Corel Painter - 05 - Magazine, Art, Digital Painting, Drawing, Draw, 2d

Ofcial Corel Painter TM Magazine
Learn to paint digitally today!
Issue ve
Official Magazine
Drawing
still life
Discover the rules

of this traditional
art technique
Artistic advice
and inspiration
Explore Esoterica effects
Get graphic with Art Pens
Tips and trick for artists
Pain t En glish
landscapes
Capture the tranquillity of the
countryside by creating your own
John Constable masterpiece p22
Special tutorial! See page 40
Concept design
Expert advice on turning a sketch into
beautifully rendered product art
Visit us online www.paintermagazine.co.uk
PC an
d Mac
Free CD inside
PHOTOS | VIDEO TUTORIALS | BRUSHES
New brushes
How to create, save and load
custom brush variants
OPM_05-Cover2.indd 1
Water art
Great techniques for painting
a fluid underwater scene
www.paintermagazine.co.uk
Oil illustration
Celia Yost reveals how she merges
pencil and oils for stunning results
ISSUE FIVE
ISSN 1753-3155
6.00
05
771753 315000
30/5/07 12:24:18
Welcome
This is THE magazine for anyone wanting to further their
Corel Painter skills or learn how to become a better artist
Art Pens
Explore your graphic side
by loading up the new
Art Pen brushes
Pg 32
Sketch and oils
Create great illustrations
by combining pencil
sketches with oils
Pg 66
Drawing 101:
Still life
Set up and draw a
successful still life scene
ISSUE FIVE
Pg 52
Welcome once more to

another packed issue of the
Oficial Corel Painter Magazine.
Weve got a great selection of
tutorials and inspirational art,
starting with our cover image.
Jeff Johnson has reinvented
the traditional Constable style and produced
an exquisite landscape scene. Immerse yourself
in the English countryside and see how he
did it on page 22. And to really stretch your
imaginations, check out the concept car tutorial
on page 40. Learn the fundamentals here,
and then start designing your own futuristic
vehicles. And if the hot weather (maybe?) is
getting to you, cool off by taking a dip in page
58 and learning how to create a fantastic
underwater scene, courtesy of a fellow reader!
If it inspires you to write a tutorial, let us know
and well see if we can print it.
Our Drawing 101 this issue looks at whats
involved in making a still life masterpiece, and
we give you advice on the Art Pen brushes and
Esoterica effects.
Happy painting!
Visit our website!

If you find that the magazine isnt enough to satisfy your Corel
Painter appetite, you can always visit our website. Pop on over to
www.paintermagazine.co.uk and register as a user. Once this is
out of the way, explore the pages and enjoy great content such as:
Downloadable resources
Online galleries to share your work
Special forum for meeting other Corel Painter users
Jo Cole, Editor in Chief

jo.cole@imagine-publishing.co.uk
005_OPM_05_welcome.indd 3
1/6/07 12:51:15
ON THE FRONT COVER
Celia Yost masterclass pg 32
Pain t like
P66 DRAWING
STILL LIFE
SIX-PAGE GUIDE TO DRAWING

STILL LIFE, WITH EXPERT TIPS AND
SKETCHES TO HELP YOU LEARN
P40 CONCEPT DESIGN
OUR DIGITAL EXPERT TAKES YOU

THROUGH DESIGNING AND DRAWING
A CONCEPT CAR ENTIRELY IN COREL
PAINTER X
Regulars in every issue

08 Subscriptions
Take out a subscription to
the magazine to save money
and ensure your copy of
the magazine
10 Corel Painter Community

The best sites and
companies for creatives, and
your letters page
97 Readers Challenge
Havent done one of
our challenges? Turn
here and get started
98 On the disc
A full breakdown of
the content on this
issues free CD
20 Painter showcase
pg 22 Immerse yourself in Constable country

with this fantastic
Pg 34 tutorial
WIN!
YOUR
WORK
PRINTED
TO CANVAS
pg 96
Reviews
82 Pentax K10D
We put the K10D through its paces,
to see how the advanced amateur
DSLR shapes up when it comes to
getting great reference shots
84 Wacom Cintiq 21UX

The mightiest graphics tablet you
ever did see. We take a look at this
huge LCD screen that lets you draw
directly on the monitor
86 Books
The rst in our special pages

dedicated to outstanding
Corel Painter art
Another inspirational dose of

literature to re your creative
imagination so what are you
waiting for?
74 Art Class
Another merry gaggle of artistic
problems sorted out
88 Japanese Fibre paper
92 Readers Gallery
Discover more about what a
fellow reader is getting up to in
our gallery section
Constable
Original artwork by
Ryan Mauskopf
Try your hand at this unusual way

of presenting your work. The
heavily textured and transparent
paper is just the thing for delicate
watercolour or ink work
006-007_OPM_05_contents.indd 6
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Daniel Conway
pg 22
pg 40
Concept car design
Original artwork by Daniel Conway
pg 58
Underwater
scenes
Interview
Getting to know Painter artists

14 Daniel Conway
We catch up with the young, self-taught artist to nd
out about is inspirations and motivations for
creating his stunning images
Visit our
website now!
tutorials
Create inspirational art

22 Paint like Constable
John Constable produced
some of the most famous
scenes of English country life.
Learn to re-create his style
32 Celia Yost shows you how

Discover how this talented
artist work here
40 Design a concept car
Drawing 101
Traditional artistic techniques
66 Still life scenes
Capturing a still life scene is a great way of practising and
improving your drawing skills. Discover how to set up a classic
scene and then draw all the elements
Our expert walks you through

the essential skills that go into
designing a concept car
52 Create, load and save

brushes in Painter
More creative options
58 Paint an underwater scene

Make a splash with this
intriguing tutorial
Primers
www.
painter
magazine.
co.uk
Get up and running

38 Effects: Esoteric
They are a strange bunch of
effects. See what they do here
64 Brushes: Art Pen
They are new in Corel Painter X,

so get the lowdown on them
Feature focus
Get to know your tools

48 Get the most from our website
We give you a guided tour of the
Ofcial Corel Painter Magazine
website, and the resources
available to you for free
006-007_OPM_05_contents.indd 7
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Tutorial xxxx
n ews eve n ts res our ces letters web site s

Steve Pratt
NEWS EVENTS
RESOURCES
LETTERS WEBSITES
INFO FORUM
Make an
exhibit of
yourself
Online art gallery offers creatives inspiration
and a place to sell artwork
PORTFOLIO
This image, New
England by John
Harris, is just one
of the many works
available to buy on the
Tokarta website
ou dont have to wait for art

galleries to open in order to
get inspiration the internet
houses lots of online galleries
that are bursting with beautiful images.
Tokarta is one of the best, and offers
visitors the chance to peruse a variety of
John Harris
artworks, make purchases and even set

up their own online gallery. All of the work
seen on the site has been uploaded by
artists, and all of it can be bought. You can
browse according to category or medium,
and ind out more about the artist as well
as any history behind the painting.
In addition to the fact that you can
browse and buy some truly breathtaking
work, you can also upload your own
creations to sell on the site. For a monthly
fee (starting at 10 a month), you can use
Tokartas space to exhibit your own work.
There is a Digital category that will happily
hold any Corel Painter creations you may
have produced.
We wanted an international site
that specialised in all kinds of art, says
co-founder Girts Gailans. But most
important, it had to be a site where the
artist charges the right money for their
work, not bargain-basement rates. A
site that is not forbidding and exclusive,
Tokarta (www.tokarta.com) is an online gallery where

you can exhibit and sell your Corel Painter creations
but accessible and welcoming, with a

wide range of artworks. We dont charge
commission on sales, or listing fees. Just a
modest monthly rental for the space used.
If youd like to become part of the
Tokarta empire, head over to www.
tokarta.com and sign up for an account.
Alternatively, pay it a visit if youre lacking
inspiration, or if youre on the lookout for
the perfect image to hang in your room.
10
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info n ews eve n ts res our ces letters web site info n ews eve n
RESOURCES
In short
Stock up on photos
Take advantage of Crestocks bank of affordable images
f you pay a visit to this issues disc,
youll ind 50 glorious images taken
from the Crestock image library. This
site is a fantastic place to come and gather
source photos for your digital paintings,
and you can be sure of inding whatever
you need.
You can either buy credits to purchase
images individually, or take out a special
subscription to download up to 20 extralarge images a day. You can ind pretty
much anything you need here, and with
thousands of photos to browse through,
youll ind loads of options for any search
query you enter. And be sure to check out
the best and worst images of the day for
an idea of what to do and not to do!
Head over to www.crestock.com and
see how you can beneit from the site.
ART TOOLS
Find goodies at
Pixelalley.com
Popular Corel Painter site gears
itself for new content
hen it comes to giving Corel

Painter users extra content
and help, one of the best
sites is Jinny Browns Pixelalley (www.
pixelalley.com). On here, visitors can
enjoy a wealth of tips and tricks, as well
as valuable tutorials and links to great
websites. Now visitors can enjoy even
more content, as Jinnys site is in the
process of a rebirth.
I never had a plan with the site,
says Jinny. The main goal was to share
content with other users. I hoped people
would ind the site accessible and
wanted to keep it very simple.
There are no irm dates for the new
content, so keep checking back!
Creative happenings from

around the world
There are plenty of

Crestock images on the
disc and then visit the
site for even more!
Karen Sperlings Artistry

Online website
If this magazine isnt enough for you,
pay a visit to Karen Sperlings Artistry
Online site. Here you can subscribe
to her monthly e-zine ($10 monthby-month) to enjoy lots of tutorials
and articles about using Corel Painter
and learn about the special Artistry
Retreats. See www.artistrymag.com.
Get creative with 3D stock

images and backgrounds
RESOURCES
Make use
of JLStocks
creativity by
using her
models in your
own work
Use models as the basis for your

Corel Painter artwork
ombining 3D models with the brushes
in Corel Painter is a fantastic way of
creating art turn to page 58 for an
example of how its done.
But you dont have to learn a 3D program
to do this. Just call upon the services of JLStock
(http://jlstock.deviantart.com). Here you will
nd a glorious array of 3D models that can
be downloaded absolutely free and used in
your projects. You can immerse yourself in
winged creatures, mermaids, nymphs, owers
and buildings all of which are nished to the
highest quality. If you do use any of the stock,
be nice and credit JLStock, as the excellent work
deserves as much attention as you can give it.
Immerse yourself in some

watercolour skills
The excellent Watercolor Painting.com
site (www.watercolorpainting.com)
is packed with tutorials and helpful
advice for painting with watercolours,
many of which can be adapted for
Corel Painters own brushes.
Become a student at the

