOUR
WORK
PRINTED
TO CANVAS
pg 96
Reviews
82 Olympus E-410
It promises to pack a powerful
punch, but does the E-410 deliver
when it comes to quality? We tested
it to nd out
84 Backups4All
Protecting your artwork is
important for any digital artist, so
we were intrigued to see what this
online back up service was like
88 Bags of Love
Looking for the perfect present?
Check out this review of one
company that can take your digital
les and turn them into all sorts of
attractive products
006-007_OPM_08_contents.indd 6
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Jeff Nentrup pg 14
pg 50
Futuristic cityscapes
Interview
pg 40
Paint like:
Edvard Munch
Inspirational art
14 Jeff Nentrup
tutorials
50 Futuristic cityscape
Drawing 101
Traditional artistic techniques
68 Drawing eyes
As a complement to our portraits feature this issue, the Drawing
101 section deals with drawing eyes a vital skill to master if you
want engaging paintings
62 An intro to airbrushing
Make friends with the
Airbrush tools
Visit our
website now!
www.
painter
magazine.
co.uk
Primers
Feature focus
006-007_OPM_08_contents.indd 7
23/8/07 16:06:20
y
t
i
n
u
m
Com
Tutorial xxxx
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
Alan Davis
Chris Price
Carrie Woeck
Michael David
Marilyn Sholin
Jan David
10
010-011_OPM_08_news.indd 10
23/8/07 11:02:43
n ts
n ews eveJet
info n ews eve n ts res our ces letters web site info Perma
Inkjet Paper
& Canvas
RESOURCES
Model behaviour
Merge free stock with Corel Painter
for outstanding results
sing photography as a basis for
your Corel Painter projects is an
excellent way of capturing scenes
you may not otherwise be able to paint.
But for truly limitless possibilities, take a
foray into the world of 3D.
You wont have to learn a complicated
program, because lots of kind souls have
provided base models. One such soul is
Rita Marfoldi. Her deviantART account
is full of stock resources, available to
download and turn into digital paintings.
She offers individual iles for free as well
as special packs, a mass of high-res iles,
costing only a few dollars to download.
Take a worthwhile look at her gallery at
http://sadestock.deviantart.com
RESOURCES
Free papers
Popular free resource site offers
over 50 papers
Marfoldi specialises in
fantasy art, but there
are also sketches,
colours and textures
E
Y
FRE
VER
I
S
DELORDER00
ON R 1
E
OV
Cheryls self portrait (top) and street scene (above) are representative
of her expressive and arresting style
23/8/07 11:03:17
s
r
e
t
t
e
L
r
u
o
e
Welcome to the part of the magazine where you can com
and share your thoughts on anything you fancy!
Send your
letters to...
Ofcial Corel Painter
Magazine, Imagine
Publishing, Richmond
House, 33 Richmond
Hill, Bournemouth,
Dorset BH2 6EZ, UK
If youd prefer to contact
us via email, send your
message to opm@
imagine-publishing.
co.uk
Colour swatch
Simon Lakeland
Keith Burnes
Readers tip
Random brushes
If you nd it difcult to think up new brush
variants, the Brush Creator will do it all for
you! Open up the Creator, and then pick the
Randomizer function. Pick a brush category
and variant and then click the Randomize
Current Selection button. Youll see various
variants appear.
Barbara Haimer
Featured gallery
Eric Schranz
Eric Schranz
Eric Schranz
www.paintermagazine.co.uk/
user/tuxxon
ranz
Eric Sch
12
012-013_OPM_08_letters.indd 12
23/8/07 11:04:11
Cynthia Berridge
www.paintermagazine.com
bsi te info
we
s
ter
let
ces
our
res
ts
n
eve
s
ew
n
o
inf
te
bsi
we
s
ces letter
ENTER T
WEBSITHE
CHALLE E
NGE
Dont be
shy
welcome everyones
www.pa to enter! Go to
co.uk/co intermagazine.
mpetitio
ns.php
Reader Cynthias
photographs are on
display on the Stock.
XCHNG website, so feel
free to have a browse
and draw inspiration
13
012-013_OPM_08_letters.indd 13
23/8/07 11:04:39
An interview with
Jeff Nentrup
From standing start to the biggest film of the year, Jeff Nentrup has
had a roller-coaster career and its only just begun!
hile artists wielding the
weight of Photoshop claim
much of the spotlight when
it comes to showcasing
their work, artists like Jeff Nentrup can go
by undiscovered.
Growing up in Thousand Oaks, a town
just outside of LA, the illustrator moved
to Pasadena to complete his BFA in
Illustration in 2000 and has been there
ever since. Starting his creative journey
in traditional media, most particularly
in oil painting, Nentrup admits before
1997 he had never seen a digital painting
before. However, that all changed during
his last semester at college where the
artists took an advanced concept course
14
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www.jeffnentrup.com, www.basamatic.com
Designer/illustrator
Warner Brothers, Paramount Pictures, Dreamworks SKG and more
website
job title
clients
[ABOVE]
Black
SabbathResurrection
This was a
rebrand campaign
conceptualising the
mythical Ironman
character for the band
led by legendary front
man Ozzy Osbourne
[right]
Cyber Punk
A character for Wizards
of the Coasts dark
role-play game called
Hecatomb.He was born
out of a two sentence
description of a
techno-thug
15
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Im interested in
humanity and the distance
between our moments of
dignity and ugly limitations
[ABOVE]
Drift Shadow and
Twisted Visage
(aka: ice zombie)
These were card
illustrations for a Magic
the Gathering series
called Coldsnap
16
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D&D Cityscape
Within this full-wrap
cover for a Dungeons
and Dragons book
called Cityscape,
there are actually
tiny characters on
the cathedral top
battling gargoyles
Forgotten Realms
This is a book cover called
The Gossamer Plain, the
first book in a series for
regular clients Wizards
of the Coast, called The
Empyrean Odyssey
[ABOVE LEFT]
Ironman
Jeffs work often retains
loose brushstrokes
that give the feeling of
fluid images
17
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Interview Daniel
Jeff Nentrup
Conway
Bright Eyes
This was a sketch created for the
Fightstar album booklet. It was
also used in the Corel Painter X
promotional material
Sometimes people
outside of the
industry have a hard
time understanding
what I do
to building skills and I think knowing
traditional mediums is a must. One of the
best pieces of advice I heard as a student
was a simple insight good work opens
doors. And then realising that I dont have
to like something to be inluenced by it.
Would you like to try another area?
Im a professional musician by night.
What do you enjoy the most about
your work?
I love the variety of jobs I get called for. Ill
do a lot of quick sketch concept work for a
ilm or videogame, and then turn around
and do a tight rendering job. However,
there is nothing better than selling an oil
on canvas.
