Professional Documents
Culture Documents
Artistic advice
and inspiration
Issue four
Official Magazine
ON THE DIS
FEATURED
IN THIS ISSUE
GET STARTECD
WITH COREL
PAINTER
QUICK STAR
Selection tools
T GUIDE
PROGRAM DE
RESOURCESMO
Pastel pictures
Watercolour
masterclass
Produce a beautiful lake scene,
Use phot
photos
to create art
Three top artists reveal how and why
they use photos in their artwork
www.paintermagazine.co.uk
Home prints
The best suppliers of fine art
paper for home inkjet printers
OPM_04-CoverFINALfo JO.indd 1
Paul Gauguin
Re-create Gauguins colourful
style in our Paint Like tutorial
c
Ma
and
C
P
Free CD inside
207 PHOTOS | BRUSHES | FONTS
Readers art
See what artwork other readers
are creating with Corel Painter
ISSUE FOUR
ISSN 1753-3155
6.00
04
771753 315000
2/5/07 10:08:32
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Selection tools
We reveal how to use the
best selection tools and
improve your work
Pg 52
Watercolours
Perfect the classic look
of watercolour paintings
with this tutorial
Pg 68
Drawing 101:
Face proportions
What you need to sketch
faces from scratch
ISSUE FOUR
Pg 48
Jo Cole, Editor
jo.cole@imagine-publishing.co.uk
005_OPM04_Welcome.indd 3
3/5/07 16:41:31
Victorian portraits pg 32
Watercolour
masterclass
Turn your photos or
sketches into stunning
watercolour images
Pg 52
P22 USE PHOTOS TO
CREATE ART
Pg 34
31 Painter showcase
97 Readers Challenge
98 On the disc
YOUR
WORK
PRINTED
TO CANVAS
Pg 97
Reviews
84 Kodak EasyShare V803
It may be a humble compact, but
we nd out that it still delivers a
hefty amount of power. Read our
review to nd out more
88 Books
Head on over to page 88 to check
out the latest collection of helpful
titles to aid your creativity, whatever
format or genre you may be
interested in
76 Art Class
Turn here for handy answers
to common creative and
technical questions
94 Readers Gallery
Interested in what fellow
readers are getting up to? Flick
to page 94 to nd out
WIN!
006-7_OPM04_Contents.indd 6
3/5/07 16:17:18
Use photos to
create art
pg 22
Interview:
Bruce Dorn
pg 14
Feature
Visit our
website now!
tutorials
Drawing 101
Traditional artistic techniques
68 Understand face proportions
Being able to create a realistic portrait all starts with a believable
sketch. If you struggle with capturing the human face, turn to page
68 for advice on how to make your initial sketch and build upon that
52 Watercolour masterclass
Capture the softness and
wash feeling of traditional
watercolours with this guide
Primers
www.
painter
magazine.
co.uk
Feature focus
006-7_OPM04_Contents.indd 7
3/5/07 16:17:56
y
t
i
n
u
m
Com
Tutorial xxxx
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
10
010-011_OPM_04-news.indd 10
3/5/07 16:36:19
ts
info n ews eve n ts res our ces letters web site info n ews eve n
ART TOOLS
Improve your
colour knowledge
Handy online tool means perfect
colours every time
Diary
Creative happenings from
around the world
MAY
31
iStockalypse
MAY
Discover some
phenomenal
artists, such
as Katarina
Sokolova, who
created the
image that
graced issue
twos cover
24
Karen Sperling
art exhibition
JUN
07
Landscape
photography class
JUN
21
Keep your colours on the right track with this
handy online tool
dates
RESOURCES
11
010-011_OPM_04-news.indd 11
3/5/07 16:37:27
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
Ivan Domeyko
Readers Tip
Share your Corel Painter wisdom
Sarah Steeley
Great tip, Sarah. Its certainly a trick we use
here quite a lot!
Julian Grant
Lynne Mitchell
Catherine Boun
ds
Cha ll en ge
winner
Yasmin Coskun
12
012-13_OPM04 letters.indd 12
3/5/07 14:49:45
www.paintermagazine.co.uk
bsi te info
we
s
ter
let
ces
our
res
ts
n
eve
s
ew
n
o
inf
te
bsi
we
s
ces letter
Julian has merged traditional paint techniques with modern images to create these vibrant and striking artworks
Customisation caution
Website updates
As you can see below, weve had the winners in for
our irst website challenge, but this is only the irst
of many! We will be holding a continual challenge
on the website with nice long deadlines, so you
have plenty of time to get your entry in. And heres
a couple weve had so far, to boost you along. The
irst is from Kobi McKenzie, while the second is
courtesy of Snowy.
Keeping with the website, we just wanted to let
you know that well be introducing minor tweaks
in the near future to make it even better!
ENTER T
FORUMHE
CHALLE
NGE
Dont b
e
still time shy theres
www.pa to enter! Go to
int
co.uk/co ermagazine.
mpetitio
ns
Patrick Swift
Forum update
New topic of conversation
User: editorjo
Subject: Readers resources
Since we are very keen to get as many of you involved in the
magazine as possible, I want you to let us know of any Corel Painter
resources you may have made. Itd be great to have a readers
section on the disc each issue, where you can share your work with
others and help their creativity. Either email me (jo.cole@imaginepublishing.co.uk) or make a posting in the Readers Resources
topic in Feedback.
Dave McKeague
13
012-13_OPM04 letters.indd 13
3/5/07 14:50:17
WEBSITE
JOB TITLE
CLIENTS
www.idcphotography.com
Freelance photographer and artist
United Press International, Cond Nast Publishing
An interview with
Bruce Dorn
From Hollywood to Corel Painter Master, Bruce Dorn has had an eventful last few
years. Nick Spence discovers how a period of reflection led to a whole new career
[BELOW]
Thinkn about Runnin
Autumn colours define
this late round-up as
an Oregon cowhand
keeps an eye on an
independent-minded
maverick. Bruce
abstracted the original
photographs hues for a
more graphic effect
Perfect Processional
Captured during the wedding of a classical dancer, this
image has been licensed as a design illustration for
Canons Fine Art Photo Rag inkjet papers
14
014-20_OPM04_Interview.indd 14
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15
014-20_OPM04_Interview.indd 15
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Classic Flamenco
Lacking a proper studio
environment, Bruce lit and
photographed the dancer in a
modest residential garage. The
architectural background was
added in Photoshop and the
composite image was rendered
using Painter IX
16
014-20_OPM04_Interview.indd 16
2/5/07 10:48:01
Dancers in Repose
Spontaneously posed, captured, and painted during
one of Bruces live Corel Painter demonstrations,
this image has been the recipient of many awards.