Manga University
Fans of manga will love this great site
an online learning resource for drawing
manga! You can take a tour through
the free tutorials, picking up advice
on drawing things such as hair and
clothing, in addition to getting advice
from manga professionals as well as
buying drawing packs. Find out more
at www.howtodrawmanga.com.
JULY
Issue 6 of OPM
on sale!
19 goes
For Corel Painter help, inspiration and advice, pay

a visit to Jinny Browns website
Get the latest issue of Official

Corel Painter Magazine from your
newsagent today! Guarantee your
copy every month or just save yourself
the effort of leaving the house by
taking out a subscription via
www.imaginesubs.co.uk.
11
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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
Good source of knowledge?
Hello to you all. Just bought my irst copy

of the magazine and I love it! Im hoping it
will take me from fumbling beginner to a
dazzling artist!
I wanted to ask you what you thought
about traditional art resources. I know
that the software is championed as a
If youd prefer to
contact us via email,
send your message to
opm@imaginepublishing.co.uk
Everywhere you look in

Corel Painter, there are
examples of traditional
techniques influencing
how the software works
real media tool, but how close is the

relationship? I only ask because I have
been given a load of old art books, but
they are all about things like traditional
watercolour and oil painting. I havent
got any experience with traditional art
whatsoever, so am completely clueless
when it comes to any artistic subject. Any
advice is gratefully received.
Chris Parker
As you say, Corel Painter is a real media

tool but it goes far beyond mimicking how
traditional art materials look. A lot of the
brushes work exactly as their real world
counterparts would, so it is beneficial to have
a grounding in traditional art theory and
technique. You might notice that our book
reviews cover traditional media as well as
digital techniques, simply because the two
are so closely interlinked. A lot of Corel Painter
artists approach the tools as they would real
brushes and paints, so you should get a lot of
help from your inherited books!
Website woes
Ive been a member of an artists and

illustrators club for a few years now, and
weve got to the stage where we want to
show people outside of the club what we
Its a good idea to look at other sites for inspiration

and the Sketch Motel is a great example of how a
simple theme can work very well
get up to. The obvious solution is to build

a website, but we cant think up any good
ideas. Have you seen any good ones?
Simone Rougele
Sketch Motel (www.sketchmotel.com) is

an excellent portfolio site. It follows a motel
theme, where each illustrator is a guest and
you can visit their rooms to see their works. Its
a great example of how a concept can be done
very well, and helps raise it above the wash of
other portfolio sites.
Featured gallery
Our favourite readers gallery this month
Kenya Lion
Kobi McKenzie
www.paintermagazine.
co.uk/user/kobi
Kobi is a rm favourite
among the OCPM
team, as her mixture
of subjects is very
pleasing to the eye. Now a retired
graphic designer, Kobi can immerse
herself in digital painting without
worrying about deadlines and
other restraints. The examples we
have here are just three found in
her gallery, so we wholeheartedly
recommend you head over and
view the rest. We particularly
like the sports action paintings,
although the animal portraits are
very hard to resist!
Hockey Player
Bright Palm Beach
12
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Interview Daniel Conway
WEBSITE
JOB TITLE
CLIENTS
www.artofconway.com and http://arcipello.deviantart.com

Freelance digital artist
Corel Corporation, Fightstar
An interview with
Daniel Conway
Though still in his early 20s, Conways work has a certain maturity fused with
digital skill. We caught up with this talented artist to discover how he went from
university graduate to Painter Master
[BELOW]
Forget Me Not
This took me forever
and a day to do! But it
paid off, as its how I
wanted it
ne thing thats really

inspirational is seeing an artist
you admire and then inding
out that they taught themselves
everything they know. It proves that not
all skill can be taught in the classroom and
some people are just born with talent .
Daniel Conway was one artist that
we had our eye on not only is his work
beautiful, haunting and technically
perfect, but he has also joined the hallow

company of Painter Masters despite
having had no formal training in digital
painting techniques.
Daniel graduated from Dundee
University, Scotland, where he studied
digital and traditional animation, which
is probably where the graphic feel of his
paintings comes from not to mention the
patience to create his digital art.
We caught up with Daniel to discover
more about how he works, where he gets
inspiration from and, of course, to take a
closer look at some of his spectacular and
eye-catching artwork!
You can see more of his work at www.
artofconway.com or visit http://
arcipello.deviantart.com and order
some prints before they are gone.
How do you go about creating a painting?
Does it change according to what youre
working on, or do you follow a set routine
each time?
My worklow changes a lot depending
on the piece Im setting out to do. If its
a simple character piece, Ill start by
sketching out poses until I ind one that
I like and from that point its generally
just a case of getting a good colour

composition and laying the foundations.
If, however, its a piece that involves
characters and a lot of open scenery, I will
spend a great deal longer working on the
composition alone. Ive spent many a night
moving elements around because they
just didnt feel right.
After the painful task of balancing
everything, its mainly just a great deal of
time spent rendering the scene to a high
and consistent level.
Did you come from a traditional painting
background, or did you delve straight in
with digital painting?
Before I ventured into digital painting, I
had never really painted much on canvas,
if at all. In fact, I think the closest I came
was acrylic paints on paper. The irst
image program I used was Paint Shop
Pro and it was great for starting out and
learning all the simple stuff, but as soon
as I bought my irst Wacom (a small
A6 Graphire 2), I wanted to try more
advanced stuff, and thats when I found
out about Painter 7. Ive been creating
digital art for about ive years now and
in that time Ive learnt a great deal, so
14
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All original artwork by Daniel Conway

Motoko Closeup
This was a sketch I did while preparing
to do my Fragile Shell piece
15
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Sketch of the Colossus

Fan art for the game
Shadow of the Colossus
16
1/6/07 11:29:51
Sub Emergence
I had this idea in my head for
months and felt I had to get it
onto digital canvas. Im very
glad I did too!
Inspiration can come from anywhere really,

but inspiration is just a trigger that sets off a
series of other thoughts and ideas
much so that I want to now go back to
traditional oil on canvas so I guess it
works in reverse too!
What inspires you when you are creating
your works of art?
Inspiration can come from anywhere
really, but inspiration is just a trigger that
sets off a series of other thoughts and
ideas, meaning the inal image is often
nothing like the initial inspiration and
thats how I like it. I ind that photography
has a bigger inluence on me than actual
paintings. I think this is because painters
are often more concerned about the
visual quality of their work rather than
the ideas behind the work.
Photographers dont suffer from this
since the world is their canvas and it
has already been painted beautifully
for them. This gives a lot more freedom
for creating images with much more
interesting concepts.
What are your favourite Corel Painter

tools and brushes?
My current favourites are the Pencil tool,
which I ind great for sketching; the
Sumi-e brushes, because I love their
textures; and, of course, the Artists Oils.
Oh, and I also must mention the Blending
tools since they are the best of any
program Ive used.
Do you have a favourite personal piece
of work?
Its hard to say really; I like some work
more due to the visual content and others
because of the concept. I would say it
would be between Broken Dawn and
Bright Eyes.
Is there any kind of style that you would
like to try that you havent already
touched on?
I think I would quite like to try my hand
at combining messy oil painting with
crisp, clean, cell shading, simply because

it would be a nice challenge to achieve the
right balance.
Who are your favourite Corel
Painter artists?
Its actually quite hard to distinguish as
to who uses Corel Painter or not these
days unless they state speciically, so
I would rather pick out some of my
[ABOVE]
Her Silent Silhouette
Im most happy with
how the sky and water
turned out. I dont use
references so I just keep
drawing until I feel it
looks right
17
1/6/07 11:30:08
Bright Eyes
This was a sketch created for the
Fightstar album booklet. It was
also used in the Corel Painter X
promotional material
favourite digital artists across the whole

genre. First up for me is Yanick Dusseault
[check out his work at www.dusso.com].
I remember staring at his work for the
irst time ive years ago and suddenly
realising that digital painting was clearly
the way forward to me, so his stuff was a
big inspiration.
I also really enjoy the work of Jason
Chan [see for yourself his inspiring work
at www.jasonchanart.com]. [He has
some] very nice concepts and [his work
is] always wonderfully executed.
What are your plans for the future?

Goals for the future would include
learning a lot more about creating
captivating images, and I guess to that
end learning more about my new copy of
Painter X.
I would also really like to become an
art director within the industry of games
and/or ilm; the two mediums are quickly
merging together so I think its going to
be easier to cross over from one to the
other. My main goal, however, is to always
enjoy the work I do.
[ABOVE]
To Sleep
This was another sketch I
created for the Fightstar
album booklet
18
1/6/07 11:30:25
Broken Dawn
This was another image created
for the album cover for Fightstar
19
1/6/07 11:30:41
showcase
ATA ALISHAHI
TITLE
WEBSITE
JOB TITLE
Beautiful Day
www.atadesigner.com
Freelance artist, photographer and designer
Atas work rst came to our attention when he joined up to the website,
and weve constantly been amazed by the work he produces. Colour is a
major driving force in his paintings, which is demonstrated perfectly with
this example here.
020_OPM_05_artspread.indd 20
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Tutorial Paint like Constable
Paint like:
Constable
Lets use digital tools to explore the
methods of the great landscape artist
John Constable
Tutorial info
Artist
Jeff Johnson
Time needed
3 hours
Skill level
Intermediate
On the CD
Line sketch
or the last two years I have been

running after pictures, and
seeking the truth at second hand. I
have not endeavoured to represent
nature with the same elevation of mind
with which I set out, but have rather tried
to make my performances look like the
work of other men there is room enough
for a natural painter. The great vice of the
present day is bravura, an attempt to do
something beyond the truth.
With this statement, John Constable
(1776-1837) turned his back on the
prevailing styles of the time in order to
re-dedicate himself to wresting some
visual truths from his beloved English
countryside. Born in the river village of
Suffolk, young Constable had become
intimately familiar with his environs,
making many trips out into the ields and
woods to sketch and paint. His love of
simple, un-manufactured pastoral beauty
never left him, and indeed many of his
most famous paintings are of settings he
grew up around. In fact, the area around
Suffolk is called Constable country.
While his peers were busy in their
studios creating their scenes of nature
from imagination, he began to actually
venture outside to plan and execute whole
paintings based on keen observation of
what he actually saw. He began to make
visual notation of leeting light and
weather effects for use in later works, and
developed a very scientiic approach to
investigating these phenomena irst hand.
This was a true revolution in thinking
and studio practice. Along with a handful
of other like-minded artists, he ushered
in an approach that led to the great
Impressionist movement, which elevated
the study of natural light and atmospheric
effects to the same level that realistic
depiction of the human form had obtained
during the Renaissance.
His name brings to mind massive sixfoot canvases, but did you know that most
of his works were rather small? A good
22
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Tutorial
Paint like Constable
23
1/6/07 09:57:20
deal of his outdoors work was done on