What is your proudest creative moment
so far?
I think designing a campaign for Black
Sabbath and then getting a big hug from
Ozzy at the launch party was priceless.
[TOP]
The Tepaphone
This is another
Hecatomb card. This
one was described as
a mental telepathy
weapon, using a
technology of lenses
and conductors
[ABOVE]
Green Jasper
A full wrap-around
book cover. The knight
and castle are on the
front cover
18
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A picture may paint a thousand words but a portrait can stir a multitude
of emotions. Nick Spence meets three accomplished portrait artists
Experts panel
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Mayrhosby Yeoshen
ayrhosby Yeoshen, nicknamed
May, creates striking wideeyed portraits of friends and
fantasy friends, armed with
only an old copy of Corel Painter, Photoshop
and a Wacom tablet. Buying her irst
graphics tablet ive years ago while still a
teenager was something of a turning point,
having worked as a traditional artist from
an early age. Bundled with the tablet came
Painter Classic, a stripped-down version of
Corel Painter that hinted at the potential
working digitally had to offer. Yeoshen
began picking up commissions and as a
freelance illustrator, worked mainly as a
portrait artist creating fantasy characters.
Although her work has a strong fantasy
element, her style is not easy to pin down.
I would describe my style as a mix of
digital and traditional art, since I work in
a very detailed way to avoid giving that
smooth feeling that most digital artists
obtain, explains Yeoshen. I am a huge
fan of old master paintings and therefore
I try to apply the same old touch into my
paintings, be it adding to my canon or
applying the colour palette.
Originally from Venezuela, and now living in Ottawa, Canada, Mayrhosby Yeoshen is an
animation student currently basking in a deserved reputation extending far beyond her
college campus. Her work has gained many plaudits after cropping up and appearing on
online communities in recent years
Above
Yeoshen based this
portrait on Anne Rices
famous vampire Lestat,
the second in her
Vampire Chronicles,
following Interview
with the Vampire
22
020-029_OPM_08_feature.indd 22
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Left
Yeoshens self-created
vampire Coltrane Holland;
another example of her
fantasy-based artwork
much admired by
Yeoshens peers
23
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al
Origin24
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Ryan Cole
Its hard to imagine that someone who produces this contemporary and
stunning art only graduated a year ago, but thats what talented Ryan Cole
has done, coming away from the Savannah College of Art and Design with
a Bachelor of Fine-Arts in sequential art comic books to the layman
or someone so youthful, Ryan
Cole draws his inspiration from
traditional sources, citing the
Impressionists as inluences,
particularly Renoir and Degas. John Singer
Sargent is another favourite, especially his
portraits that, in Coles view, capture all
thats appealing about portraiture painting
I think a lot of artists just prefer to
draw the human face over anything else,
says Cole. Its a real challenge to capture
not only a likeness, but also the personality
of a subject, and the whole process is
just fascinating from the artists end. I think
that comes through in the inished
product; people can see the artists
fascination with his subject, and that
fascination is infectious.
For Cole, painting a portrait should be
more than a simple exercise in producing
a photo-realistic image. I like to give my
portraits something you cant get with a
photograph, so I tend to exaggerate the
colours and I dont smooth out the brush
strokes. I also like to leave in some of the
little mistakes; I think that sort of thing
keeps a portrait from feeling stiff and
lifeless. I also really like to do caricatures
and comic-book-style portraits, which are
usually black-and-white line drawings.
I follow pretty much the same idea with
those, though they do tend to look better
when I tighten them up.
25
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Vanessa Lemen
Art is such a subjective medium, so it should come as no
surprise that some artists plan their work differently to
others. Vanessa Lemen will often utilise Corel Painter to
help her during the planning stage of a traditional painting
or an artist working in
predominately traditional media
like Vanessa Lemen, Corel Painter
offers a level of experimentation
and freedom that is hard to reproduce
elsewhere. When I work digitally, Im very
experimental in terms of procedure. I enjoy
the digital medium because it allows for a
different kind of freedom, explains Lemen.
I can scrape and scratch, and smooth
and blend, and drip and smear. I can crop
the image, or expand it to try different
compositions. I can save several variations
of the same painting. I can throw layers
in the trash or look at them in a different
coniguration and see if one way works
better than another. So the most helpful
aspect is the freedom that it gives me,
which allows me to experiment and to not
be hesitant about trying different things.
With artists materials increasingly
expensive, Lemen will use Corel Painter
to help plan her work. Its a cost-effective,
time-saving and environmentally friendly
Above
Corel Painter allows
Vanessa to try our
ideas before moving
onto her traditional
canvas and paints
Left
In this image titled
KoiSelf, Vanessa
exhibits her love of
textures and slowly
building an image up,
layer by layer
26
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01
Mayrhosby Yeoshen
www.mayyeo.com
02
03
Carver Shivers
www.paintermagazine.
co.uk/user/Carver Shivers
Optimum conditions
When I use a photograph that I am going to
clone, I use the Layer Adjustment tools to
adjust the contrast, lightness and so forth,
prior to the actual cloning process, in order
to highlight the effects on the photograph.
In this case, I added a Screen layer for the
image to make the image a little lighter
overall, giving the subject more emphasis.
04
Monica Saulmon
www.iconportrait.com
Use layers
I like to use digital layering on my inal paintings. Its like furniture surfaces and antique paper in the Overlay
the glazing techniques the old masters used to add depth layers mode at 20% Opacity in Photoshop. It can really
to their paintings. Here, I used images of old antique
add the inal polish to your Corel Painter portraits.
Ryan Cole
www.ryancoleart.com
Stretch it out
I never draw the same thing twice if I dont
have to. Take eyes, for example. I usually
just draw one eye, choose the Lasso tool
to make a selection around the eye, and
copy and paste it in the same location in
a layer above the original. Then I go to
Effects>Orientation>Flip Horizontal and
nudge it over by holding Shift and pressing
an arrow key. (Holding Shift changes the
nudge increment to ten pixels, whereas the
arrow keys themselves nudge by one pixel.)
You can also hold down the Cmd/Ctrl key
to change your cursor to the Move tool and
move your duplicate eye that way (Cmd/
Ctrl+Shift will constrain the movement to
straight lines or 45 degree angles).
28
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05
David Cole
www.paintermagazine.co.uk/user/davidc
06
09
Giovanna Gazzolo
www.paintermagazine.
co.uk/user/Giovanna
Marcelo Chiarella
www.paintermagazine.
co.uk/user/chiarella
Using colour
Portraying emotion in a portrait is very
important to me. When I know the emotion
that I want to portray, I choose a colour
palette that I think matches the intensity
and lavour of the feeling. For example,
here I had to reproduce some shy colours
and thought to mix dark yellow, blue and
the most important: purple and red! This
exercise is very useful think of a feeling
and imagine which colour it is linked to.