Featured in the Art of Digital show, Dancers in
Repose also earned the Gold for Best Portrait in
Ballistic Publishings book, Painter: the Worlds
Best Painter Art
[ABOVE]
Backstage
Carefully illuminated
with a mix of gelled
strobe and ambient
window light, this scene
was captured moments
after Dancers in
Repose. Bruce feels that
well-conceived lighting
plays a critical part in
the creation of his best
digital paintings
17
014-20_OPM04_Interview.indd 17
2/5/07 10:48:26
Lioness Charge
Working from an image captured
during an iDC Photography
Photographic safari to Botswana,
Bruce used the Sergeant brush and
a Small Palette Knife to create a
dramatic action portrait
[ABOVE]
Working on location
With his Mac laptop
lashed to a battered
French easel and
his Wacom tablet
near at hand, Bruce
experiments with
painting landscapes, en
plein air.
18
014-20_OPM04_Interview.indd 18
2/5/07 10:48:57
Cowboy Blues
Clyde, the original steed of the iconic Marlboro Man is
still at work. Here he carries a wrangler across an icy
Wyoming river to round up some strays. Bruce and
his wife, Painter Master Maura Dutra, hold an annual
digital workshop in Jackson Hole each September
19
014-20_OPM04_Interview.indd 19
2/5/07 10:49:27
Rosalind
Bruce posed, lit, and painted
this sultry portrait of Chicago
photographer Rosalind Van
Tuyl during a 90-minute Photo
Impressionism seminar in Las
Vegas, Nevada
20
014-20_OPM04_Interview.indd 20
2/5/07 10:50:37
Feature
Use photos
to create art
22
022-29_OPM04_feature.indd 22
2/5/07 14:08:13
022-29_OPM04_feature.indd 23
y
k by Helen Yanc
Original artwor
23
3/5/07 17:22:45
k by Fay Sirkis
Original artwor
lguero
k by Claudia Sa
Original artwor
k by Helen Yanc
Original artwor
Feature
d
ually produPceainter
an
m
e
in
b
m
el
Co skills with Cor
painting ion. I first teach how
automat e program to paint s
to use th then after two day way.
manuallyem the automated roper
show th eople to learn the p the
I want p then you combine anual
way, and omated with the m
two, aut e amazing results.
For Fay Sirkis, art and painting was always in the blood. Enrolled in
for som
Fay Sirkis
art classes by her parents at an early age, Fay has wanted to paint
since she was a small child. A respected traditional ine artist, Fay
now works digitally and is in demand for her evocative portraits
WEBSITE
www.faysartstudio.com
JOB TITLE
Digital artist
BIO
New York-based contemporary digital artist,
Fay Sirkis, is an internationally recognised
portrait artist, photographer and instructor. A
popular speaker at conferences and seminars,
Fay recently visited the UK to help launch
Corel Painter X. As a beta tester for the Corel
Corporation, Fay has also helped shape and
road-test recent updates. Fay is a Painter
Master and has had her work featured in
Corels Painter Masters Art Gallery, along with
numerous ad campaigns, including the recent
2007 calendar printed in honour of Corel
Painter X. Fay is also a Canon Print Master,
producing work that has featured in numerous
Canon brochures.
Explore
System, tnhee RealBristle Paintin
Never w in Corel Pain g
paint as rbeeafore was it possibleter X.
now with t listic brush strokes to
a must to hese new brushes. as
can almost feel the experience, It is
smel the p
aint! you
With her own bespoke set of brushes, Fay can turn photos into stunning paintings
that delight clients from all over the world
022-29_OPM04_feature.indd 24
2/5/07 14:09:18
Use a smaller W
tablet for
sketching out ideasacoanm
d
for
Usually when I just travel.
starting
out on my new am
pa
int
ing
,
I
and sketch out, and think sit back
I want to go with my of where
image.
There are times
and relax with thew6xhe8n I sit back
on my lap.
25
022-29_OPM04_feature.indd 25
2/5/07 14:09:54
Feature
Claudia Salguero
For Claudia, Corel Painter couldnt have
come at a better time. For many years she
had worked on two of her passions as a
photographer and ine art painter
WEBSITE
www.closalguerophoto.com
JOB TITLE
Digital artist
BIO
Born and raised in Colombia, Latin America,
Claudia Salguero is an award-wining
professional photographer, fine artist and
graphic designer now based in Ottawa,
Canada. After discovering Corel Painter back
in 2003, Claudia was finally able to meld all
three disciplines into a magical mix. Her list
of impressive clients include Sony Music and
The Supreme Court of Canada. The Corel
Corporation now recognise Claudia as a
Painter Master the only individual from
South America in an internationally renowned
group of very talented professionals.
ng on layers
Try cloning and workitou
un
leaving your canvas th it;checred.ating
At the end, play wi objects
colours, textures or new
r layers
that will show throughdeyou
ess and
epn
age
giving the final im
r.
ou
richness of col
ers. Its
Always name yoknurowlaywhat you
the only way to to get confused.
are doing and notthem, save your
Before dropping a new one or
file and work on group them, lock
copy the layers, drop the originals.
them and then the result, youll
If you dont like again.
be able to start
Manuela
Extracted from more
dancers and girls talking
in Montreal
26
022-29_OPM04_feature.indd 26
2/5/07 14:10:22
a
From time to time, takereand
put
com
the
break from
ditional
create images with your tra
ers
ark
pencils, brushes and m ain. To
me, our hands are our mtrained.
tools and they need to bework with
Knowing how it feels to take
traditional media help us c tools.
advantage of Painters artisti
Claudias use of Wacoms phenomenal Cintiq display allows her to draw directly on
the screen and perfect the paint strokes over the underlying photo
27
022-29_OPM04_feature.indd 27
2/5/07 14:11:11
Feature
Helen Yancy
Helen Yancy has been painting traditionally most of her life and has been
a portrait photographer for a number of years. Seeing a way to effectively
combine the two, Helen openly embraced working digitally at a time when
others were more reluctant to, back in the early 1990s
WEBSITE
www.helenyancystudio.com
JOB TITLE
Artist and photgrapher
BIO
Over a distinguished career, Helen Yancy
has worked as a painter, digital artist and
photographer. Her portraits hang in hundreds
of private homes and in permanent collections
and exhibitions. She has lectured or taught
throughout the world and has been the
recipient of numerous prestigious honours
and awards. Helen holds the rare distinction
of being the first person in the world to receive
the degrees of Master of Photography, Master
Artist, Master of Electronic Imaging, and
Photographic Craftsman from Professional
Photographers of America (PPA).