canvases he could tuck under his arm. His
oil sketches are a prized part of his legacy
owing to their highly expressive and
nuanced brushwork. Just look at one of his
cloud studies and you will see how brave
an experimenter he was. We have often
thought that his ability to suggest complex
form and content on small canvases with
what we would call shorthand notation
informed his trademark brushwork and
surface treatment.
In this tutorial, we are going to use
elements from three of Constables works,
and add on a fair bit of our own scenery
to boot. We will borrow the river and
grounds from Flatford Mill (Scene On
A Navigable River) 1816-17, the wagon
and folks from The Haywain 1821, and
the glorious sky from Wivenhoe Park,
Essex 1816. You may be thinking that
blending those elements into a cohesive
whole would be challenge enough, but
we will be given a full third of the canvas
upon which we will extend the scene la
Constable! This will offer a fun test of our
understanding of his approach and style,
for not only must our subject matter be
styled in a fashion similar to that of the
master, but also our very handling of paint
in creating form and light.
Constable is known for innovations in
painting, like using sharp dabs of white
to simulate dew, putting dots of red in
foliage to activate the green and using
broken strokes to create facets that
suggest natural light. Re-creating some of
these techniques in digital media requires
[RIGHT]
Cloud study
Constable studied the
sky and clouds in paint
throughout his career.
His rapidly executed
oil studies attempted
to capture oft-fleeting
effects of light, form and
atmosphere.
The result of such efforts
is perhaps the largest
single body of
such studies in all of
Western art
[BELOW]
Simple strokes
Just look at how
simply this study is put
together, yet how much
information it holds
about the kind of day
and quality of light!
making good use of the right tools. The

Wet Oily brush is perfect for working up
the basic values, as a loose treatment with
it immediately begins to layer textures
and colour variation. We will throw in a
Spatter Airbrush in places (hey, the only
reason he didnt use one is there was no
such thing at the time!) to simulate the
spattery licking of paint he sometimes
used. The Grainy Blender will come in
handy as we progress, as it creates a
lovely texture, as well the Oily Blender
and the Round Blender brushes.
The irst order of business will be to
bring all of the elements together in a
simple line drawing. Then, using a colour

palette sampled from a set of the best
web reproductions we could ind, we will
rough in the entire painting, starting
with the sky and working forward in
nice, manageable steps. We will be
working wet on wet, always painting
into midtones with darks and lights. Once
we have a working rough, we will work
back into the canvas, adding textures,
highlights and details that help create a
sense of light and atmosphere. The end
result should, if we do our due diligence,
be distinctly reminiscent of the work of
the master himself. Good luck to all of us!
Wikimedia
Wikimedia has 35 good-quality large images of
Constables works. They have good colour and many
have the kind of detail that one needs in order to see
how they were painted
24
1/6/07 09:57:45
Collecting the elements
composition using grabs from the web.

In terms of the narrative, we decided to have our
boatman crossing the river with a tether (rather
than a pole as in the original) as if it were a ferry
crossing. There to meet him will be mom and pop,
and their rickety wagon. Make your own or use
the line sketch on the CD.
First,
create a new Default layer and set it
to roughly 70% Opacity. Then using a size 7
Charcoal Pencil, draw in the major details. To
complete the scene, place the various elements
of water, land, buildings, trees and sky following
the compositional themes we described earlier.
Next comes a Variable Spatter Airbrush and paper
white to paint back some lines in the clouds and
water so they are more easily covered later.
04 Painting some sky
Each of the steps in this tutorial are designed

to add texture and enliven the colour variation. This simple
preliminary is no exception. The three tones of sky are applied loosely with a
60+ Variable Spatter Airbrush on a separate Darken layer. Most of the sky will
be covered with clouds, but layers of paint to follow will either pick up some
of those blues, or only partly cover them. Wet-on-wet painting is a process of
painting into colours, so we will always rough in a ground from here on in.
together a colour
03 Putting
scheme
The images on the web vary

considerably in quality where colour is concerned.
The same holds for reproductions in general. We
scoured the net for some versions of our three
Constable paintings that seemed to have a solid
range of hues and values, and sampled colours
directly from them using the Eyedropper tool. The
result was this fairly warm colour scheme.
All of the various

elements in this
painting are going
to be roughed in
with the same brush
(the venerable Wet
Oily brush, located
in Artists Oils).
Brushwork and
brush sizes will vary
according to necessity.
One of the best
ways to learn what
a brush is capable
of is to wrestle
with it in various
circumstances.
Change its size
and/or opacity. Try
short stabs with it or
skitter it across the
surface. Look closely
at the kind of edges
it creates in each
circumstance. Does
it work painting into
another colour? Is
it suitable for detail
work if made small
enough? Answer these
questions and others
before you pick up the
next tool.
01
Lets go England You can try rough
02 Making a line drawing
Tutorial
One brush
at a time,
please
Gather together all the pieces you need for your work
05 Look at the clouds
Next up are the clouds. Using a 25 Wet Oily

brush and painting on a new Default layer, rough in the midtones of
the clouds. Bring out the Variable Spatter Airbrush again for a few transition
areas. Consult the sky references and carry the rhythms of the original into the
new sky as well.
07 Lighten
up
06 Darkness
Using the same brush, lets lay in the various darks

from our scheme. We still have the originals to bounce off of, so
the going is still easy. In order to frame a scene, a common compositional
technique is to darken the outer edges of the picture somewhat, and indeed
Constable did so on many occasions, so why dont we?
Now
we complete our
preliminary sky with
our lightest tones.
The red arrows show
the brush direction,
namely away from
the light source. Using
the Wet Oily brush in
this way creates an
easily controlled edge.
It is easy to feather
with soft dabs across
the edge. Leave the
lightest value for last
and feather it back.
Merge the layers.
25
1/6/07 09:58:16
Painting in the middle ground

Work your way through the image with your painting tools
09 Shadows
08 Down and out
With the sky and far hills roughed in, lets move
forward. Next up is the middle ground, starting with the buildings,
far trees and elds. The process will begin the same way, namely roughing in
midtones of each on a Darken layer. A smaller version of our Wet Oily brush is
called for. Something in the range of 10-12.
Next comes
shadows and the
darker tones. These are
painted on a separate
Default layer. Take a
little time to cover the
line drawing, even
reworking some of the
sky if needed. Loose
strokes are ne, as
we are trying to build
texture. The close-up
shows the kind of
brushwork needed.
of the
11 More
same
Squint
Sharp eyesight
can be a positive
hindrance when one
is painting details.
It is all too easy to
lose track of the
effects those details
are having on the
rest of the painting.
Sure, zooming out
can help, but area
averaging can play
havoc with the finer
stuff. Zooming in
and stepping back
from the monitor is
excellent for closeup work, but the
best overall way to
track the effect of a
painterly flourish is
to have as much of
the canvas visible as
possible and squint. It
is literally one of the
oldest tricks in the
book of painting.
Now comes highlights, starting with the

buildings. It is perfectly all right to x details along the way, but this is
just preliminary work so not too much time should be spent on any one thing.
Try to create a uniform handling of the brush. It is a great brush for the look
you see here. Merge and save.
Notice
how quickly this all
comes together? We
are already halfway
down the painting
with our rough, and
things are shaping
up. Now come
the near trees and
shrubs, following the
process of roughing
in midtones on a
Darken layer. Flatten
the image, save and
move on.
12 More shadows
13 More light
10 Lighten up a bit
Here is a shot of some shadows and darker areas

being blocked in rapidly. Use short strokes to create as many facets
as possible for the most realistic effect, even going over longish strokes crosswise to break them up a bit.
Now we need to add the highlights. As things get closer

and more details become visible, paint more and smaller highlights as
you move to the foreground. It is good at this point to take some time to make
some interesting shapes at the edges of our ora.
26
1/6/07 09:58:40
Tutorial
Midway, now what? Whats left for you to do

HOUSING DEVELOPMENT
UP, UP AND AWAY

The diagonal these
clouds make can be
followed all the way to
the edge of the canvas
via the line of purplish
clouds and details in
the trees. It is nearly
parallel to the ferry
line and cuts across
the strong diagonal of
the river for some nice
dynamic energy.
In searching through ways to

complete the composition,
we decided to simply continue
some of the details found
elsewhere, such as placing a
few more buildings on a far
slope. It seemed logical to do
as Constable did, and integrate
them into their surroundings by
obscuring parts of each of them
by the hill, shrubs and trees.
GO TO THE (LIGHT) SOURCE

The wagon and horses are going to
have to be brought into the same
light as the rest of the painting. In The
Haywain the light is coming from a
different direction, and the values are
much darker, so basic shapes will have
to do. The idea is to-colour pick using
the Eyedropper tool from around the
canvas for some likely suspects and
model the wagon in the proper light.
FENCING, ANYONE?
The retaining wall on the far side
was a solid tie-in with the one on
the near bank. In the original, there
is a hint of just such a wall. Short
gesture stabs of midtones with the
trusty Wet Oily Brush were quickly
followed by highlights in places to
suggest the dappled light in the rest
of the painting.
UH OH
Originally, we thought that a little lively
play of the sparkling water and tree
reections would be enough here, but a little
something else may have to be included to
add a bit more to the overall level of interest.
Water works
Reflections and shadows create realistic water
14 Thirsty?
Now we begin to paint in the

water. Open up another Darken layer
and bring the Wet Oily brush up to about 20
pixels. Time to start laying in horizontal strokes of
midtone, starting with a greenish hue. The water
is mirroring nearly everything in the picture at
some place or another, so the reections will have
to, well, reect that. That is why there are so many
colours in our water palette.
15
Shadows and dark reections Once the Darken layer is
dropped and the document saved, move on to adding the darker

values with the same horizontal strokes. Notice how a little brown makes the
blue in our midtones come out. The Wet Oily brush leaves a fairly sharp edge
at the beginning of a stroke, so when necessary go back along the stroke to a
point past its beginning to soften this edge a bit.
16 Bright reections
Now, using
the lightest tones, we paint into our
midtones in the areas reecting the most light,
not bothering to completely cover up what is
underneath. Do this stage on a separate Default
layer, so you can modify some edges without
disturbing the rest of the work.
27
1/6/07 09:59:46
Colouring the detail