07
No res? No problem!
08
Mayrhosby Yeoshen
www.mayyeo.com
In a flip
Perfect hair
I love to use the Oil Fine Camel 30 brush for dog hair. I usually set
the Opacity to around 30 and give nice long strokes in the direction
the hair grows to give the hair a soft, lowing appearance. To make
highlights in the human hair, get your Color Picker and touch the
hair with this. Then, once the colour is selected, move the slider on
the Color Wheel to choose a lighter shade and use that colour to
stroke in beautiful highlights. The Fine Tip Soft Airbrush tools are
great for this!
10
David Cole
www.paintermagazine.
co.uk/user/davidc
Base coat
I quite often use a coloured undercoat
perhaps a dark, unsaturated red brown
for portraits to paint onto, and use messy,
large strokes to begin with. The Sargents
brush, and the Bristle Brush from Artist Oils
work fantastically for this purpose.
29
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showcase
STARR SHAW
TITLE
WEBSITE
JOB TITLE
Police Dock
www.starrshaw.com
CG artist
030_OPM_08.indd 30
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Primer Chalk
CHALK BRUSH PALETTE
BRUSH CATEGORY
Chalk
PRIMER
32
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FEATURED HIGHLIGHTS
The Tapered Artist Chalk was used to add the
highlights that fall within the main edge outlines.
Its just perfect for adding that little bit of denition
without overstating it
Primer
Chalk
Blunt Chalk
Large Chalk
Variable Chalk
Sharp Chalk
SHARP CREASES
We used the Sharp Chalk for the
wrinkles in the skin and any of the
smaller details. As you would expect,
you get a really crisp line, which
makes it an important Chalk brush
dont let everything get too soft
SOFTLY DOES IT
When you rst start to esh
areas in with colour (sorry!),
the Dull Grainy Chalk is ideal
as, with big, soft strokes,
it leaves the paper texture
showing through
Square Chalk
Resat levels
33
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READERIASL
TUTOR
Cat Bounds
Time needed
2 hours
Skill level
Intermediate
On the CD
Starter photo
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02 Lets begin
04 Original
photo
Corel
Painters Color Set creates colour
swatches from within an image. What might
have looked like two or three colours will be
divided into hundreds of hues, and we can
customise them even further by bringing them
into the Mixer, combining them with the Dirty
Brush or Palette Knife and then create a new
Color Set from these.
05 Photo prep
The
image were using is
a painting of a park
in North Little Rock
in Arkansas, USA;
a favourite spot of
photographers and
painters any time
of the year with
an atmosphere of
home, heritage
and permanence.
Currently it is painted
using local colours.
Now lets try using
limited colours and
create something
entirely different!
More
colourful
paint strokes
Traditionally, a
limited colour
palette referred
to painting with
the three primary
colours (yellow,
red and blue) and
mixing secondary
and tertiary colours
from these. If you
have come to digital
art from traditional
media, you may want
to still use your colour
name charts because
you think in terms of
those names.
Tutorial
35
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08 Time
to decide
07 Sun-lit version
The painting is
coming along nicely,
but it may be a bit
more colourful and
cheerier than you
want, so save it and
begin again. This time
choose the mouse
Color Set and mix
additional colours to
go along with them.
This is all part of the
process. Sometimes
you may have several
versions, but never
discard anything.
Et voil!
10
A Color Set
is born
The mouse
colours mix so well
with the new hues
that in no time at all,
youll have lots of
pleasing smudges on
the Mixer Pad. Load
it as a new Color Set
so you can save it for
another time. Save it
with your other Color
Sets, although you
could save it in the
Old Mill folder.
11 Brush settings
36
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13 Finding
big shapes
14 Rough strokes
Colour temperature
creates mood and a
spatial effect: cool
recedes, while warm
goes forward. How do
you know if a colour
is warm or cool? Look
at where it sits on the
Color Wheel. Begin
with blue; blue hues
that fall closer to the
greens will be cool
while blues closer to
red will read as warm.
How about red? Red
hues closer to blue
will be cool while reds
sitting closer to gold
will be warm. And so
it goes around the
Color Wheel. This is
handy to know when
you want to create
depth and dimension
in your painting.
Tutorial
Colour
temperature
16 Matters
of colour
15 Begin to rene
17 Strokes matter
Theres nothing
more boring than a
big area of canvas
thats all one colour,
and this holds true in
your limited colour
palette paintings.
Zoom into each of
these dark window
and door openings
to make sure that
there are colours and
interesting organic
shapes within each
of them.
18 Soft detail
37
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nal decisions
Ghost Ship
Ghost Ship uses a limited colour palette
that works well transparently, and creates a
deserted atmosphere with hints of gold, as
of the sun trying to peek through fog. The
absence of colour equates with the absence
of movement and life. It began with some
colour smudges on the Mixing palette and
developed into a very limited colour palette.
With one photo and one set of brushes, but
varying the colour palette, we can create
many paintings. If rose hues were chosen
instead of taupe, this painting might well
have been about the dawning of a new day.
Geisha
This painting began with a fairly detailed pencil drawing,
without a great deal of shading, and the introduction of a
colour palette; but limited colour palettes need not always
be about low saturated colours. Geisha uses a palette made
up entirely of vibrant blues, some of them warm and some of
them cool with a touch of rich violet. The resulting Color Set
is reminiscent of jewel tones. Bristle Oil Brushes and Palette
Knives were used to move the paint around like soft butter
38
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The Scream is an iconic image of modern life, referenced in highbrow and lowbrow
culture alike. We reveal how to recreate this artistic epitome of human angst
Tutorial info
Artist
Hannah Gal
Time needed
3 hours
Skill level
Intermediate
On the CD
Sketch
[BELOW]
Grainy texture
Instead of using a filter
or texturiser for the
texture in this painting, a
highly textured brush is
applied to add realism,
as in the Grainy Hard
Build-up from the Oil
Pastels seen here
Multi-tone face
Besides drawing the features on the face correctly, we
need to place shading and highlights in the right place
Direction
The stroke application varies throughout the piece.
Different areas call for different length and pressure
40
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Tutorial
Paint like Edvard Munch
41
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01 Layers
02 Lithography effect
03 Acrylics
Museum and
art history
The Munch museum
was created as a
tribute to Norways
famous artist. Besides
information on the
artists troubled life,
it takes an analytical
look at his work.
Go to www.munch.
museum.no/ and
delve deep into the
life and work
of a particularly
prolific artist.