is
ing in layersy
k
r
o
w
e,
m
For I paint above m if Im
essential. h, or my drawing ily be
photograpfreehand, so I can eas ess
painting retaining the liken ject.
sure I amersonality of my sub ay
of the p in layers is a great w r
Working as well, as it allows fo
to learn ndos.
endless u
ip
Helens top t
Adrienne Helens soft painting style is perfectly demonstrated in this image, with
the brush marks surrounding the focal figure
022-29_OPM04_feature.indd 28
2/5/07 14:11:36
Advance your
digitally by usingeaCrnings potential
X to streamline thorel Painter
painting process an e traditional
on real paint d reduce costs
freehand traditaniodnacanvas. My
portraits are muc lly painted
expensive, th h more
more affordabelev.irtual paintings are
Yancy Little Ones Helens combination of photography and painting has given her clients a lovely keepsake of
different memories and stages in their familys life
022-29_OPM04_feature.indd 29
2/5/07 14:11:53
DENNIS ORLANDO
TITLE
WEBSITE
JOB TITLE
Dennis has been involved with digital painting since the very beginning
in fact he was partly responsible for making the medium a reality! All of
his computer skills are self-taught, although he has shared his knowledge
with countless others through magazine articles and tutorials in over 15
books, and has had work exhibited throughout the world.
031_OPM_04.indd 31
3/5/07 12:09:55
Start
blocking in
the colours
Laying down
the tonal values
Preliminary sketch
Daniel Cox
Time needed
2 hours
Skill level
Intermediate
32
032-036_OPM_04-Daniel Cox.indd 32
3/5/07 12:17:53
Tutorial
Paint a Victorian portrait
33
032-036_OPM_04-Daniel Cox.indd 33
3/5/07 12:19:03
A moment of inspiration
Prepare for the journey ahead
01 Reference = inspiration
After
searching online for some photos, I open
a canvas and just drag and paste everything into
groups. Its hard to paint in a bubble, so I use the
reference for inspiration!
02 Thumbnails
The
04
Palette
Knife is your
05 Drawing is hard!
colour
07 The
key
I mix my
palette on the Mixer,
and limit it to hues of
cyan, greens, yellow
and red. I use the
Square Conte Brush
(Size 48, Opacity 30%)
to block in the colours
directly on top of the
tonal study, but under
the line drawing. The
drawing clearly denes
the shapes, so this
stage is the quickest
and I dont worry about
any blending. Using
the Hard setting, you
naturally get a build up
of hue on top of other
hues anyway.
34
032-036_OPM_04-Daniel Cox.indd 34
3/5/07 12:19:31
and
09 Drop
blend
The
11
importance
of expression
10 Blending is fun
Its
at this stage that I
realise somethings
not working and
quickly decide its her
expression! She looks
like she is aware of
the camera, and to
my eye it spoils the
whole authenticity Im
trying to achieve in
the painting. I quickly
paint out the face
using the Conte brush
and begin again
Tutorial
08 More colour
Painting Alla
Prima
13 Time to render
35
032-036_OPM_04-Daniel Cox.indd 35
3/5/07 12:19:52
14 Continue to render
Here I just
continue over the whole canvas,
rendering the shapes and planes using the Acrylic
brush. Mostly I Alt/Option-click to select hue and
work as quickly as possible, mostly because this
is the part I nd the most tedious as the decisions
have already been made in the previous stages.
The trick here is to not over render, and to move
on and not linger in one area. Again, work quickly
and youll avoid that (mostly)!
16 Finishing touches
Spartan
36
032-036_OPM_04-Daniel Cox.indd 36
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Primer Focus
EFFECTS MENU
PRIMER
3D BRUSH STROKES
Here weve chosen 3D Brush Strokes
from the Using option. Again, with
this method, Corel Painter uses the
current pattern to base the actual glass
distortion on. This is a much more subtle
way of using the lter and can be used
to create a quite painterly effect.
Focus
Here or
there?
You dont have to
apply these effects
all over an image, you
can actually use them
in isolated areas of an
image if you prefer. To
do this you can make
a selection first with
any of the selection
tools, or apply the
effect to an entire
layer and then use a
Layer Mask to reveal
the effect in specific
areas of the image.
IMAGE LUMINANCE
Using Image Luminance applies the glass
distortion in its pure form, without referring
to either paper or pattern. Instead, the
effect is based on the luminance values
of the image itself to base the amount of
distortion on. This is a great way to creating
a painterly effect prior to adding some
exciting brushwork.
Sharpen
Softly does it
The Soften effects are useful not only for
softening and blurring photographs, but also for
subtly softening brush strokes in you paintings.
Again, you have Gaussian or Circular options here
and its useful to experiment with both to see
which gives the best effect for your requirements.
The Amount slider simply governs the overall
strength of blurring. Its useful practice to
apply this method on a duplicate layer so you
can temper the effect afterwards if needed by
reducing the opacity of the blurred layer or using
another layer altogether.
38
038-39_OPM04_effects.indd 38
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ORIGINAL LUMINANCE
Primer
01 Duplicate layer
Focus
02 Distortion
method
Go
to Effects>Focus>Glass
Distortion. From the Using
option, choose whichever
method you want to use for
the distortion. If you select
Paper, you can click the
Paper Selector to choose a
surface. For 3D Brush Strokes
and Original Luminance,
choose your pattern from the
Pattern Selector.
03 Distortion
options
PAPER DISTORTION
In this section of the image weve
chosen Paper from the Using option.
This method of distortion uses the
current paper texture to base the
pattern and tone of the glass distortion
on. You can choose another paper
texture from the Papers palette with this
window active. Refraction was chosen
as the Map method.
Zoom Blur
You can
soften the effect with the
Softness slider and choose
Refraction in the Map
option. Always select Good
in the Quality option for the
best results. The Amount
slider controls the overall
strength of the effect. Via
the Variance and Direction
sliders, you can make the
distortion more random.
Motion Blur
A world in motion
The Zoom Blur effect is very useful for
concentrating the viewers attention on a
particular point in an image. It gives a similar
effect to zooming a camera lens while the
camera shutter is open. Once youre in the Zoom
Blur dialog, you need to click on your image
where you want the centre of the zoom to be
located. The degree of zoom is controlled simply
by the Amount slider. By default the effect
zooms out of your image, but you always have
the option of checking the Zoom In checkbox to
achieve the opposite effect.