Now for the carriage, horses and people
Layer cake
Nothing frees one up
to experiment with
paint more than the
sure knowledge that
what is underneath
can be easily
retrieved if things
go south. Layers are
indispensable for
many other purposes
as well. It can be
extremely useful
to create an effect
on the canvas and
erase passages of the
unaffected top layer
to reveal the effect
with precise control.
the
17 Riding
waves
After
painting in the darkest
darks, lightly pull
some midtones across
those areas. Working
back and forth with
horizontal strokes
plays lights and darks
into one another at
the edges of shadows,
focusing on creating a
shimmering surface.
19 The right bank
After saving the image, it is on to the right side

of the river. Using a size 45 Wet Oily brush on a Darken layer, quickly
block in the midtones. There is a good deal of colour variation in the original,
so do a little consulting before moving on.
22 Last but not least
Out comes the Oily

Blender 40. Worked horizontally along
the waves and ripples, the Oily Blender smoothes
out those harsh edges and helps create a nice
glistening surface. Use a light touch, or take the
opacity of the brush down a bit for control.
20 Dark shadows
The darkest shadows in the painting will be in this

area, but it is a good idea to build to the darks slowly, concentrating
on colour variation and texture along the way. Merge and save.
21 Light on grass
After blocking in the

light areas with the large Wet Oily brush,
reduce the size to about 9-10 and quickly paint
in the brightest tones in the golden areas (as well
as some light and dark colours in shadowy areas)
as separate vertical strokes, creating a grass-like
rhythm. Go around to all of the grassy areas in the
picture and repeated this as needed.
18 A new brush!
The nal laying in of midtones! Like before,

a large Wet Oily brush is used with quick, vigorous strokes to start
building textures. Use a purplish grey for the two horses and a slightly more
reddish brown for the barge.
23 The darkening
Still on the same

Darken layer as before, lay in the darker
tones. Most of the wagon is in shadow, as well
the posts and stump. We will be working these
items a bit, so dont spend any time with edges at
this point.
28
1/6/07 10:00:10
Tutorial
for
24 Best
last
Now
for some nice details
using our brightest
values. The trick in
painting something
small that looks like
something big in the
distance is to get the
shape, local colour
and basic lighting
right. A dab of the
right colour with the
right shape in the right
place can become a
very expressive arm or
hat or blouse.
25 A little more focus
First order of business is to copy the picture

and paste. Then via Effects>Surface Control>Apply Lighting, choose
Warm Globe at the settings shown. Since the effect is isolated on a separate
layer, its a snap to gently erase a bit of the effect from places like the diagonal
clouds and anywhere else it is not wanted.
Getting it right
Tweak the colours and add the final touches
27 Canvas
26 Last big colour tweaks
Now for a little colour play. Open up

a Soft Light layer and set it to 33% Opacity. With a large (70 or so)
Variable Spatter Airbrush set to 25% Opacity, paint some light greens into the
green highlights and in places on the water. It creates a subtle hue change
suggestive of a warmer light. Shift the sky a bit more towards blue using the
same method.
Create a
duplicate layer and
select the lower layer.
Then, with Linen
Canvas (located on
the toolbox menu)
as the paper choice,
go to Effects>Surface
Control>Apply
Surface Texture. Go
over the second layer,
erasing lightly until just
enough texture in just
the right places
shows through.
Repeat the operation
with Artists Canvas
very lightly in order to
vary up the texture.
Variation over time
28 The nish line
Now for some smaller details added with

alternating Wet Oily and Impasto Oil brushes set to about four pixels
each. The idea is to search around the canvas and add dabs of light and dark
to at areas. A little red in a eld of green (or vice-versa) can really liven up a
patch. Then comes the Grainy Blender 30 with a light touch following the
stroke direction to blend them into the picture. Finished!
One of the first questions when laying out a

project is what kind of surface treatment will
the painting have? This project was no different.
In fact, surface handling was a big part of the
plan. When one thinks of Constable, one thinks
of atmosphere and light. His surfaces are richly
varied, and his details are sometimes surprisingly
sketch like. To develop a way of getting to our
own set of details via painterly means, we began
early by building up layers of overlapping hues
and values with vigorous brushstrokes. Then
more and more surface detail was added to
create the kind of faceted, shimmering light one
would expect to see in an image meant to evoke
Constable, using smaller and smaller brushes
and applying a couple of different blenders. We
went so far as to layer canvas textures on top of
one another in subtly amended layers to give the
whole canvas a little controlled sparkle.
29
1/6/07 10:00:36
030-031_OPM_05_artspread.indd 30
1/6/07 13:36:43
showcase
RYAN MAUSKOPF
TITLE
WEBSITE
JOB TITLE
Robots Best Friend

http://rye-bread.deviantart.com
Digital artist
Ryans work is a glorious combination of
colour and character, mixing cartoony
illustration with painterly touches youd
expect from an old master. Visit his
website for information on how you can
buy prints of his work, and email him at
mousekopf@gmail.com
030-031_OPM_05_artspread.indd 31
1/6/07 13:37:07
Tutorial Illustrate with sketches and oils
Celia Yost shows you how to
Illustrate with
sketches and oils
In this tutorial, Celia Yost looks at turning a sketch of a couple of
figures into a full painting with an environment
Tutorial info
Artist
Celia Yost
Time needed
2 hours
Skill level
Intermediate
On the CD
Source files
orking digitally is
awesome. I was trained in a
wide variety of traditional
media: oils, acrylics,
watercolours, charcoal and graphite.
They all have their advantages, and I still
enjoy using them, but Corel Painter is an
incredibly lexible program that lets me
not miss them too much.
In this particular image, I took three
drawings and a computer-generated
3D model, combined them into one
composition, and then tried to make it
look as non-digital as possible. While Im
a big fan of working digitally, Im not so
fond of the very clean, airbrushed look
that often is the result. When working in
Corel Painter, I try to think of it as I would
if I was using traditional media as much as
possible. Actually, thats a lie; I try to treat

it like I would treat traditional media if my
paper had magical layers that I could work
on simultaneously and could be as opaque
or transparent as my heart desired. What
I really meant is that I try to keep in mind
things I learned about colour when I was
learning to paint, such as rendering by
using complementary colours is a good
thing (in this painting I use a lot of purple
and yellow), to avoid true black, and to try
to echo colour throughout a composition.
Also, I try to keep my hand visible by
letting things not be perfect. But Im
probably preaching to the choir.
Im going to explain how I made this
image. The 3D model makes the start a
little more complicated, but otherwise
this is pretty typical of how I work.
Setting the scene

Get your basics together
01 Setting up
I started by setting
all the layers with line art in them to
Gel in the Layers palette. This gives me transparent
pencils to paint under. The layer with the model
will be my base, and I also ll the canvas layer with
dark purple. Itll be visible through the window,
and Ive decided its night time.
02 Figure: basic colour
I need to block in the gures with opaque

colour, as right now you cant see them very well. I add a new layer
directly beneath the gure line art, and use the Gouache brushes to apply the
colour, specically the Opaque Smooth and the Fine Bristle options.
32
032-036_OPM_05_ghost.indd 32
31/5/07 16:34:31
Tutorial
Illustrate with sketches and oils
33
31/5/07 16:34:48
Its all in the detail

Small, subtle brush strokes add realism
03 Clothing detail
Using the Artists

Oils Wet and Blender brushes, I go back
in and add detail once I have the general colours
for the clothing blocked in. As far Im concerned,
these brushes are about the same, so Ill just keep
one more opaque and switch between them. I
keep a palette with my frequently used brushes
open for speedier access.
Using
hot keys
Hot keys are your
friends. These are
keyboard shortcuts
that can save a lot of
time when painting
especially these two:
{ and }. They adjust
brush size up and
down, and allow me
to fuss with the size
on the fly. All of the
tools have associated
hot keys. The ones I
use the most are B
for brush, G for grab
and Ctrl/Cmd+ +/- to
zoom in and out. Also,
I find it expedient
to keep a palette of
brushes that I use
frequently while
painting open. These
custom palettes are
easy to create: drag
the brush icon off of
the selector bar.
To see any palettes
that arent open
(theyre automatically
saved), go to Window>
Custom Palettes.
05 The ghost
04 Hair and skin detail
For the gures

skin, I use a modied Fine Feathering
Oils brush. Under Window>Show Brush Creator,
I change the Stroke Type to Rake and the Method
to Drip, giving the brush a nice smeary-ness.
Around her eyes, mouth and to pick out highlights
in her hair, I used a Detail Oils brush. Since shes
fair, Im using dull purples to shade her skin.
Im keeping the ghost

translucent, so I use the Blender brush,
the Fine Feathering Oils brush (unmodied) and
the Fine Soft Glazing Oils brush at low opacities.
This last tool is modied, changing the Method
from Buildup to Cover, so that the color gets more
opaque the more its applied.
06 The ghosts shadow
Im giving
the ghost a very transparent double
following and overlapping it, so Im going to
lightly go in with the Feathering Oils and Glazing
Oils brushes, in a new layer set to Screen at 60%
Opacity. Ive turned off the other gure layers so
you can see it a bit better in the screengrab.
07 Background: rst attack
Im now going to throw some paint

on the background before going back to the gures. I like to move
around the canvas a lot, at least touching on everything before settling down
to nish anything. Ive started to add reective shadows on the oor and detail
to the furniture. Ive also used the Sponge brush to add colour to the wall.
34
31/5/07 16:35:06
I also start adding detail to the

books. Youll note that the drawing and the model dont quite
match up. Thats because it was far faster for me to just draw in any curves,
instead of sculpting them in 3D. I draw detail a lot faster than I model it, and it
wasnt necessary to see the basic form.
Im now going
to go back to the
girl. Ive decided
that I need more of
a directional light
source, so I added
some purple and
blue shadows to her
face, as well as a little
more yellow in the
highlights, blending
this into the original
skin tone. Im using
the Fine Feathering
Oils and the Wet
Acrylic brushes.
Paint an interior with features
08 More on the background
Tutorial
to
09 Back
the gure
Back and forth