Under Life and
Work is a section
called On Munchs
Paintings. It looks at
different paintings
including The Scream
in detail, speaking of
the inspiration to the
piece, when it was
created and what its
importance was in the
greater scheme of the
artists life.
It also highlights
influences on
Munchs life that have
inevitably had an
impact on his work.
04 Application
05 Build up
07 Build
up close
06 Fill
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11 OilskyPastel
10 Blending oils
The sky in
The Scream is nothing
short of amazing. It is
made of a multitude
of shades of orange,
mixed with turquoise,
cream and yellow. The
strokes here need to go
horizontally from one
side of the canvas to the
other. Sample a shade,
apply your brushstrokes,
sample the shade next to
it, apply and move on.
Randomizer
12
Face Pay particular attention to the persons face. Note the different
shades that make it. There is brown, beige, a hint of orange and
green. Lightly apply colour to create the features. These are loose at this stage.
In real painting,
colour is applied using
brushes loaded with
paint. This paint mixes
with colours around
it and you often get a
single stroke made of
two colours.
To mix colours
this way, open Brush
Creator, select Stroke
Designer and choose
Color Variability.
Now select in RGB
and apply a stroke of
your clean paint onto
the pad. Drag the R
slider to 50 and see
the effect; then to 100
and see how the new
colour blends in.
Try this with other
colours and even
two together. Apply
your stroke and drag
the magnification
level at the bottom
of the Brush Creator
to 200% and see the
stroke close-up.
an
09 Use
Oil Pastel
08 Drop
Tutorial
Color
Variability
13 Face build up
Brush Creators
Randomizer was
originally created for
those unfamiliar with
the brushs controls.
It is, however, a useful
tool regardless of
level of expertise. The
idea is simple, you
give the Randomizer
any stroke and it
creates a selection of
new variants for you.
Open Brush
Creator and click on
Randomizer. Fourteen
variations of the
strokes are available
for you to choose
from. Click on one
and it will display in
the preview window
below. For a low
level of variation,
keep the Amount of
Randomization slider
to the left. Drag it to
the far right to see it
in full action.
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Gaining
14
texture
from strokes
15 Area ll
16
Build up the
variety of shades slowly to create a rich
feel. There is no strict method at this advanced
stage. The image should by now be covered with
a mixture of Airbrush and Oil Pastels. Zoom in,
sample a shade you wish to enhance in order to
echo the artists original and apply both media.
18 Ground detail
20 Airbrush
detail
19 Airbrush
Set
Airbrush to a small 4-6
size brush and a 5-7%
Opacity. Observe the
thin streaks that are
spread throughout
the image. Zoom in
on the face, sample
a light brown/yellow
shade and lightly apply
in short to medium
strokes. Apply once
and zoom out to see
the effect before
applying an additional
stroke on top.
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Go back to Oil
Pastels and methodically go over the
entire image to apply texture to the painting. This
is in preparation for the next stages where we add
denition to elements.
Zoom in on the
face, choose the top left brush tip in
Brush Creator and set black as your Main colour.
Slowly go around the face to add a contour line
to it. This border adds an edge and overall feeling
of sharpness to the piece. It is of paramount
importance on the face.
23 Colored Pencils
Blue
25
strokes
and streaks
24 Blue streaks
Zoom
in to 100% and
observe the streaks.
They should be thin
but full of gritty
texture. Go over lines
where there is a group
of streaks together
to enhance them.
Take notice of those
streaks to the side of
the face as well. Some
are slightly lighter than
others, so choose
a lighter shade to
randomly cover some
of the streaks existing
there already.
22 Pointed crayon
Tutorial
Research
26
Go to
Effects>Surface Control>Apply Surface
Texture. Set Using to Paper (Basic Paper) and
the amount to 15%. This is a slight effect to add
overall sharpness to the image and a slight touch
of 3D realism.
28 Renement
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Composite
methods
FEATURE
FOCUS
Lasso tool
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Composite Methods
Feature focus
Composite Methods differ according to what files you use and the
layer opacity, but heres a rough guide to what they all look like. We
used Corel Painter X and a texture file over a painting.
Soft Light
Colorize
Hard Light
Reverse-Out
Darken
Shadow Map
Lighten
Magic Combine
Difference
Pseudocolor
Hue
Dissolve
Saturation
Multiply
Color
Screen
Luminosity
Overlay
GelCover
Composite methods
Gel
Managing layers
Keep on top of the game
Managing layers as you develop your
collage is an important part of the process.
You may well end up with dozens of layers
so taking the time to name each one will
help you stay organised. Renaming layers
is a simple task. Right/Ctrl-click on the
layer you wish to rename and select Layer
Attributes. In the dialog box, type in the
new name and select OK. Layers give you
added flexibility as you build your collage
enabling you to apply precise effects on a
single layer or many different layers.
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FEATURE
FOCUS
Select
Brushes>Clone and Quick Clone>Paper
Texture. If the item you want is represented in a
palette with an icon, you can create a new palette
by just dragging the icon. This works for brush
variants, art materials gradients, paper textures
and patterns nozzles, looks and scripts. Drag
the lower-right corner to expand the palette. Hold
down Shift to move the icons around the palette.
04
02
Save
each rendition methodically as a RIFF
or a TIFF: remember that RIFF will retain all layers
whereas TIFF will atten the image but will not
degrade the image each time it is opened, unlike a
JPEG. Use the Save As command.
Your
background image will be the image
used to build a background texture. Heres a
complete page from a picture album scanned into
Corel Painter. Select the Rectangular Selection tool
and change the Saturation and Hue settings on
each image. Use Uniform Color. The Rectangular
Selection tool is located on the toolbox. Enable
Add To Selection on the Properties bar.
Emboss effect
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Feature focus
Composite methods
07
09 Adding texture
Choose
Chalk>Square Chalk 35 and begin
brushing in texture on your Canvas layer. Because
the paper texture is saved, you can use it at any
point during the creative process to add more
texture on specic layers or selections. Set your
Paper Scale to 25% and try inverting the paper
texture for additional texture. Save this version as
paper-texture.riff.
the foundation
10 Introducing
image
Motion Blur
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Futuristic cityscape
Take a trip back to the future and discover how to make this stylish but deadly
assassin, using tricks to hold the viewers attention
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Tutorial
Create a futuristic cityscape
Tutorial info
Artist
Dawn Austin
Time needed
3 hours
Skill level
Intermediate
he importance of composition
in an image is paramount. In
this tutorial, we will be focusing
on the main character and
her situation. We will explore how to
create an interesting background, but an
altogether more arresting main igure.
We will learn about relections,
composition and how to capture the
viewers attention and mesmerise them.