39
038-39_OPM04_effects.indd 39
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Tim Shelbourne
Time needed
1.5 hours
Skill level
Intermediate
On the CD
Swatches and
starter sketch
A sketchy start
Laying down the foundations
and
02 Paper
pastel
40
040-045_OPM_04-pastel.indd 40
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Tutorial
Sketch with pastels
41
040-045_OPM_04-pastel.indd 41
2/5/07 11:53:47
03 Establishing tones
Were going
to be covering a lot of these areas with
other colour later so dont worry about being too
accurate here, just establish a kind of tone map.
Scribble in the greenery around the central area
using a dark green from the swatches. Remember
to use the sketch as a guide, and reference the
nished image when placing the main colours.
Layer upon
layer!
There is no right or
wrong time to add
a new layer, but you
should use them
to your advantage.
Layers can be used
logically, so for
instance, you can
sketch background
elements on one layer,
and sketch objects
which are nearer
the foreground on
another. By working
this way, you can
easily add more
tones or shading
to the background
elements, without
having to worry
about shading over
foreground elements
by mistake. Also,
layers are useful for
trying out additional
marks towards the
end of your drawing.
If you dont like your
additions, simply
delete the layer that
contains them!
Still just
establishing the overall colours, use the
brush at a fairly small size to colour in the three
central gures. All of the colours you need are in
the supplied swatch. For the faces and limbs use
warm oranges and ochres, cooler colours for the
clothes and a selection of warm greys for cooler
areas on the gures.
06 Dark foreground
On a new layer,
and using dark neutral colours, start to
shade in the main foreground elements. Again, at
this stage youre only sketching in the darker parts
of the image. Leave any highlights as plain paper
showing through your shading. Lively diagonal
scribble is key to these areas, changing your colour
regularly for the same shade of another colour.
Build the
shadow areas on the ground using a mix
of midtone blues, greys and lilacs. Its best to lay
down a scribbled area of one colour, then overlay
it by scribbling here and there with another colour.
Follow the shape of the shadows as shown by
the sketch. To add interest, create areas of rough
cross-hatching (see annotated screenshot, p43).
08 Sunshades
09 Varying
grain
42
040-045_OPM_04-pastel.indd 42
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Tutorial
ESTABLISHING TONES
SUBTLE SUGGESTION
LOOSE SCRIBBLE
To establish the base for the
greenery and bushes, the
shading is applied more loosely.
As you shade here, change
direction frequently to give a
loose natural feel that lends
itself to organic structures. The
use of various shades of green
adds interest.
11 Sharp
pastel
Now
the main tones are
established, we can
get into the really juicy
pastel work that will
bring the painting
to life. Add a new
layer and choose the
Round Hard Pastel 10
variant. Set the Grain
slider to around 25%.
In the Brush Controls
(Window>Brush
Controls>Show
General), set the
Minimum Size to 75%.
12 Vibrant accents
13 Fine hatching
43
040-045_OPM_04-pastel.indd 43
2/5/07 11:55:17
Grain gain!
the
14 Into
light
In
the very brightest
highlights, use pure
white, increasing the
Grain slider a little rst
so that these areas
are more solid. These
very light shades are
also very useful for
delineating the sunlit
outlines of the gures
and the table. Add
some very ne strokes
and small ticks of white
and pale blue to the
distant gure to rene
his shape.
15 Finer details
At this stage, using the same brush, you can also add
some darker colours to describe ner areas, such as the chair and to
indicate more detail in the gures. Remember, a lot of the charm of a pastel
painting comes from lots of broken colour, so change your colours regularly,
within similar tones, overlaying hatching of each colour.
17 Softer
pastel
Add
another layer and
its time for another
brush change! Choose
the Round X-Soft
Pastel 10 variant. In
Brush Controls, set
the minimum Size to
80%. Choose a bright
yellow and, using the
brush at around 30
pixels, begin to add
some lighter tones to
the lower areas of the
yellow sunshades using
vertical strokes.
16 Foliage shading
18 Painting sunshine!
44
040-045_OPM_04-pastel.indd 44
2/5/07 11:57:28
it
19 Paint
red!
Using light
yellows and lilacs and using the brush
at a small size, add the light areas to the ground
between the shadows. Again, use ne hatching,
making sure your strokes follow the perspective of
the ground. Overlap the shadow areas here and
there with these light tones to break up the edges.
and
22 Add
rene
Traditionally, in
pastel painting,
an artist would
smudge selected
areas of pastel work,
particularly towards
the outer edges of
the picture. This
would be done either
by smudging with
your fingers, or with
a tight roll of paper
known as a Stump.
Obviously, working
digitally means we
cant actually use
our fingers, but
we do have access
to various digital
stumps! These stumps
are held within the
Blenders category
of variants. These
stumps have Opacity
and Grain settings
just as pastels do, and
you can blend pastel
already applied with
them. The blending
around the edges in
this image was done
with the Soft Blender
Stump variant. Try it!
Add
some lighter red
strokes to the canopy
using long, owing
strokes. Also add
some ner, darker
vertical lines to
indicate details and
contours on the front
part of the canopy.
Small highlights can
be added here and
there with some very
light pinks.
Tutorial
Ole Stumpy!
a
23 From
distance
The distant
background areas are
added with simple,
vertical hatching in
very light tones. The
great advantage of
pastel is that you can
give the impression
of detail very simply,
using the colour of
the paper to serve as
the midtone. All thats
needed here are a
few lines to fool
the eye into seeing
indicated details.
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Selection
tools
COMPOSITE METHODS
Composite methods let you change how
your current layer behaves with those
beneath. In this case it helped us to tint the
background, whilst simultaneously having
the effect of bringing the gures forward.
FEATURE
FOCUS
REAL TEXTURE
You dont have to create
all your textures from
scratch in Corel Painter just
because you can in theory.
Occasionally its good to
use something real, like
this wooden texture we
photographed on our desk
at home.
Decisions decisions
48
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the
01 Load
photo
On
the CD youll nd a
photo of the Osaka
skyline, which was
kindly supplied by
Kevin Coffey (www.
description.me.uk/).
Select the whole
image and paste it in
behind everything else
youve created so far.
Selection Tools
Feature focus
and
03 Reuse
recycle
FADING OBJECTS
Adding layer masks to the various
elements in the piece means that you
can keep the brush strokes separate from
what looks like the edge of the object.
This meant that at the end we could fade
out the clothing to reveal the city lights
beneath, without erasing anything.
Lighting Effects
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FEATURE
FOCUS
outline
01 Anto start
02 Making marks
A good
composition
All the skills youre
learning here should
prove useful as you
move onto your own
work. But just as
weve started with a
line drawing here, its
imperative that youve
got a clear idea in your
head before you start a
new piece. Not that you
shouldnt experiment
of course, but planning
your composition
is key. Try and lead
the eye of the viewer
around the page from
one object to the next.