Keep working on different elements of your composition
10 Clothing detail
I also went in and

added some more detail to her clothing,
using the Artists Oils brushes and Detail Oils
brushes. Im also going in and cleaning up the
slop from my rst go-round, where I wasnt too
concerned about staying in the lines. The basic
eraser works ne for this.
11 The ghost again
Painting the ghost

is a lot of fun. Using the Oils brushes and
an eraser, Ive added some red and orange to his
face. Also I use a Detail Oils brush to pick out lines
because I think it looks nifty. Im mostly following
my drawing, but in places allowing the color to
drift away a bit.
Going about things the wrong way
12 Afterimage
Im now going to do the same to the after effect thats

following the ghost. Again, heres a shot of it with the gure layer
turned off for the sake of visibility.
This image started with the drawing of the ghost

and the girl. Unfortunately, only afterwards did
I decide on the setting. This was a mistake, as
trying to make the perspective of the interior
match that of the figures was deeply annoying
and I should have known better. Then I realised
that everything I wanted in the interior was
essentially box shaped. While my 3D modelling
skills arent particularly impressive, I could at
least manage boxes. And, even better, once I built
the model, Id be able to adjust the viewpoint
without having to redo the entire thing. But
now I had these pencil-drawn figures and a very
hard-edged, digital background, and I needed to
make them look like they belonged in the same
image. So, I printed out one of my renders, traced
it by hand, scanned the trace back in, and then
composited the figures on top, keeping the model
for lighting and color reference.
35
31/5/07 16:35:23
Finishing touches
Perfect your painting with further detailing
13 Background
again
Ive
decided the wall should
be dark yellow. I used
the Soft Fine Glazing
Oils, the Square Conte
and Blunt Chalk. I
ended up putting
the baseboard on
the same layer as the
colour for the gures,
as I kept accidentally
painting over it when
it was on the layer
with the rest of the
background color. I
used the Straight Line
tool to get the edges of
the baseboard, as its a
detail that I didnt draw
or model.
14 Books need to be book-like
All those books still dont really

look like books, so I needed to put enough detail in to make them
convincing. Im not very picky with what brush Im using here, just grabbing
the Artists Oils brushes and Detail Oils brushes again. I like adding little bits of
hatching with a Detail Oils brush for some variety in brush marks.
16 Floor
I made
a new layer for
the oor so Id be able
to make longer strokes,
instead of trying to
paint around the table.
I used warm orange
browns and the Artists
Oils Wet Oily Blender
brush. These brushes
will blend long after
the pigment has run
out, so theyre good
at smoothing without
annihilating the
individual marks.
Get more out

of brushes
Brushes are the fun
part of Corel Painter.
One thing I did when
I was first learning
the program, which
I highly recommend
others do, is to just
play with the brushes.
Id systematically
go through all of
the brush families,
doing a sketch using
each brush just to
see what it did and
what it was useful
for. Also, if I have
a particular effect
in mind that I want
to show, Ill spend
a lot of time trying
to find the perfect
brush to create that.
While I certainly
have my favourites,
(Soft Glazing Oils, Im
looking at you), other
people may prefer
others. Having fun
and figuring out which
ones work for you is
the important part.
15 Woodwork
Another thing Im concerned about is that I have a

lot of different surfaces in this painting that are wood, which need
to be distinguished from one another. For the furniture, I tried to make the
bookshelves darker and richer than the table, so more reds and purples for the
shelves and duller browns for the table.
17
Window The windows still bugging
me. Ive gone in and put in some more

reection, but its not enough. So I created a new
layer behind everything except the canvas, and
used an Airbrush tool to make some vague dark
shapes behind the window.
18 Final touches
The last thing I have to

do is add some more shadows on the
bookcase and the oor. I made another layer
above the oor color and set it to Darken. I then
picked a dark purple and used the Soft Airbrush at
a low Opacity to knock back some of the space,
and ground the girl and the table.
36
31/5/07 16:35:42
Primer Focus
EFFECTS MENU
PRIMER
IMPRESSIONISTIC
For more traditional painterly effects, the
Impressionist variant makes a great choice.
Again, make sure that in the Colors palette
you have the Clone Color icon depressed,
or your Auto Clone option will be greyed
out in the menu. They key here is that this is
automatic cloning, and the software will keep
painting until you instruct it to stop.
Esoterica
Esoteric by name and by nature. Take a look

at the weird world of Esoterica effects!
Fade away!
Many of these
effects can be a little
overpowering if they
are used straight
out of the box, and
the results are often
improved if they are
toned down a little.
An ideal way of doing
this is by using the
Fade command.
Once youve applied
the effect to
your image, go to
Edit>Fade. By default,
the Fade amount is
set to 50%, but you
can change this to any
value you want.
he dictionary deines the word

esoteric as understood by or meant
for only the select few who have
special knowledge or interest such
a deinition could easily apply to this particular
category of effects and illustrates how these
ilters came to have such a title.
However, its all too easy to dismiss a
selection of seemingly obscure and strange
effects without a second glance but as always
with Corel Painter X, when applied with
imagination and creativity, many of the effects
within the Esoterica category can be used with
some very interesting results.
Its true to say that there are a few effects
within the category that are indeed obscure,
there are as many that can raise your Corel
Painter creativity to a whole new level. Here
were going to examine each one individually,
show you the best of them and look at exactly
how to apply them to your Corel Painter art.
Were going to look at two of the most useful
features Auto Clone and Auto Van Gogh in
more detail. If you know just how to use them,
these effects can create convincing paintings
for you in just a couple of mouse clicks.
Although you might not be entirely satisied
with the out of the box results, both of these
effects can be a great shortcut to an effective
under-painting, which you can then paint on
top of. And if you feel like going a little wild and
experiencing the more surreal side of Corel
Painter effects, well show you how you can
adapt the other Esoterica effects to add the
wow factor to your images.
USING AUTO CLONE

Using Effects>Esoterica>
Auto Clone, you can use
any Captured Dab type
brush and Corel Painter will
actually paint the picture for
you. Start by going to File>
Quick Clone. On the cloned
copy, choose a Captured
Dab type brush, click the
Clone Color icon and simply
watch Corel Painter paint.
Click with your mouse to
stop the painting process!
DAB BRUSHES
Remember, you can use any Captured Dab
type brush in conjunction with the Auto
Clone effect. Here, weve used the Sargent
brush from the Artists group of variants.
Again, its worth experimenting with the
settings for the brush. See the tips
alongside for identifying Dab brushes.
Auto Marbling
Pop Art Fill

Step back in time
Not just for kitchen surfaces

This is a great way to give your images a real
Sixties feel, and make them much more graphic
in nature. It can also create the effect of a very
coarse newsprint image if used in a certain way.
Within the dialog, the Scale slider controls the
size of the actual dots that are applied, while you
can choose the Dab Color and the Background
from the two colour swatches. Image Luminance
is the most useful mode: you can choose it from
the Using box. Adjusting the Contrast slider
allows you to use the luminance of your image to
mix the fill with.
Auto Marbling creates an effect that simulates

traditional decorative marbling, where a rake or
fork is dragged across a wet surface, distorting
the image in wave-like patterns. Within the
effects dialog box there are a number of values
that you can adjust to modify the appearance of
the marbling. Its a good idea to apply this effect
numerous times, using a different direction each
time. Essentially, this is a decorative effect. The
Quality slider is important in that it allows you to
increase the smoothness and visual quality of the
finished effect.
38
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31/5/07 16:29:53
CHALK AUTO CLONE
Auto Van Gogh is similar to Auto Clone but

creates automatic painting in the style of
the great master himself. For this you need
to choose the Auto Van Gogh brush from
the Artists category. This brush has colour
variability dialled into its settings so as well
as creating those typical Van Gogh curved
strokes, it will also introduce other colours
for added effect.
Custom Tiles
Add some eccentricity to your images

Youll see by now that the Esoterica effects are many and various, and
it must be said that some of them are most definitely more useful than
others. Here were giving you the complete lineup of effects, so you
can see the results of each.
Original photo
High Pass
Marbling
Maze
Blobs
Place Elements
Custom Tiles
Pop Art Fill
Grid Paper
Auto Clone
Growth
Auto Van Gogh
Esoterica
AUTO VAN GOGH
The Esoterica collection
Primer
Here weve used the Square

Chalk variant in conjunction
with Auto Clone. For a more
realistic effect, make sure that
your brush Opacity and Resat
are both set fairly low so that
the brush dabs build up quite
slowly, giving you chance to hit
that mouse button when youre
happy with the result.
Auto Clone
Mosaics made easy
Attack of the clones

Using this effect allows you to split your
image up into a mosaic-like pattern, where
the image itself is made up of many small
tessellating shapes. You can choose from
many variety of shapes from the drop-down
box, and adjust the size, angle and sharpness
of the individual tiles with ease. By checking
the Use Grout checkbox, you can create the
effect of grouting between each tile. Choose
the colour of the grout via the Color swatch,
and modify the Thickness slider to control the
width of the grout.
Choose Auto Clone and Painter will actually

paint your picture for you. Start by cloning
your image via File>Quick Clone. On this
cloned copy, choose any Dab type brush.
Adjust the brush size to suit. You must make
sure that the Clone Color button is active
in the Colors palette before Auto Clone will
work. Once you go to Effects>Esoterica>
Auto Clone, Painter will begin to paint. Watch
the progress of your image and simply click
your mouse button when youre happy with
the result.
39
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Tutorial Design a concept car
ion
40
040-045_OPM_05_cars.indd 40
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Tutorial
Design a concept car
Tutorial info
Artist
Erik Holmen
Time needed
3 hours
Skill level
Intermediate
On the CD
Starter sketch
Design a
concept car
From sketch to final illustration, we walk you through how to sell a
believable car design using just the tools in Corel Painter
othing can excite the masses quite like a sexy
and futuristic concept car. Everyone can relate
to them, invoking pure passion in many. As fun
as it is to look upon these rolling sculptures, it
is even more exciting to create them.
This tutorial will focus on the hero rendering that is
used to accurately explain the details and surfaces of the
inal design. This drawing usually follows a long design
process illed with pages of loose sketches and concept
ideation. But nothing can sell your design to others like
this kind of polished illustration.
As with most of my professional work, I draw the

vehicle into a white studio setting. This means I wont be
spending much time and energy on a fancy background.
This technique is fairly simple, and produces great
results. Primarily sticking to the Digital Airbrush,
most the tools I use are out-of-the-box Corel Painter
defaults. These are automobile surface inishes in a
studio environment, so we wont need to employ any
wild texture techniques. The key is in the details and the
design. So if you have ever dreamt of designing your own
concept car, lets go!
41
1/6/07 15:30:17
Start with a sketch