In order to get someone excited about
an image, you must be able to draw
inspiration from what appeals to you.
What captures your attention when
looking at an image? We will be using
a painterly technique, but you will be
strengthening the drawing throughout.
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Tutorial
Striking details
Working on the eyes and the skies
Blocking
02
in the face
and hair
01 The sketch
Now start
airbrushing the face
in. Pick a muted skin
colour, and use the
Soft Airbrush, setting
Opacity to around
80%. Start to give the
face some contour
lines. Place some
shadows and you will
start to really get a
feel for the character.
Use the Oils>Fine
Feathering Brush to
block in the hair, giving
it some direction.
Connection
to the viewer
One of the key
elements in making
a great piece of
artwork is to have a
connection with the
viewer. The weight
of the look to the
characters eyes must
be able to pull in the
viewer. To achieve
this, make sure the
body language of
your character is
interesting; here,
we have turned the
characters body
away from the viewer,
but her head is
imperiously looking
down. Her eyes have
a sexy, feline quality
about them. Try and
make the characters
eyes alive. Study your
own eyes in a mirror,
look at the glints of
light on the iris, the
shadows beneath the
eyes. These give the
eyes personality, and
that is what will draw
the viewer in.
04 The eyes
03 Add form to the face
Switch to the
smaller airbrush, set to 70-80 Opacity,
and draw in the lashes. Again the stroke is harder
as you flick out your hand so the pressure is less at
the end, thus giving the lashes a natural finish. Use
the same airbrush for the lips and pick a damson
red hue from the Color palette.
06
07 The buildings
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09
Once
you get halfway through the image,
you may realise that there is something distinctly
lacking in the composition. If you feel that your
eye needs another point of interest, you can add
another structure. I introduced a bridge to lead
the eye. Its vital to keep looking at ways to make
an image more interesting.
Tutorial
Get blending!
Introduce the final colours and give the image some life
in the
11 Block
final details
13 The clothes
12 The hair
Working
further on the face, we first have to
match the skin tone to the rest of the image. For
this, use effects and tonal control and adjust the
selected colours. Play around with the sliders until
you achieve more of a desaturated look. Zoom in
on the eyes and make them darker. The eyes stand
out now, possessing a smouldering effect.
15 The reflections
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Tutorial
Special effects
Spruce up the image with some futuristic tones and hues
16
18 Finishing touches
17 Colour correction
The Ruins
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pa in t trees
How to
One of natures trickiest items to paint are trees, coming in so many shapes and sizes
as they do. We take you through our guide to the easy way to draw and paint the
different varieties in Corel Painter
Faraway trees
When painting trees in the distance, the trick is
actually to do as little as possible. Its easy to fall
into the trap of using a really small brush and
trying to get as much detail in there as you can.
In actual fact, try using the largest brush you can
get away with, and restrict the number of tones
Pine trees
01
02
A Palette Knife is introduced to
help dene the angular pine trees.
Its more important to draw the
shadows between the rows of
pines, as that will dene where the
trees then appear to be.
Oak trees
As you can see, with
a relatively large brush
and some subtle
blending, you can very
quickly render a tree
that can be perfectly
convincing in the
background of a piece.
03
Continuing to work into the piece with the Palette Knife, despite the abstract
marks there is still a sense of depth, showing how important highlights and
shadow are. Note that only three colours were used.
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Bare trees
Art study
Step-by-step
03
02
01
Twigs
Painting trunks
As well as having an overall
fade in brightness from one
side of the trunk to the other,
add notches and bumps
where you can. Fo realism,
remember that shadows
from the leaves will also bend
round the trunk.
Dappled
sunlight
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Leafy trees
Mark-making
Building up
the leaves
Paint in the
direction of
the trunk
Step-by-step
Colour palette
Spring /
Summer
01
02
Autumn
03
04
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Wide stroke 50
Calligraphy Brush:
Opacity 50%+,
Grain 90%,
Resat 50%+
(size according to scale)
Wide stroke 50
Calligraphy Brush:
Opacity 10%,
Grain 90%,
Resat 12%
(size approximately
half of first strokes)
Art study
Pine trees
Shadows
Mid-tones
Highlights
Step-by-step
01
Starting with a
Calligraphy brush
at full Opacity,
quickly mock up
the trunk and the
main foliage areas.
Use the angle of
the brush to your
advantage, leaving
edges angular.
03
A loose
background
will just help to
bring the tree
forward, and
help highlight
where more
detail is needed.
02
Start to work in some
more foliage tones,
by reducing the brush
Opacity, Resat levels
and Size.
04
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TITLE
WEBSITE
JOB TITLE
Storm Catcher
www.pixelium-art.com
Digital artist
OSVALDO GONZALEZ
showcase
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Tutorial
An introduction to airbrushing
An introduction
to airbrushing
Create an Art Deco-style travel poster inspired by Cassandre,
using Corel Painters selections and Airbrush tools
Tutorial info
Artist
Stewart McKissick
Time needed
3 hours
Skill level
Intermediate
On the CD
Initial sketch
01 The sketch
02
03 Color Set
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Selections aplenty
Your guide to the right tools and techniques
04 Selections
Making selections is
one of the biggest tasks in this type of
illustration. Select the sun with the Oval Selection
tool a y-out from the Rectangular Selection
tool and hold Shift to constrain it to a perfect
circle. Active selections act like a stencil or mask,
and are displayed with the moving dashed-line
marquee sometimes called marching ants.
Airbrushes
Keep the
shapes simple with mostly straight lines
to make selecting easy. However, most cannot be
selected with the Rectangular or Oval Selection
tools, so you need to use the Pen tool. This takes
practice, especially for making curves. For straight
lines, you just click the mouse to place a corner
point this method will select the airplane.
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The cloud
requires geometric curves these
shapes take practice to draw. You must click and
drag a direction handle while holding down the
mouse button to pull the curve. Dont worry
about following your sketch exactly. You could
use combined Oval Selections here instead. See
the side tip for more about selections.
An introduction to airbrushing
Tutorial
Selections
an insight
Start
11
airbrushing
(a trick!)
10 Gradient ground
Begin
with an easy shape:
the sun. Load the
selection and ll it with
a at colour. Select
the Digital Airbrush
variant with default
settings. Change
Color and increase Size
to 70. This is a smooth
brush with no texture.
Go to Select>Stroke
Selection (if this
is greyed out,
rst choose
Select>Transform
Selection) to make a
perfect stroke around
the edge!
Hiding
12
marquees
and the sketch
Deselect the
plane (Select>None) and turn the sketch visibility back on to see
details. On the Layers palette, check the Preserve Transparency box. This
makes it possible to only paint where colour is already on the layer. Now subselect the wings and shade to give them some form. Keep colour and values
light for atmospheric distance.