Overlap away!
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Another method we
used in the piece is as follows. Using the
Lasso, quickly draw an outline around the jeans.
Go to Select>Convert to Shape, and your outline
becomes a vector shape.
This
means that you can
now use the Pen tools
to rene your shape,
adjusting the Bzier
curves, and adding
new points along
the path as you need
to, to get the outline
you want. When
youre ready, go to
Shapes>Convert to
Selection and you
can copy and paste/
create a layer mask
as desired.
Selection Tools
Building up your
layers with different
Composite Methods is a
great way to add colour
depth to your image.
For instance, you can
see the city lights
through the clothing
in our final image.
This was done by
having the lower layer
set to Screen, which
highlights the brighter
areas. Then this layer
was copied but set to
Normal. With a large
eraser we reduced the
image mask on the top
layer to reveal some of
the lights beneath.
to
06 Shape
path
05 Path to shape
Feature focus
Composite
Methods
Changing channels
Multiple layer madness!
No need for
perfection
07
but theyre not restricted to one layer and can be reused. Once you
have a selection, like the face here, go to Select>Save Selection. Name the
selection, and youll see it appear in the Channels palette.
Keep it separate
Total isolation
51
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Watercolour
masterclass
Join us, as we walk you through the
wonderful world of watercolours
Tutorial info
Painter master
Karen Bonaker
Time needed
50 minutes
Skill level
Intermediate
On the CD
Reference photo
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Tutorial
Watercolour masterclass
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Top watercolour
brushes
A dry run
Wind direction
Wind Direction is located in the Water palette. The setting for Smooth Runny
Camel Brush 30 is Opacity at 28% and a Grn Soak-In value of 56%. Keeping
your Opacity setting low will produce the best results. The brush strokes
change direction as the Wind Direction arrow is moved.
White paper
A part of the charm of watercolours is allowing
some of the white of the paper to show through.
There are different ways to accomplish this from
using the Lasso tool to mask out areas, or softly
applying eraser. Using the Lasso tool you can
mask out regions that you want to remain white.
The old adage a stroke laid is a stroke played
with regards to Corel Painter is not necessarily so!
Eraser Salt
There are some wonderful brushes which you can use to create fabulous
textures in your watercolour paintings. Salt comes to mind! The Eraser
Salt, when applied to the watercolour layer, disburses the paint creating
interesting textures and patterns.
Wet Camel
Pencil marks
Diffuse Camel
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Choose
File>Quick Clone. Select the Thick and
Thin Pencil from the Pencils category and set the
Opacity to 20%. Choose a grey colour and toggle
the Tracing Paper on and off so you can frequently
watch your sketching progress. Create a loose
sketch of your source image, and save this version
as Sketch.
Your
Watercolor brush variants rely on
Brush Tracking being set correctly before you
begin to paint. To set Brush Tracking, choose
Edit>Preferences>Brush Tracking. Using your
stylus, make a few representative strokes within the
Scratchpad using your normal pressure and speed.
Set Brush Tracking each time you start Corel Painter
anew, especially when changing brush variants.
There are
three palettes that are important to you
as you paint; Water, Tracker and Size. You will nd
the Water and Size palettes by launching the Brush
Controls. To open the Tracker palette choose,
Window>Show Tracker. This temporarily stores
brush categories, variants and dab types when
you expressly apply brush strokes to the canvas.
Each time you use a new brush, the variant is
saved on the Tracker palette.
If you
have Corel Painter X, select Window>
Show Underpainting and apply Smart Blur at
65%. Select Apply and close the palette. Those
with later versions should apply a soft blur. Go
to Effect>Focus>Sharpen and uncheck red and
green. Set the Amount slider to 19.49 or so. This
will help to enhance the colour in your painting.
Save your source image with a new name.
There are
many brushes to choose from in the
Watercolor brush category but well use a few of
my favourites. These brushes will give you lovely
translucent washes reminiscent of traditional
watercolours. Youll be using Soft Runny Wash,
Simple Round Wash, Wet Camel and various
other brushes for added effects. Create a custom
palette by dragging the icons from each brush on
to the Corel Painter interface.
Wetness controls
the dilution and
the diffusion of
pigment. As Wetness
is increased, the
resulting stroke
spreads out over
a larger area,
eliminating the
appearance of
any individual
brush hairs.
To create great
watercolours it is
important that you
understand these
palettes and how
they can affect your
watercolour paint.
Settings that can
reveal the paper
texture as you paint
are Diffuse Amount,
Grn Soak-In and
Wetness. To reveal a
paper texture while
you paint, keep the
Grn Soak-In setting
high. For example,
if you wanted your
Simple Round Wash
to reveal strong paper
texture, then move
the slider higher.
Experiment with
all the settings as
you work. The Grain
Setting slider on the
Brushes Property Bar
when moved to the
left will reduce the
amount of paint that
is penetrating into
the grain. Move it to
the right to increase
the penetration.
Watercolour masterclass
01
Tutorial
The Water
palette
Testing
07
your
brushes
Open a
new canvas and make
sure that the Paper
settings are the same
as your sketch. You
will use this canvas
to test your brushes
as you paint. This is
your digital palette!
Choose each of the
brushes noted in step
six and practise long
sweeping strokes
across the canvas. This
exercise will warm you
up and assist you to
visually see how the
paint reacts on the
watercolour layer.
08
Just as
in natural media watercolours, well
work from the back of the painting forward.
Begin by making sure you have the correct clone
source selected. You will begin by using the
colours from the original source image to develop
your painting. From the Window menu choose
File>Clone Source and select your original image
as the Clone Source. Enable the Clone Color
Stamp and make sure it is greyed out.
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Building
12
Texture and
Grain
On
the Water palette set your Grn Soak-In
factor to 92% and Wetness to 918. Disable the
Clone Color Stamp and apply your own colours as
well. Select the Simple Round Wash variant. Set
your Brush Tracking and try a few strokes on your
digital palette. Dont worry about the white of the
paper showing through, this is part of the charm
of watercolours! Notice that as you lay your paint,
the pressure you apply to your stylus has an huge
impact on how dark or light the paint ows.
11 Moving forward
To initially develop
the mountains, select the Wet Camel
brush variant and add a new watercolour layer
by clicking the water droplet icon located at the
bottom of the Layers palette. To rename the layer
right-click/Ctrl-click on the layer and choose Layer
Attributes. Rename the layer Mountains and
select OK. Naming your layers is a good habit and
assists you to stay organised, particularly if you are
working with many layers.