From pencil sketch to the start of a digital creation
02 Block in
01 The sketch
This could be the most important part of the entire

rendering. And for a tight illustration, perspective is king. If there is
a perspective problem, it could throw off the believability of even the most
well-rendered vehicle. Spend the time here to get it right; ip the canvas
horizontally to check the perspective. Even ask somebody to check your
completed line art, or use the one supplied on the disc!
03 Dening form
Many,
many layers
I only manage layers
in the early sketch
phase, when its
important to keep
everything under the
lines. Once I start
rendering the final
illustration, layer
management goes
out the window. Every
time I add a new
highlight or shadow,
its on a new layer so
as to not disturb any
previous work. By the
end of the drawing,
I will have made
roughly 300 layers,
and have had to
flatten a dozen times.
You might need to go
back into previous
layers for clean-up,
so only flatten
when you get to a
good milestone.
Staying under the lines

layer, use the standard Digital Airbrush
to start shading those surfaces. This is where you
determine a light source, placing the hotspot to
show off an interesting part of the car. Right now
all the paint should look matte, as if it has no clear
coat. Dont worry the number of layers you use, as
long as they are under the lines.
Take your
completed line art
and copy it to a new
layer. Set that layer to
Multiply and name it
lines. This is the only
layer I ever keep track
of. Create some new
layers underneath and
start to block in tone.
Here I use a Digital
Airbrush with the 1px
Edge setting (Brush
Controls>Size). This is
a good time to decide
what colour you want
your car to be.
04 Nice sketch!
Start working on top

of the lines layer to clean this up a little
bit. Add some crisp highlights and reections to
make the paint look glossy. This ends at what I
would consider a decent loose sketch. It should
represent the intent of the nal illustration. Use
this opportunity to get some feedback before the
time-consuming stuff starts.
05 Start rendering
Because its the

backbone of the design, I will start the
tight rendering with the bright silver parts that run
the length of the car. Using the Pen tool, draw a
shape around this part. Because its a continuous
surface, it will save us some time down the road to
have this part selected. Go to Shapes>Convert to
Selection and Select>Feather (2px).
Clear
07
coat
(reections)
06 Car paint
It doesnt hurt to illustrate car paint like its applied in

real life. I start here with the base coat, a at silver. With no hard
reections, its easier to draw, here shown with one major light source. Try
not to jump around the rendering too much; this part is fairly complicated and
should be focused on.
Because the
vehicle is in a studio
environment, it will
reect white from all
directions. I will draw
these with a large 1px
Edge Airbrush tool at
full opacity. This will
give me a nice crisp
edge on the highlights
and reections. Adjust
the intensity through
the Opacity slider in the
Layers palette. Each
reection will get its
own layer.
42
31/5/07 16:50:49
Drawing tight highlights on a long edge

is made super easy with the ability to snap to curves. Click the Align
to Path box in the Properties bar, and your brush stroke will be snapped to that
shape. This is a car designers best friend to hitting that perfect arc. If you go
to the Properties menu and click Paint Hidden Shapes, you can snap to a
hidden path.
09 Complex surfaces
Because these areas are much smaller and

more complex than the bright silver surfaces, it wont save too
much time making selections of everything. I start by painting over the sketch
to clean it up, and start fresh when it comes to the detailing. I roll over any
small details like the headlight; it will be easier to draw these in later than to
draw around them now.
Shiny bumpers and reflective surfaces

Techniques to give the car a three-dimensional feel
11 Subtle
reections
10 Silky smooth shine
Try to use bold

single brush strokes when building up
highlights and shadow. The Digital Airbrush will
create some muddy artefacts that wont look very
good on car paint. I will often make a highlight or
shadow bigger than needed, and use the Eraser to
bring that effect down to the desired location.
To give these surfaces

a high-gloss nish,
we add some hard
reections. As with
the silver piece, I
will draw them in
as opaque white,
and adjust the layer
down to around
10% Opacity so they
dont draw too much
attention. Give these
reection shapes
some interesting form;
this can give a boring
surface some drama.
Photo
reference
12 Headlight
Time to bring
back the headlight; I
draw a simple overall
form, to which I will
add projector beams,
and a lens. All glass
effects are drawn on
last, so feel free to
have some fun with
those projectors.
Draw one and
duplicate it to save
some time. Add some
hard reections to
show off the clear lens
over the entire piece.
A great resource
for car design is
CarDesignNews.
com (www.
cardesignnews.com),
a site that I will check
every day for the
latest and greatest
in the car industry.
Its a great source for
inspiration, where
you can find articles
and galleries on huge
auto shows or design
school student shows.
They have excellent
design reviews,
featuring sketches of
concept cars directly
from the studio. You
can create and browse
through portfolios of
car design students
and car design
professionals. Also
bookmark www.
dieselstation.com as
a great site for highres car photo galleries
and car news.
08 Pinpoint highlights
Tutorial
Online
resources
13 Cool wheels
By now you can see

that I am working on each part until its
completed. With all the detail on this vehicle, you
can burn up a lot of time by jumping around to the
interesting parts. I want to nish up this corner of
car, so the wheel is the next. Start cleaning it up by
over-drawing the existing sketch.
Photo reference is
an awesome tool
when rendering an
automobile in Corel
Painter. It is important
to understand how
highlights will react
to surface forms.
Before you get started
on a highly detailed
rendering, look
at photographs of
similar settings and
colour. You will see
how the car reflects
the light of the scene,
and be able to sample
colours directly off of
the picture. If you are
having trouble landing
that initial sketch,
grab a photograph,
drop back the opacity,
and overlay your
sketch. This will
greatly help with
any proportion and
perspective problems.
43
31/5/07 16:51:32
Under the hood

Adding those essential touches
15 Brake rotor
For a
brake rotor, or
anything with a
brushed surface nish,
I will use a Round Oils
brush with the Feature
setting cranked up.
Apply a wash of dark
streaks to a new layer,
and drop back the
opacity. Apply a wash
of bright highlight, and
drop back the opacity
until everything
looks correct.
14 Concept car wheels
I decided that the wheels I had going

were not wild enough for the car. I wrap the tyre into the rim in true
concept car fashion. Here you can see where I start to add a little surface
texture to the tyre. I switch to the Simulated Woodgrain paper and use the
Blunt Chalk brush to apply the texture.
Compare
with others
ConceptArt.org is
another fantastic
place to get inspired,
but its greatest use for
artists and designers
are the honest and
valuable critiques.
If your design is not
confidential, go ahead
and post it in the
Critique Centre forum
when you hit step 4.
Fresh eyes can see
mistakes that you
have grown used to.
You might also get
some good design tips
along the way. Just
be open to the ideas
and suggestions, and
never get too attached
to a design. The Its
Finally Finished
forum is a great
place to see some hot
concept art. If the
work up there doesnt
inspire you to get
drawing, nothing will.
16
Chrome engine! Exposed engines are usually the domain of rear
engine supercars. Here I want to show off a front engine GT with

a chromed-out centrepiece of a motor. Start cleaning up the surfaces by
washing in big elds of at colour.
17 Rendering chrome
Chrome can be tough to render and depict

form at the same time. Photo reference would be good here.
Just remember that everything needs a lot of contrast with chrome, hard
reections, and that it reects its environment. DO NOT render desert
chrome unless you draw the car in a desert.
19 Interior
18 Rough texture
To add some interest

in the engine bay, lets give this part some
texture. Use the Fine Spray Airbrush and dust it
with some dark sparkle. Do the same with white
for a textured highlight. I use this brush all the time
when showing textured plastic and cast metal.
My original
grey interior is looking
a little dull, with the
rest of the car being
fairly monochromatic.
I clean it up and add
some warm colour.
It wouldnt hurt to
nd some photo
reference of car
interiors. Use an image
to nd good colours,
sampling highlights
and shadows.
44
31/5/07 16:54:07
Tutorial
Changing the colour

Give your design a paint job
I usually render vehicles in silver. Its easy to draw, easy to read and
prints well. But you might want to do some colour options in the end.
Silver is relatively easy to turn into different paint finishes, but it
doesnt always work the other way around. Once again, it doesnt hurt
to look at some photo references for good colour samples.
20 Render
away
The process here is

nothing new; add
highlight and shadow
over a base tone. I am
paying the price for
all this detail this
rendering is taking a
while. If you want to
speed things up, just
make this a coupe! But
I am having fun with
the different materials,
so its no big deal.
01 Make it red
21 Windshield
Automotive glass has a

slightly green tint; on a Multiply layer,
cover the windshield with a light pale green. Add
some white reections, and drop back the layer
opacity until they look good. Keep the reection
edges sharp, as automotive glass is highly
reective. For all hard reections, I use that same
Digital Airbrush with the 1px Edge setting.
23 Final
details
I
saved these details
until the end: side
mirrors, front emblem,
door cuts and
shadow. They should
support the overall
design, and would be
tough to draw around
earlier. The shadow
can be especially
difcult; I usually save
it until the end, so it
works with the values
of the car itself. Use
the Pen tool to make a
selection that excludes
the car.
22 Oops, bad perspective
When I ip
the canvas horizontally, something looks
funky at the rear end of the car. I notice that the
perspective is cranked with the headrests of the
seats, and the passenger side rear fender is way
too small. Flatten the image and duplicate these
areas. Free Transform the pieces and move them
into place.
On a Multiply
layer, add your colour
of choice in a single
solid block. This will be
shaded automatically
by the silver tones
underneath. Use this
time to play around
with different colours
to see what looks best
on the car.
02 Add warms and cools
On that same layer, click the

Preserve Transparency option in the Layers menu. This will
limit your paint to cover only the pixels you already have on that layer.
Where the highlight is hitting the surfaces dead on, I put down some
warmer red-orange hues. On the backside of the car, I brush in a very
washed-out red, as reected by the background.
03 Highlights
Add some
new highlights on top
of the red base coat.
Make a new layer
and paint in opaque
white elds for your
highlight reections.
Drop back the layer
opacity until they look
good. Do the same
thing for your ground
reection and you
are done!
45
31/5/07 16:54:54
Feature focus Get the most from our website
Get the most from

our website
LATEST ISSUE
Read on and discover more about the

new and improved features on the
Official Corel Painter Magazine website
Dont forget
to rate
When you are adding
comments, dont forget
to give an image a
rating. Simply select
a rating from the pulldown menu and then
click Rate!
ne of the biggest driving

forces behind this magazine
is to create a welcoming
community for Corel Painter
users. Obviously, the majority of this
takes place with the actual magazine, but
when we irst sat down and came up with
a masterplan, having a functional and
inspirational website was always in the
grand scheme of things.
So when we launched the magazine, we
also launched the magazine website and
offered readers a place to upload their
images, comment on other readers work
and have a place to come and share ideas.
However, as more and more of you
started to upload artwork and create
galleries, we noticed that there were
certain tasks that could be improved
and some that needed to be added. We
set about working on an update to the
site, using our experiences and also
suggestions made by some of you on the
forum. The result went live in May, as this
issue was being put together. While the
structure remains the same, users can
now enjoy improved browsing capabilities
in addition to extra options.
Were going to look at all the new
features over these pages, as well as give a
quick run through on how to actually use
them. Hopefully, youll agree that these
additions make the site better than ever.
The home page displays a brief outline

of whats in the current issue, plus theres
a link at the bottom that will take you
to our online shop where you can order
back issues.
BROWSING IMAGES
There is a new Images section on the lefthand panel that allows you to view the
images in various ways. The Galleries area
also has a couple of new features, such as
the Browse All Galleries link.
THE CRME DE LA CRME