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14 Cloud
15 Detail ground
17 Decorative zig-zags
Use guides
and grids to
keep things
straight up!
Corel Painter has
rulers, guides and
grids to help keep
design-oriented and
technical art square
and exact. You access
these from the Canvas
menu. When you
draw your pencil
sketch, use rulers and
drafting triangles,
but dont worry too
much about making
it perfect you can
correct things on the
computer using these
very precise tools.
For this illustration,
set the Grid Options
to .125 inches (.318
cm) and the line
thickness to .01
inches. You can pull
guides out from the
displayed rulers. Both
the grid and guides
have a Snap to option
to help you draw
perfect selections.
19 Cactus
details
18 Cactus dissection
To
create the stronger
cactus texture,
again use the Digital
Airbrush Variant, and
switch its Method
subcategory to Grainy
Edge Hard Cover. Set
the Grain slider to
nine and change the
paper from Basic to
Rough Charcoal Paper.
Combine your saved
cactus selections with
the wavy ones to
get the sub-selections
you want.
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21
Make sub-selections
for the details.
Save some like the
eyemask, beak, main
tail and a set of zig-zag
feathers. Move the
feathers and repeat
using the Selection
Adjuster tool; create
other selections using
the Load Selection
options. You can
also invert selections
(Menu>Select>Invert)
and use this along
with Preserve
Transparency to create
new masks.
Digital airbrushing
is similar to the real
thing in that you
dont actually make
contact with your
surface in fact, using
a tablet and stylus
is more tactile than
actual airbrushing.
One thing to avoid in
airbrushing are puffy
transitions tentative,
overworked
applications of
colour that comes
from being unsure
of your shading. Use
as large a brush size
and as few strokes as
possible. Undo a bad
stroke rather than
painting over it. And
dont be lazy about
making selections
the variety of hard
and soft edges make
an airbrushed image
solid and pleasing.
An introduction to airbrushing
20 Roadrunner
Main tails
and details
Airbrushing
pointers
Tutorial
23 Type
22 Find your legs
The
typeface is Novel
Gothic. Being geometric,
its easily hand-drawn
with the Pen tool. Set
the words with the Type
tool, skew them using
the Layer Adjuster while
holding Cmd (Mac) or Ctrl
(Windows), and convert
them to Default Layers for
airbrushing (in the Option
menu from the Layers
palette). Use Stroke
Selection to outline the
word Arizona.
Sun rays,
24
road and
more details
On a
new layer, make some
subtle rays and glow
around the sun. Add
value and texture to
the road, darkening
the shadows use the
Coarse Spray Airbrush
variant for the texture.
Once everythings in
place, go over all the
values, colours and
details to make nal
adjustments. Saving
selections and layers
makes this easy.
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How to
draw eyes
In day-to-day activity, eyes can betray the spoken word. In art too,
they can reveal hidden truths, so its imperative to master their form
SOURCE
FILE
ON THE
CD!
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All in proportion
It is more than likely that you will be
drawing a portrait to accompany your eyes
so here are a few pointers about accurate
proportions. Plot the eyes just above the
horizontal halfway mark on the face. The
eyebrows are just under a third of the way
down the face bear in mind that the density
Drawing 101
HOODED EYES
With careful observation you will notice that these eyes are half-covered by the top
lid. Half the pupil is visible beneath and there is lots of white. Draw an egg shape
and a circle at one end for the eyeball and pupil; divide this in half to denote the lid.
Subtly build the shadows on the lids to create form.
FRONT VIEW
SIDE VIEW
Dimensions
SMALL EYES
NOSE WIDTH
Looking at small eyes, you will notice that they are long like a fat banana rather than
an almond, and you can see almost all of the iris. Draw an egg shape once again,
but this time the lids will encase it on either side. A slimline eyelid and short, stubby
eyelashes accompany this elegant and understated type of eye.
EYEBROWS
Just under a third of the way
down the face, the eyebrows
shouldnt overlap too much into
the space between the eyes and
the ears
EYELIDS
Draw your eyes use a round
object for the iris if you arent
yet comfortable drawing a circle
freehand but remember that
the lids will cover part of the eye
ROUND EYES
This one has a large round shape for the eyeball, just covered by a rounded lid that sits in a
rounded socket. The sunken socket and large iris exaggerates the pupil size and shape of the
eyeball. Capturing the perfect circle for the iris is nearly impossible freehand. When you start out,
use an appropriately shaped object like a coin to build your condence, then back to freehand.
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Seeing is believing
Beauty is in the eye of the beholder literally, in this case, so make sure
you do it justice by perfecting your drawing skills
his tutorial needs careful
consideration over the quality
of your paper cartridge is
best and a really good source to draw
from. We used a large black-and-white
photograph, a clean rubber and a range of
pencils from 2H to 6B. You will need to set
STAGE 4
STAGE 2
STAGE 5
STAGE 3
STAGE 6
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STAGE 7
STAGE 8
STAGE 9
Drawing 101
STAGE 10
THE EYEBROWS
STAGE 13
STAGE 11
THE EYELIDS
STAGE 14
The reflection brings the eye to life but dont forget to add
realism to the eye with the all important eyeball shadows.
The lashes cast a shadow over the very top of the eyeball
and this continues down to the corners of the eye. Use an H
pencil to create a subtle shadow.
STAGE 12
STAGE 15
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showcase
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TITLE
WEBSITE
JOB TITLE
Junk Angel
www.jasonchanart.com
Digital artist
JASON CHAN
Your
questions answered
A little rough around
the edges
Your experts
Marilyn Sholin
Marilyns knowledged
and love of Coel Painter
has led her to set up the
excellent Digital Painting
Forum, which we feature
on the main news. Here
she reveals art tips
Jo Cole
Fine art
When it comes
to creating art, you often find
little niggles that ruin your
masterpiece. We sort them out
Illustration
Make sure
your illustrations are in top form
by following our advice
Left
Import a photo
into the program
that you want to
transform for a
painterly effect
R D
You can do a variety of things, Ruby,
and a lot of the best results come
from experimenting, but one of the
most fun methods comes from Painter Master,
Jeremy Sutton. He incorporates what he calls
a muck up stage into the cloning process,
which basically means he roughly clones an
image with absolutely no thought to detail.
Although it looks horrific to begin with, it
provides a good base for bringing back the
detail. A lot of traditional artists will block in
colours first and then slowly paint more refined
shapes until its finished this is the same
principle. Once youve finished the muck up
stage, you can use your favourite cloner to
bring back the detail. Our best advice and
secret tip of the day would be to use the
Smeary Camel Cloner, which is excellent as it
brings back detail but still looks like paint. Just
bring the brush size down and brush over the
photo with more care. Even if you have nearphoto effect in the detail, as long as you leave
some of the muck-up stage showing, you will
have the painterly effect you desired.