As you work
on the painting, create
a new layer for each
important area. To add
grain to the mountains,
pick Diffuse Camel
variant and just oat it
randomly to give the
illusion of trees in the
distance. Use colour
from the source image
by enabling the Clone
Color Stamp or use
your own!
Corel Painter
online
I wanted to take this
opportunity to tell you
a little more about
wonderful resources
available to learn
Corel Painter online! I
am a teacher for two
online schools LVS
Online and Eclectic
Academy. LVS is a
Corel Training Partner
and enrols students
from all over the
globe. I offer several
Corel Painter classes
and as a student
youre automatically
eligible to register for
Painter Talk, a Digital
Art Community that
is graced with a vast
array of talented Corel
Painter Artists.
My love for Corel
Painter continues
to grow and the joy
of discovering new
things every day! The
Painter community is
one of the most giving
and supportive I have
ever been involved
with, and with the
newest addition of
Corel Painter, even
more so! To find
out more about my
classes and Painter
Talk, simply visit my
website www.karen
bonakerart.com.
13 Painting water
16 Dropping
layers
15 Painting the foreground
First,
save this version with
all the layers intact. This
is your safety net just
in case you desire to
come back and work
further on the image.
After you save, hold
down the Shift key,
select all the layers
except the Sketch layer,
and drop them all to
the Canvas layer.
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Talking textures
Applying a Surface
Texture to your
watercolour from
the Effects palette
can add a nice touch.
The key is to apply
it softly. The most
important sliders
are the Amount
slider (5%) and the
Shine slider (0%). To
apply Paper Texture,
select Effects Surface
Control>Apply
Surface Texture.
18 Apply
textures
Applying textures
gives that added
bit of serendipity to
make it your own! To
convey the seaweed,
rocks and gravel in
the foreground, use
the Splatter Water
and the Eraser Salt.
The Splatter brush
can build texture as
well, such as giving
the wood of the boat
a grainy appearance.
Also, salt just lightly
ecked softly over
the water adds the
sunlight touch.
Watercolour masterclass
Commit
17
to the
watercolour
19 Rene
Tutorial
Choose
Layers>Drop All. Adding an edge to
your painting is a nice way to nish it. Now choose
Canvas>Canvas Size, and add 200 pixels directly.
Add a new layer, choose the 2B Pencil, and sign
your lovely watercolour painting. If you feel your
painting is too dark, lower the Opacity setting.
To add a nice nal addition select the Tinting
Brush>Diffuser 2 and run it along the border.
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showcase
KUANG HONG
TITLE
WEBSITE
CLIENTS
Bride of Lucifer
www.zemotion.net
Fantasy magazine, Tenacious Games and Sabertooth Games
Kuang Hong has loved drawing since he was very young. After university,
Hong rst encountered digital arts in 2001. He has now become a top
artist in this eld. Most present works are concepts for various games,
and illustrations for magazines and publications. Currently an art director
for a game company in Beijing, he is also involved with 2D concepts arts,
including characters, monsters and environments.
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Paint like:
Paul
Gauguin
Gauguin is famous for leaving his
comfortable banker life to fulfil a dream
of becoming a full-time artist
Tutorial info
Painter master
Hannah Gal
Time needed
2 hours
Skill level
Intermediate
On the CD
Start sketch
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Tutorial
Paint like Paul Gauguin
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Below: Although
Gauguin dabbled in
many styles, the broad
colours of paintings
such as The Siesta have
become his trademark
Away we go!
Tools at the ready
01 Setting up
02 Colour palette
03 Airbrush
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04
Fill in In
05 Fill in 2
Tracker is a very
useful facility for
any type of work
with brushes. The
Tracker palette keeps
a visual record of
recent brushes used.
The Tracker window
can display brushes
as a single stroke so
you can keep track
of work done so far
and use any of these
previously used
brushes without
tracing your steps.
To do this, simply
click on the brush
of your choice. This
should automatically
activate it.
the toolbox
select the Lasso tool.
Working on the
Drawing layer, use
a selection tool to
pick an area. Go to
Select>Feather and
set to 6. Set your Main
colour to the one you
wish to ll the selected
area with and go to
Effects>Fill to open
the Fill box. Here,
under Fill With choose
the Current Color
option and set Opacity
to 35-40.
Tutorial
Tracker
07 Dry
Bristle 2
06 Dry Bristle
09 Slightly
darker
08 Palette power
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Combining colours
Outlining the details
10 Skin 1
11 Skin 2
13 Colour in colour
14 Black lines
15 Black lines 2
16 White on trees
12 Shadows
Glazing
Gauguin used
wax on some of his
works as well as glaze.
For the latter, thin
layers of translucent
colour are added
to the final images,
giving it richness and
depth. The quickest
method to achieve
this effect is using
the Acrylic brushes
Glazing variants. This
technique requires a
lot of patience as one
glazing layer, with
its many strokes, is
gradually applied on
top of another.
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Lighter
17 shade
Paper
Texture
18 Saturation
Tutorial
Go
back to Artists Oils
and set your brush to a
20-22 size and Opacity
to 13. Under Impasto
set Depth to 15% and
zoom in on the yellow
dress of the woman
on the right. Sample
this yellow and
double-click on the
Main colour to open
the Colors palette. Set
a signicantly lighter
shade and paint the
highlight on the dress.
Try to use long and
single strokes.
20 Paper
19 Surface Texture 1
Click
on Paper
Selector, just below
the toolbox to open
it. Out of the list that
pops up choose Artists
Canvas. Increase
Brightness to 78 and
Size to 120. You can
also try Linen Canvas
on the same list.
21 Surface
Texture 2
Go to Effects>Surface
Control>Apply
Surface Texture and
set Using to Paper. In
the Preview window
you can now see the
paper you designed
in the previous step.
Set Softness to 0,
Amount to 50, Picture
to 100, Reection to
0 and Shine to 25.
As Gauguin often
waxed and glazed his
paintings, you can
experiment with the
Shine level further.
22 Finish off
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BRUSH CATEGORY
Artists Oils
If you like oil paint, youll love the Artists Oils
brush category. For the ultimate in life-like
paint effects, read on!
PRIMER
BLEND TREND!
By using the Blender
variants, you can work
over areas of paint already
applied and subtly blend
them to break up outlines
and give a feel and look
of a real oil painting.
REALLY SMEARY
Use the Smeary variants in areas that
dont need too much detail. In these
areas, the way the paint smears and
merges can be as visually interesting
as the content of the painting itself.
Smeary variants use high Blend and
Wetness values.