Check out the Picture of the Week and
Feature Galleries links and see which
members we think have produced some
exceptional Corel Painter artwork.
New images
All the people
Get em while theyre hot
Make friends with members
One aspect of the site that had to change was

the Latest Images function. Previously, only
the past six images were displayed. Obviously,
if more than six people added images, or one
person uploaded more than six images, these
squares would quickly fill up. However, we
now have a nifty Images pane to the side of
the website. Click Latest Images and you will
see a great big list of the latest images to have
been uploaded. There are 20 displayed at any
one time, and you can access earlier images
by clicking the numbers at the top of the area.
FEATURE
FOCUS
Sometimes its good to just browse through

different galleries, maybe catching up with some
people you have noted from previous visits, or
just to see what everyone else is up to. With the
Browse All Galleries function, you can open a
page displaying each and every gallery on the
site. Under each thumbnail is a summary of how
many images that gallery holds, as well as how
many comments and the average rating for that
members images. Simply click the name to be
taken to that persons gallery and use the top
arrows to navigate through them.
48
048-050_OPM_05_featurefocus.indd48 48
1/6/07 11:32:12
MANY COMMENTS
BY CATEGORY
If youd rather search
for images that follow a
particular genre, use the
new Category drop-down
menu and submerge
yourself in your favourite
type of art.
Getting awards
Feature focus
Here you can see the Most

Commented Images area,
which lists all the artwork
that other members have
left comments for. It is
accessible using the link on
the left.
What the stars mean on the website

You may have noticed a few stars appearing next to your name these
are to show members who have reached a certain number of posts.
Heres a guide to getting your awards
Get the most from our website
01 Number of images
If you have uploaded between 10 and

49 images, you get a bronze star. Between 50 and 99 will get
you a silver, while over 100 gets the gold star.
IN ORDER
GO TO THE GALLERY
The images appear in the window

according to how many comments they
have received, going from the most
commented through to the ones with
least comments.
Each thumbnail has a link

that will take you to that
image, so you can read all
of the comments. From
here you can leave your
own musings, or check out
the other works by that
particular artist.
02 Rate an image
The above parameters also applies to

getting stars for number of comments youve posted, as well
as the number of comments youve received. You can also get stars for
your average rating. Between 3 and 3.9 gets you bronze, 4-4.7 gets you
silver and 4.8-5 grabs the gold.
Talk of the town

Generating interest
To see which images or galleries have struck a
chord with the rest of the members, click the
Most Commented link on the left-hand side
panel (theres one under the Galleries section
and the Images section). Youll now see a list
of returns that have received comments from
other members, going from the most to the
least. Even though the comments are obviously
aimed at a specific image, this is a great way
of getting some good ideas for your own work.
Plus, it will hopefully inspire you to leave some
of your own messages on images.
03 Pick up a trophy
In addition to the star ratings, you can

also be awarded a virtual trophy if you get selected as Pic of
the Week. Theres no limit to how many times you can be awarded this,
and theres no limitation on what you can do to get awarded one!
49
1/6/07 11:32:55
Feature focus Get the most from our website
FEATURE
FOCUS
Apply the new features

Your guide to the new tools for managing your profile
Want to get stuck
in with the new
features added
to the site? Heres
a swift guide to
applying them to
your images, giving
you better account
management.
01 The rst edit
Your rst step in

tweaking your account is to log in and
then click the View Your Prole link at the top of
the page. This is where you can edit the prole
youve given, or scroll down the page to the
Awards and Images area.
04
Text changes To begin with,
lets change the text and title of

the image. This involves nothing more than
highlighting the text you want to alter and then
typing in new words.
02
Start tweaking Now you are into
03 View to a change
05
Put in a box The other major edit
06 Out of the way
your prole, start adding goodies to your

images. The easiest way of doing this is to click the
image thumbnail to open the editing options.
you can make is to set a category for

the image. This means that if people search using
the Category menu, your image wont get left
behind. To set one, simply pick a suitable category.
You can also add an Adult Rating and then click
Update Image Info when you are done.
Not in front of the children
Search categories
Avoid offending anyone
Drop-down browsing
If your artistic endeavours

see you indulging in images
or subject matters some
may take offence to, you
can now give a little warning
before people view the
larger version. When uploading an image, there is the option to apply
an Adult Rating, which will bring up a notice page when people click the
thumbnail. And we promise that we are not doing this to deter any of you
uploading life drawings or explicit images. Weve done this to try and
make sure people dont get an unexpected surprise when they view images
full screen!
Youll see the

information youve given, as well as the
comments. Basically its what other member see
when they view the image themselves. If you
want to edit the text, click the Edit link.
When you have

updated your image, a little message
will appear to say if its been successful. You can
then return to your prole to carry out other
tasks. For example, you might click the Delete link
to get rid of an image that has been updated or
youve grown tired of. Click the Delete It button to
remove it from the site.
Youve always been able to search for other

members on the site, but you can now also search
according to specific genres. When you are in any
of the Images areas, you will find a drop-down
menu underneath the Search box. Use this to
find images belonging to a specific category. And
to add your images to a category, either choose
one when you are uploading an image, or edit an
existing image. These categories try to capture
the most popular forms of artwork, and theres a
Work in Progress section to encourage people to
post their current doodlings.
50
1/6/07 11:33:21
Artwork by Sam Gilbey
Tutorial Create, load and save brushes
52
052-055_OPM_05_brushes.indd 52
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Tutorial
Create, load and save brushes
Create, load and

save new brushes
An in-depth look at the ways you can create, save, import and share brushes within Corel
Painter X. Get ready to open up a whole new dimension to your digital art
Tutorial info
Artist
Chris Boba
Time needed
30 minutes
Skill level
Beginner
orel Painter X features over 450 unique brushes

in over 30 different type of brush categories, but
sometimes you may ind that you still want to create
your own custom brush or import into Corel Painter
from a friend or website. One of the great things about Corel
Painter is its lexibility and power when it comes down to
customising. Not only does it feature unique brushes, art
materials and textures that mirror the look and feel of their
traditional counterparts, but it also offers you the ability to
customise and create your own.
This article is going to provide you with a step-by-step
guide to answer those common queries of how to create and
save new brushes, and how to import new brushes.
So, you may now be wondering why you would want to

create more brushes if you already have such a spectacular
array within Corel Painter, and most people will certainly
be able to create amazing art using the default brushes and
variants, but sometimes you may want to adjust the default
settings of a brush and save it.
From creating a softer, broader stroke, to adjusting the
Wind direction on a watercolour or creating your very own
brush stroke or effect, brush customisation offers a world of
possibilities that can really enhance your work.
We are going to look at three different ways to change
and create a brush within Corel Painter, along with saving,
importing and sharing your creations.
Adjusting the preset options

The easiest way to create a brush is to change an existing one
01 Changing and saving a variant
Choose a brush category and variant.

You can adjust all or any of the settings. Opacity
controls the degree to which a stroke covers or
builds up. Resaturation can make your brush
quite unique, as it determines how much of your
chosen colour is used in the brush stroke.
02
Making the changes With Resaturation turned to 10 or below,
we can have a brushstroke that is more blending than painting and

allows you to move existing paint off and around the canvas more. By moving
the Jitter and Bleed, you can take a bristle brush stroke like this and make it
more of a dab than a stroke, and also adjust the amount of colour pulled or
applied in the stroke.
03 Making it your own
When you are

happy with your brush, you just need to
click the Tracker palette menu arrow and choose
Save Variant. You have just created your new
brush. You can also change the brush you used
to make this one back to its default by choosing
Restore Default Variant.
53
1/6/07 15:32:12
Tutorial Create, load and save brushes
Creating a brush from scratch

Get more creative with an entirely new brush
One-click
wonders
One good use of
custom brushes is to
create a shape so that
you can just click this
to make up an object.
For example, you
might be indulging
in a bit of Chinese
brush painting. Make
a brush that looks like
a branch and then you
can load this and use
it to create trees.
04 Adding a new Brush Category
05 Create a new brush icon
06 Capture the brush
07 Making a new Brush Dab
You can add new brush

categories to your default Corel Painter Brushes and populate the
new brush categories with custom brushes. To create a brush category, you
start by creating the icon that will represent your new brush category. You can
create your custom brushes based on the available default brushes or create
new ones.
With the picture selected, click the Tracker

palette menu arrow, and choose Capture Brush Category and type
a name in the Capture Dab dialog box. Click OK. A new brush category is
created in your User folder and you are now ready to start adding brushes to
your new brush category.
Start with a blank canvas and

create a picture you want to use for the icon, using a brush or
brushes of your choice or open a picture you already have. Choose the
Rectangular Selection tool from the toolbox, and drag to select an image area
around your picture.
Select black as your colour and

choose a brush variant to create your design. We chose the Pen tool
to draw a teardrop splodge; create a design and make a square selection over
your dab shape. Choose your new brush category and then Capture Dab and
Capture Variant from the Tracker palette menu arrow.
09 Brush
Controls
08 Adjusting the brush
Make sure you no longer have anything

selected on the page (Ctrl/Cmd+D). Now you can adjust your new
dab to behave the way you want it and you need to select Window>Brush
Controls. Dont be overawed by the amount of controls, as this example just
takes you through the top few.
With the Brush