Right
Here weve used the
Smeary Flat Cloner to
brush over the photo
and create a right royal
mess of colours
Left
Now is the time to
bring back some
detail on the most
important parts.
For an interesting
photographic
art effect, use
something like the
Soft Cloner
SHARE
YOUR
PROBLEMS!
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Feeling sketchy
B L
Art class
Q&A
Tablet tweaks
R R
We always have time and advice for
our readers Richard! Especially ones
who share our enthusiasm for artistry
using a Wacom tablet. Its best to alter settings
in response to what medium you are working
in and the kind of feel youre going for, but
there are some fundamental settings that will
put you in good stead. Open up the Control
Panel (from System Preferences in Mac or
Wacom Table Properties in Windows). Select
the Grip Pen icon, then the Pen tab and then
move the Tip Double Click Distance slider
to Large. This means you wont accidentally
double-click when applying strokes. Click
the Details button to open the Feel Details
01 Keeping track
03 Final touches
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See it all
Clone foundations
Should I do anything to a photo
before I clone it? I dont think Im
getting the most from the function.
J E
Once they are free, you can extend the palette length as
much as your monitor allows
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Painting sketch
01
02
J B
Art class
D M
Q&A
03 Blended to perfection
Family affair
S F
Setting up the photo when you
know its going to be a painting as
the final output is a wonderful way
to preconceive your portrait painting. Think
The Hair Spray brush is a quick and easy way of giving the effect of fluffy fur. You may
have to be a bit inventive about when you use it, but it can give a great look
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In the background
I cant for the life of me work out how
to clone onto coloured paper. I want
to give the impression of a pastel
paintings thats been done on blue paper but
dont know how.
E M
What you need to do is increase the size
of the canvas and then fill it with colour.
Open up your clone source and then go
to Canvas>Canvas Size. Enter the amount you
want to extend your canvas by weve gone for
a thick border of 300 pixels here and then click
OK. Select a Main colour and go to Effects>Fill.
Make sure Current Color is selected and click OK
to set your paper colour. Toggle Tracing Paper on
and then start cloning as you would normally.
Left
The finished painting
is ready for the wall in
a light and airy style,
keeping the people as
the primary subjects but
allowing the environment
to show their lifestyle. The
style of this painting is
much more light-hearted
than the previous, more
traditional oil painting
Above
This was pre-designed
to be vertical to hang
in the home as a
watercolour painting
in a specific spot.
Knowing it was going
to be a watercolour
meant looking for a
light background to
photograph against
Colour choice
I once used a great command in
Photoshop that allowed me to grab
the colours of a photo and save as a
colour swatch. Is there a similar function in
Corel Painter?
B G
Left
For canvas extension
on all sides, make sure
you enter a number in
every field
Below left
Using the Fill command
will flood your canvas
with colour
Below
Setting a background
colour is an easy way
of creating a natural
background
Its easy to grab the hues from a photo or image. Just use
the New Color Set command from the Color Set menu
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Q&A
Art class
04 Autoplayback
01 Fill with black
05 Motion Blur
Go to Effects>Focus>Motion Blur.
Watch the Preview box as you adjust the settings. Be
sure to play with all three settings to get a long blurry angled
effect on the lines.
02 Layer up
Add a new
layer on the black
Canvas. In adding
the new layer, you
are able to draw
on it and see what
you are doing. The
purpose for the
layer of black is to
see your strokes and
what they look like.
Record
03
strokes
of rain
Using the
Oils>Details Oils
Brush 5, make a
few marks with
white paint to see
what you like. Click
Record Stroke from
your Brush Selector
and put down the
one stroke you
want repeated.
06 Intensity
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Using the
prodmpuuscE-t41s0
The Oly
source
provided a good Corel
to
in
photo to take
with
Painter and play s
he
us
br
the Chalk
OLYMPUS E-410
With its professional picture
quality and easy-to-use
functions, we wonder whether
this is the perfect camera for the
enthusiastic photographer
COGNITION
BACKUP SOFTWARE
PANORAMA U
LAPTOP BAG
BAGS OF LOVE
We bring you the lowdown on
one company who is offering
visitors some truly unique ways
to present their artwork. Prepare
to be amazed!
Reviews
Discover some of
the best products
out there to extend
and improve your Corel
Painter experience
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Olympus E-410
SRP 499 | Olympus has tinkered with the E-400 but is it enough?
Screens
The menu system on the
Olympus E-410 is easy
to navigate, with clear,
distinguishable screens
Batteries
The 1150mAh battery provides
around 450 shots before requiring
a recharge, but if you use Live View
and extensive image replay, then
this will vary
Connections
The E-410 provides the usual highspeed USB 2.0 connection, housed
behind a secure panel on the rear
of the camera. The USB cable is
supplied, along with an AV lead
Colour options
Mode dial
Viewfinder
Lens
The 14-42mm kit lens is an absolute
peach for the money. The sharpness
across the frame is impressive and
outperforms lenses costing twice
the price
Live View
Playback
button
Trash
Main shooting
LCD
screen
D-pad control
D-pad control
Picture mode
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Exposure modes
499 P, S, A, M, 20 scene
Megapixels (effective) modes
10 Flash modes
Max resolution A, RE, M, SS, Fon,
3,648 x 2,736 Foff
Lens data
camera specs
Olympus E-410
Price
Connectivity
By lens USB, AV
Zoom
Weight
Dimension
Shutter speeds
Batteries
ISO sensitivity
Storage
Test shot
All test shots were taken using the Auto WB control, which was
excellent outdoor images required no fine-tuning
Flash
button
Mode dial
What we like
Olympus has
really pulled the
rabbit out of the
hat with the E410 so look out
Canon and Nikon!
Features
Live View
MOS sensor
Excellent Auto
WB feature
Clean image quality
on the top
we say
9.0
Ease of use
verdict
The Olympus prints have a 3D quality that can rival the best
output from some manufacturers pro-spec offerings - all in a
camera costing less than 600 with kit lens
Shutter
release
Lens
release
9.0
Quality of results
9.5
9.5
Overall
score
9.3
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Reviews Backups4All
Backups4All
very savvy computer user should have
a checklist of things to do to ensure
their digital life runs as smoothly as
possible. Keeping antivirus and system
software up-to-date, regular defragmenting
and freeing up valuable space all help ease the
strain on both you and your hard drive.
Inevitably, though, things will go wrong.
Trying to recover lost iles can be a painful,
time-consuming and expensive process.