Surface texture
Brush Controls
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Primer
BRUSH PALETTE
Blender Bristle
Grainy Blender
Blender Brush
Bristle Brush
Grainy Impasto
Clumpy Brush
Impasto Oil
Dry Bristle
Dry Brush
Oily Bristle
Smeary Impasto
Soft Blender
Artists Oils
The Artists Oils category contains all the brushes you could ever dream
of! To let you see the different variants in all their painterly glory,
weve constructed a juicy palette so you can get a real feel for the best
brushes to create textured artwork with.
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Understand
Facial proportions
Read on for valuable rules and techniques for drawing faces from scratch
01
EYE AND NOSE AREA TO
BOTTOM OF NOSE
FOREHEAD AREA TO
EYEBROW LINE
02
03
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Drawing 101
Facial proportions
FRONT
NOTICE
THE SHAPE
OF THE
FACE
SEE HOW
THE NECK
MUSCLES
APPEAR
PROFILE
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Feature
relationships
First divide a square into
quarters then split the
bottom half into three
horizontally. Measure
between the chin and nose;
this is the same distance
as between the bridge of
the nose and the ear. Mark
this on each end of the eye
line and divide it by five to
show where the eyes are.
(two and a half eye lengths
on each side of the centre
of the nose).
FACE FORWARD
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Drawing 101
STAGE 1
ROUGHLY SKETCH IN YOUR IDEA
STAGE 2
CHECK YOUR MEASUREMENTS
STAGE 1
STAGE 2
Facial proportions
STAGE 3
Profile
STAGE 3
ROUGHLY SKETCH IN SHADOW
STAGE 4
INCREASE THE DETAIL AND RECHECK
YOUR PROPORTIONS
STAGE 5
STAGE 4
Frontal
STAGE 5
REFINEMENT AND FINISH
This stage is the payoff for all your hard work, where your
image starts to come alive. Use a 2B Pencil to create soft and
hard marks for dark shadows. Think about the nostrils, pupils,
ears and centre of the lips, which are the darkest areas and
work over all areas, sensitively.
STAGE 1
STAGE 3
STAGE 2
STAGE 5
STAGE 4
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Eyes
Ears
01
01
The initial sketch lays down the basic shape of the eye
and how it sits
03
02
04
02
03
05
04
Slowly build up the shading,
taking care to pick out the
shadows and highlights that
will give the ear its swirly,
bony form
You could stop at step four, but by having darker shadows, you are treated to a much
more powerful eye
05
A persons hair can do
wonders in emphasising the
ear and its form
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Nose
The nose is really
tricky to draw, because
it changes dramatically
with the slightest
movement. The most
common mistake is to
draw too much keep
the shadow light all
over except around the
nostrils but avoid thick
lines on the bridge.
Suggestion plays a big
part in drawing noses!
A well-drawn mouth
is the most important
facial feature after the
eyes. Remember to
make the centre line
the darkest, the top lip
thinner and darker and
avoid heavy outlines
at the edge. Always
try and study what
you see rather than
drawing how you think
lips should look!
01
01
02
02
Facial proportions
Drawing 101
Mouth
Smells good to us
03
03
With the contours applied, start to
add some shading to portray the
lips fullness
04
04
05
The only really dark parts
are right at the bottom of the
nose. This is all you need for a
realistic effect
05
Really define the centre line and also
put a small shadow underneath the lips
to lift them from the face
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DON SEEGMILLER
TITLE
WEBSITE
JOB TITLE
3/5/07 12:10:58
3/5/07 12:11:13
Your
questions answered
Up in flames
Im trying to paint a bonire but
was wondering if there are any
particular brushes that are good
for painting ire?
Your experts
Stewart McKissick
Jeff Johnson
S M
brushes I mentioned. I
I painted this blazing bonfire with the two
the Tapered Round, and
blocked in the basic values and hues with
er adding some crissthen spent a little time with the Oily Blend
s further in places
crossing eddies and extending some flame
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
SHARE
YOUR
PROBLEMS!
A hairy situation
The intensity of the moons glow is enhanced
by using a rich blue-black that
acts as a compliment to the colour of the moon.
I have included a faint glow
around the brightest edge to suggest the atmos
phere we see the moon
through. I also hint at the rest of the globe,
as it never fully disappears.
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Art Class
K E
02 Adding detail
For each
pose, weve broken it into a simple body,
head, and ears. Cats heads are basically rounded
and can be stylised into triangles as well. Ears are
always triangular. If this stage is successful, you
should be able to see a cat even now if not,
perhaps another pose would be better.
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L D C
Something to ponder
R W
Shading shadows
Ive been doing some experimenting
and was wondering if I should ever
use pure black for shadows?
S R
Yellow/black
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01
03
03 Finishing up
Green /black
Art Class
D C
02
02
Blocking in the
values Now I am
Q&A
Here
is the nal product.
After blocking in the values of
the reections (the reection of
the base is nearly the same hue
as the table top, as the base is
itself a reective surface), I used
a large, low-opacity pointed
Stump Blender to nesse the
edges and meld the reections
to the surface. I made a number
of strokes across the reections,
along the same angle as the top,
to suggest a directional grain.
Pure black
Blue/black
Here you can see how a pure black background lies flat against the image,
and doesnt interact in any way
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Neon lights
Ive always loved those really cool neon signs you see
outside cafs and clubs in ilms. Is there a way to create
this effect in Corel Painter?
N H
Create a black
01
and white
drawing
Here weve
made a black and white
line drawing of a sign. A
typeface was chosen that
looks like curving glass
tubes, and the shapes were
broken and connected
to the ground with lines
representing wires.
the
03 Add
glow
The
layer with the colour
was copied using
the Duplicate Layer
command from the
Layers menu. The
original layer below
was then blurred using
a Focus effect from the
Effects menu (we used
Motion Blur). Finally, we
added one more layer
above the lines and used
the Digital Airbrush to
add some reections
and highlights.
K A
Before
Applying that extra
layer of lighting
managed to vastly
improve the overall
image,
making
the
ghts along a
highli
White
focal points
edge create voluminous
folded that
muchlookin
cleaner
g fabric
and crisper
After
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Q&A
Adding depth to
your cityscape
03
Art Class
01
01 Basic shapes
We made a simple
drawing of the silhouettes of buildings on
the Canvas layer. These we coloured with very light
pastel hues of similar value. They will be farthest
in the distance. Weve created a sense of morning
light from the upper right, and some clouds and
mist for atmosphere.
02
02 Overlap
On a second
layer we drew more
buildings to overlap the rst. Of
course things appear bigger the
closer they are to you. We put sides
on to indicate more dimension,
and coloured them brighter to
correspond to the direction of the
light. The facing sides were shaded
darker with some texture. More
contrast makes things seem closer
to the viewer.
03 Adding dimension
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Using the
cts r
produ
rel Painte
We used Co
oto
to tweak this ph t
it ou
before printing art
fine
onto one of the ed
cards we review
kodak easyshare
v803 camera
wacom favo
comic pack
book reviews
output
Reviews
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Navigating
your way around
the cameras
options
Favourites
Batteries
The rechargeable lithium-ion
battery slides neatly into its
compartment. The battery door is
relatively sturdy and reassuringly
clicks shut
Memory card
This camera is equipped with 32MB
of internal memory, which should
keep you going for some time,
but to really make the most of it
you may need to invest in an SD
memory card
Objects are nice and crisp and the colours are strong and vibrant,
which gives the photos a gorgeous paint-like quality
Flash button
Zoom
Connections
ISO
Controller
54.5 mm
Delete
Menu
Button
Review
Main menu
Lens
Share
LCD
Scene modes
103mm
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Price
149
Megapixels (effective)
8.0
Max resolution
3,264 x 2,448
Camera specs
A, SCN
Flash modes
AV, USB
f/2.8-4.9 (36- Weight
108mm) 141.5g (excl.
Zoom batteries)
3x opt, 4x dig Dimensions
Focus/Macro 103 x 54.5 x 25mm
5-70cm/60cm-Inf Batteries
Shutter speeds Lithium-ion
8-1/1448sec Storage
ISO sensitivity SD, 32MB int
A, 80, 100, 200, 400, LCD
800, 1600 2.5
Lens data
Metering options
A, CW,
Scene mode
Test shot
We were particularly
impressed with the
colour reproduction in
our test shots though
some tones appear a
little over-punchy
D-pad control
The d-pad proves to be a little fiddly
for small hands, but unlike most
cameras on the market, it only
provides access to the Macro mode
and the help index
Favourites
On/off button
Video
What we like
Attractive design
Quality results
Affordable
This camera is
everything a
compact should
be easy to
use, very
portable and
capable of some
excellent shots
Overall
score
features
8.3
ease of use
we say
verdict
on the top
Build design
We love this rounded bubble feel. Its smooth and pebble-like
and slips easily into a pocket or handbag
8.5
quality of results
8.7
8.6
8.5
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Pen
Map to screen
Also in the system preferences is
the control for mapping the tablet to
your monitor screen
Tablet
Using patterns
The software comes with loads of
preset patterns, which can be used
as backgrounds or fabric detail
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Price
74.99
Website
www.wacom.com
Operating systems
PC and Mac
PC Requirements
Tablet specs
Mac OS X 10.2.8 or
higher, G3 500MHz
or higher, 512MB
RAM, 800MB free
hard disk space, USB
port, CD-ROM drive
Bring the grid tools into play and you can copy or plan your characters far more accurately
Pen controls
The buttons found on the side of the pen can be customised
to perform certain tasks
What we like
Features
9.0
Ease of use
we say
verdict
9.5
Quality of results
9.0
9.1
Overall
score
9.2
87
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Reviews Books
Expos 4
A design eye
The Abstract & Design category is
a great collection of very different
pieces of art, all of which could
kick-start your imagination. This
was certainly one of our favourite
sections of the book
Edited by
$49.00
Publisher
Ballistic Publishing
ISBN
1-921002-29-8
Perfect portraits
As you would expect from the
Portrait section, there is an
abundance of exquisite and
jealousy-inducing digital paintings.
The black background also brings
the vibrant colours into focus
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Painting Water
9.99 | Jump in and get your feet wet with this title
Author
Price
9.99
Publisher
Search Press
ISBN
1-903975-00-X
he watercolour medium is
beloved among artists and art
lovers for the soft effects it
gives. Water is a particularly
good subject for painting in this medium
no irony here and this book is
packed with ideas for how to get the
best look. Although dealing with real
watercolours, pretty much everything
can be translated into the Corel Painter
world, so its deinitely worth a look.
Author Joe Francis Dowden begins with
some practical advice, such as composing
your painting and using various colour
tricks to get certain looks, before moving
onto step-by-step breakdowns of how to
create a painting.
The step-by-steps are in full colour
and clearly show the techniques being
described. At the end of each project,
youll also ind a selection of paintings
that show variations on the theme that
has just been explained. All-in-all, a
helpful and inspirational title.
Make
watercolour wet
We particularly liked the
pages explaining how to
capture the essence of
water by clever use of
colours and washes
Other examples
One aspect we really liked was that each walkthrough
ended with more examples of the technique that had just
been explained
19.99
Publisher
Rockport
Publishers Inc
ISBN
1-59253-329-9
Basic
techniques
Theres plenty of
advice for the complete
beginner in the book
we were particularly
fond of the guide to
different effects using
different mediums
Helpful tips
At the end of each mood, youll find a handy summary of
what that particular colour scheme works well in. Check
out the Fine Art tips first
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Output
Easy navigation
All the products are arranged into groups, which makes
finding the perfect type of paper really easy
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on-line paper.co.uk
www.on-linepaper.co.uk
Homepage
All of the products are
organised according
to their respective
manufacturers, so dig in
and explore
Unusual presentation
If youre trying to raise awareness of your work, or youre
looking for an unusual way to present your work, try
these Fine Art Photocards, in packs of 30 or 50
Desirable cards
The fine art cards are another great way of presenting
your work and an easy way of sharing it with friends,
family or potential clients
PermaJet
www.permajet.com
he PermaJet name has long
been synonymous with quality
products, and its range of
ine art papers carries on this
tradition, offering a delicious choice of
inishes, including some new products.
One of the new products that will
appeal to digital artists is the Portrait
White 285 paper. Available in a variety of
sizes including A4, A3 and rolls, this paper
Testing, testing
If you cant decide what product is right for you, try one of
the Test Packs. The Fine Art Multi Pack will be enough to
get you started
Clear instructions
Its easy to see what each product offers, and the
company even gives advice on what type of work that
paper is most suited to
The homepage
Select a country from the homepage or just decide which area of the site you want to
explore first. The layout is very simple to follow and its virtually impossible to get yourself
lost when youre looking around!
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Gallery
01
94
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02
03
04
95
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Gallery
05
06
07
96
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Challenge
ow do you fancy having your work
printed professionally onto canvas?
All you have to do is enter our Readers
Challenge and in no time at all you could
be admiring your work hung up on your wall.
Simply visit this issues disc, download the challenge
images and then off you go! You can use them to
THE WINNER
WILL GET
THEIR PAINTING
PROFESSIONALLY
PRINTED ONTO
CANVAS!
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