Backing up, burning data to disc and investing
in an external hard drive are all good solutions,
but each relies on the user to remembering to
do so. Backups4All takes a different approach.
A simple automated process will back up your
data to a secure off-site location with just a few
clicks of the mouse.
Installing the Backups4All software is an
equally simple process. A free fully functioning
30-day trial is available for download and
requires you to enter basic information such as
user account and log-in details. After successful
login, a back-up setup wizard will appear to
help create your irst back-up set. All data
backed up using Backups4All is encrypted
using an encryption key (pass phrase) of your
specs
From 5.99 per month | This online back-up storage solution offers home
users professional level data protection to protect against file loss
Backups4All
Company
Operating systems
Backup Setting
Control how long deleted
files and older versions are
retained on the server
Online access
verdict
we say
Backup Source
It offers a user-defined
service for you to decide
what needs backing up
Backup log
Keep track of changes to
backed-up files and data
with intelligent file copying
What we like
Although some
may find it
expensive, if
you can justify
spending your
money on this for
your particular
work, the service
is well worth it
Features
No fuss
Peace of mind
Automated
data protection
Excellent support
Overall
score
No annual
discounted deals
No Mac-compatible
home user/SoHo
version yet
8.0
Ease of use
9.0
Quality of results
8.0
8.0
8.0
84
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Company
specs
15 x 5.9 x 11.8
(Maximum external
Price
size. May vary
64.95
according to content)
Website
Weight
www.kata-bags.com
0.87kg
Kata
Lots of space
The main compartment has a dedicated area for the laptop in
addition to pockets for other electrical equipment
Kata Panorama
U Laptop Case
compartments has further divisions. The main
compartment has a safeguard laptop area,
which means you can take your laptop out to
locations and use as your digital easel. If you
dont have a laptop, this area is also perfect for
sketchbooks or any other number of items. Also
contained in this main area are three smaller
pockets for items such as a small camera, PDA
or MP3 player.
The front zipper pocket has reinforcement
along the front, as well as a division strip
that can be moulded to it around whatever
is stored there. This is the perfect place for a
digital SLR, as the strip can swirl around the
camera and lenses, keeping everything safe.
Theres a further compartment around the back
with an internal organiser for pens, cards and
space for keys, money or general bag stuff.
As a dedicated camera or laptop bag,
this product triumphs. It will protect your
equipment from knocks and adverse weather
and is extremely comfortable to wear. But
where it really excels is in the fact it is just so
damn wearable! It doesnt feel like a specialist
holdall it will happily take all the junk you
would normally shove into a bag but it will also
protect your precious equipment. All in all, a
stellar combination.
What we like
Lots of space
Special
organiser pocket
Ergonomic design
Protective areas
The mobile
phone pocket is a
bit of a squeeze for
larger phones
Features
10
Ease of use
we say
Cleanly designed
The Kata bag is well designed,
with pleasing special extras.
Check out this special opening
for headphones!
verdict
9.0
Quality of results
10
10
Overall
score
9.8
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Reviews Books
A good introduction
Getting acquainted with Painter Xs many brushes
can be a daunting prospect. The Choosing Brushes
section demonstrates the effects of the brush library
Edited by
Martin Addison
Price
27.99
Publisher
Focal Press
ISBN
978-0-240-52033-9
Bite-size projects
Handy resource
Near the rear of the book you will
find a valuable print resource of
all the paper assortments found in
Painter X, which is always useful to
refer back to at any time you may
need to
86
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Barry Herniman
Price
9.99
Publisher
Search Press
ISBN
1-84448-148-4
Clear layout
The step-by-step style tutorials are carefully laid out with
images big enough to pick out intricate details, benefiting
digital as well as traditional artists
Good examples
Each small project begins with a good-quality large
example, which acts as a good reference as you follow
the tutorials
Ross Hoddinott
Price
19.95
Publisher
Photographers
Institute Press
ISBN
1-86108-452-8
Kit advice
The book begins with
a detailed tour of the
cameras, lenses and
equipment that will
help you on your way to
taking great close-ups
Shooting tricks
A successful macro photo relies heavily on good
technique. The Basic techniques section talks you
through your camera setup and problems that may arise
Varied subjects
The book covers a plethora of different subject matter.
Professional tips throughout the book offer advice for
setup and more advanced camera settings
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Output
Bags of Love
Memory Boxes
For storing special trinkets,
the memory boxes comprise
of a printed image and
fabcric-covered sides
Photo albums
Available in small, medium
and large, these are popular
for wedding albums
Journals
Printed professionally and
handbound to a book cloth.
You can even re-create your
own This Is Your Life book
Bags
Bags of Love
Dont leave your artwork to gather virtual dust on your desktop waste no time in checking out
the multitude of practical gift ideas that Bags of Love has to offer you
Tutorial info
Artist
Rosie Tanner
Time needed
15 minutes
Skill level
Beginner
88
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Gift vouchers
01
Next, you
must select where you live. Despite
being based in the UK, Bags of Love will deliver
worldwide, although obviously this does affect
postage costs. For the memory box, the postage
costs are as follows: UK 3.85, EU 12 and
Worldwide 15.
Before
you can proceed any further, you must
agree to the terms and conditions by clicking on
the box. As always, its advisable to read through
these before placing an order that way you
wont be getting any nasty surprises later on.
06 Money talks
Artwork
Time can be enjoyably
whiled away looking for
the perfect gift
89
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Gallery
01
02
92
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03
04
93
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Gallery
06
Title: Peonies
The green background here makes the pinks of the
owers leap to the front, giving a feeling of depth and
layered planting.
05
Title: Cowboy
Painting movement is a tricky thing to
do, so we were impressed with how
Sue introduced dynamic elements into
this piece. The ying lasso leaves you
in no doubt that the cowboy is on the
move and the different directions of
the horses heads also contribute to
the sense of speed and movement. The
use of yellow looks as though dust is
being churned up by the horses hooves
again giving a feeling of speed.
07
94
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08
09
95
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Challenge
eve put together another merry
hodgepodge of images for you to
transfer onto your computer and do
something amazing with! You might
like to pick just one photo, or maybe use a selection
and try your hand at montages. You are free to use
THE WINNER
WILL GET
THEIR PAINTING
PROFESSIONALLY
PRINTED ONTO
CANVAS!
096-097_OPM_08_comp.indd 96
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Cha llen ge
winner
Have a look at the best entries
that have been sent to us
WINNER!
Joey Lim
Li-Shan
3RD
PLACE
Samantha
Cread
2ND
PLACE
W Szabo
Peter
97
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JASON CHAN
Official Magazine
100_OPM_08-back cover.indd 1
21/8/07 16:47:49