Controls and a blank
canvas open, you
can experiment
depending on the type
of brush you want.
Start with General
and try: Dab Type =
Circular, Stroke =
Single, Method = Drip,
SubCategory =
Hard Drip and
Expression = Velocity.
54
1/6/07 10:21:02
10 Brush
Controls 2
11 Ready to save
Once you are happy with

your efforts, its ready to save. From the
Tracker palette menu arrow, select Save Variant
and overwrite the default one on creating the dab.
Feel free to experiment further and set a default
variant for this brush that you can restore to on
further customisation.
If you create brush

variants that you are
particularly pleased
with, dont be shy
share them with us.
Were hoping to set
up a readers section
on the disc each issue
that has various Corel
Painter extras to
help other readers
creativity. If you have
something youd like
us to include, drop
us a line on OPM@
imagine-publishing.
co.uk.
Create, load and save brushes
Choose a brush head

such as Watercolor
Profile along with a
size and Expression
= Velocity and Size
Step of 22%. Angle
allows you to play with
the start angle of the
brush head and the
Squeeze slider controls
the shape of the brush
dab. Squeezing a
brush changes it from
round to elliptical. You
use Squeeze controls
with Circular and
Captured Dab Types.
Tutorial
Share your
creations
Importing brushes
Find a great brush online, then follow these steps
13 Brush
location
12 Importing brushes
With Corel
Painter X, you can easily load custom
brushes without having to create a new
workspace. This lets you add single brushes to
your default Corel Painter X workspace by simply
copying the files associated with a custom brush
into the Painter Brushes library.
14
All brushes available

in Corel Painter X are
stored in the default
Painter Brushes library,
which is located in
the Brushes folder
of the Corel Painter
system folder. Such
as: Documents
and Settings\user
name\Application
Data\Corel\Painter
X\Default\Brushes\
Painter Brushes.
The files The Painter Brushes library is organised into brush
categories, such as Acrylics, Airbrushes, etc. Each brush category may

consist of the following components: an XML file, as well as NIB and STK files,
for each brush variant and a JPEG file, which contains the icon representing
the brush category on the Brush Selector bar.
15 Copying the files
First, ensure that you have the necessary files for

the custom brush (XML, NIB, and STK) to make sure your imported
brush will work. Copy the files associated with the custom brush into the
appropriate brush category in the Painter Brushes library. You can add a
custom brush to any brush category you choose, or follow the previous steps
to create a new one.
55
1/6/07 10:21:29
showcase
YAP KUN RONG
TITLE
WEBSITE
JOB TITLE
Warrior of Light
http://krypt.gfxartist.com
Digital artist
We fell in love with this artists use of light and brush strokes, and couldnt
resist including him in the magazine. Although a relative newcomer to
Corel Painter, he incorporates its functionality perfectly, creating works of
high standard, such as this one.
056_OPM_05_artspread.indd 56
1/6/07 13:34:37
Tutorial Combine resources to create art
READERIASL
TUTOR
Use free resources

to create art
Using simple techniques and free resources, we will show you how to create a mermaidinhabited underwater scene with the power of Corel Painter
Tutorial info
Artist
Pat Brennan
Time needed
2 hours
Skill level
Intermediate
f all the fantasy igures, the

mermaid surely has to be
one of the most enduring
and appealing. Creating
the illusion of an underwater scene
inhabited by one of these gorgeous
creatures may seem like a lot of work,
but if you try to photograph one for
reference, you will be in for a long wait!
The blending of 3D igures into
a fantasy scene is quick, easy and
great fun to do. The construction of a
believable underwater environment
is just a matter of choosing the right
elements and textures to work with,
and with so many free resources

available, you will never have a problem
doing this.
It is possible to create the image
entirely from scratch in Corel Painter.
To create a scene quickly and easily,
however, I propose to use two
programs. Those of you who use Corel
Painter probably already use Adobe
Photoshop as well, just as I do, and lip
back and forth between the two to
produce your inished piece.
I shall also be pointing you in the
direction of some of the best free
resources available throughout the
tutorial. It takes a little effort to

search for the right image if you have
something particular in mind, but it is
worth your time. You could, of course,
purchase stock images from some of
the excellent online libraries. Our aim
here, though, is to complete the task
as quickly as possible, with no money
changing hands.
Throughout, I have deliberately
avoided using complex procedures and
too many brushes wherever possible,
and used only the minimum amount
of layers. So without beneit of an
aqualung, lets go diving for a mermaid!
Water world
Use colour and texture to create your backdrop
01 The rst texture
After deciding on a
texture from my own freebies at http://
lunartex.deviantart.com (an account I created to
supply my own free textures and photos), I copy,
paste and stretch to t a new canvas in Photoshop
(307mm high by 240mm wide). I could have
painted a texture the right shade to start with,
but I thought it might be of more interest to show
how easy it is to re-colour an existing one.
02
Re-colouring Next, I go to Image>Adjustments>Channel Mixer.
In the Red channel, I push the Green slider left to -138 %. In the Blue
channel, I move the Blue slider right to 112%. In Image>Adjustments>Color
Balance, I ensure Midtones is selected and adjust the Green slider to 20%.
There are literally dozens of ways to re-colour an image using Photoshop or
Corel Painter, but this is my preferred quick x method.
03 Apply the second texture
Searching around, I discovered a nice

swirly pattern from http://enchantedgal-stock.
deviantart.com, another free use stock provider. I
copy and paste it into the newly re-coloured layer;
I then grab the re-sizing handles and stretch the
pattern to t the canvas.
58
058-063_OPM_05_underwater.indd 58
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Tutorial
Combine resources to create art
59
1/6/07 11:08:57
Adding the mermaid

Its time to bring some life into your work
by
05 Drop
drop
04 Integrating and merging
Working on the second layer, I set

it to Soft Light at 33% Opacity. This simple action gives the look Im
after. I could, of course, carry on tweaking all sorts of things at this point such
as Hue/Saturation, Levels, etc, but sometimes less is more!
This
is a fun bit: not exactly
bubbles as you would
expect in a scene like
the one I intend, but
water drops created
in the Alien Skin Eye
Candy plug-in. You
could alternatively
overlay a photo of
water droplets over the
background (with the
later set to Overlay).
the
07 Colour
mermaid
06 Now capture your mermaid
I have obtained a beautiful

PNG mermaid from http://jlstock.deviantart.com. There is a
JPEG available in the same le if you require it, as Corel Painter does not
support PNG (Portable Network Graphics). A PNG can be ten times the size
of a JPEG, but preserves all the sharp edges, so I am going to use the PNG and
stay in Photoshop.
After dragging and

dropping the PNG of
the mermaid into the
background, I resize
and position her. To
re-colour her, I click on
the mermaids layer
and go to Image>
Adjustments>Channel
Mixer. In the Red
channel, I move the
Green slider to -94%.
Then, under Image>
Adjustments>Color
Balance, I move the
Green slider to 24 with
Highlights checked.
Finding mermaids
JLStock, aka Jennys 3D Stock (http://jlstock.
deviantart.com), provides stock, with most
of the images in both PNG and JPEG formats.
Jenny has many 3D items, including fairies and
mermaids, plus photographs, high-resolution
backgrounds and brushes. She provides all of
these resources free for starving artists.
Jenny is an accomplished web designer and
much more. After I subscribed to the online
community at www.deviantart.com, I quickly
became aware of the astonishing generosity
of the stock providers on there. I had never
thought of integrating 3D objects with painting
and manipulation before seeing Jennys images
on this site.
I first met her when she hosted a competition
to encourage members to use her stock items,
which I am so pleased to say I won using one of
her PNG mermaids as the focal point.
08 Something shy!
I found a sh I
liked at www.sxc.hu/photo/776995,
kindly donated by alexbruda. Unfortunately,
some of the details had been cut off. This is a
perfect opportunity to use Corel Painter and paint
back in the missing bits. I open the sh in Corel
Painter, roughly cut it out and apply to a dark blue
background. I needed the background to be large
enough to accommodate the new ns.
09 Reviving the sh
Next I zoom in,

chose Block Eraser 20 at full opacity,
with Expression set to Pressure. I select Layer 1
and erase the unwanted background, making the
eraser size smaller the closer I get.
60
1/6/07 11:10:12
I create a new transparent layer over my sh.

Working at 100 per cent, I colour-pick the image, and with the Fine
Detail Air 3 Airbrush, at a Size of 2.8 and with Expression set to Pressure, I
paint in the missing ns. Then, using the Round Blender Brush 10, at a Size of
5.9 and with Expression set to Pressure, I smooth the painted areas into the
original image. I atten the image and save as a TIFF le.
Light and colour

Add subtle touches to your mermaid for a realistic finish
13 Getting
greener
12 Back to our mermaid
I decided that
the mermaids side ns were too large for
what I had in mind. I zoom in and use a soft edge
basic round Eraser at a Size of 35 and at 100%
Opacity. I have now removed the top third of all
the ns, including the shoulder ns.
14 Its brightening up time
I
want the tail and ns to
be much greener and
shinier. On the mermaid
layer only, I grab a basic
soft-edged round Brush
tool and set the Opacity
to 56% and the Flow to
56%. I gently go over the
parts in question this is
where the pen pressure
on your tablet comes into
its own. The harder you
press, the more colour
that is applied. I coloured
the hair with the same
brush while I was at it,
although I do intend to
repaint it completely in
Corel Painter.
On the mermaid layer, I go to Image>

Adjustments>Selective Color. I move the Cyan slider to 100% and the
Black slider to -51%. Next, I colour-pick the image. The area on the mermaids
left shoulder has the colour I want. I use a soft-edged basic round Brush tool
with the Mode set to Color Dodge, the Opacity at 10% and the Flow at 56%. I
zoom in and gently stroke the brush over the ns.
Fishing
around for
freebies
Obviously, the best
way to go fishing is
with a net or in this
case the internet.
There are so many
inspirational sites, but
I can only point you in
the direction of some
of my own personal
favourites. The best
place to look for
stock images is www.
deviantart.com, but
there are many, many
others. For instance,
for free stock photos
and textures I
generally use www.
sxc.hu/index.phtml
and www.imageafter.
com. Be careful of
the terms of use if
you intend to use the
images for gain. Some
are free and some
require permission
before you use them.
10 The missing bits
I open
my sh in Photoshop.
Using the Magic
Wand tool, I click on
the blue background
and up pops the
marching ants around
the sh. I invert, cut,
and paste the sh
into a new document
with a transparent
background. The sh
should be cleanly cut
out at this point, but
a little attention with
a soft-edged basic
Eraser tool may be
necessary. Save as
a TIFF.
Tutorial
the
11 Extract
sh
I can see
clearly now
15 Let there be light
With the background selected and the whole

image in view, I open the Dodge tool, with Range set to Midtones and
Exposure at 36%. I use a soft edged basic round Brush tool at 445px. I pull the
brush down from top left to bottom right three times. I had several goes at
this before it looked right; I was aiming for a vague look of light coming down
from the surface of water.
When you are working

on an image fully
zoomed in, you cant
see how what you
have just done affects
the whole image until
you zoom out again.
Fortunately, Adobe
Photoshop is capable
of allowing you to
have two windows
open of the same
image at the same
time. While you work
close-up on the one
screen, the effects will
be seen immediately
in the zoomed out
second image.
To do this, go to
Windows>Documents>
New Window. This will
open a duplicate of
your main painting.
It even gives it the
same name.
61
1/6/07 11:11:11
Perfect details
Put everything together and add in the details
Lets go
17
shing
again!
Linking
layers
Select a layer or layer
set in the Layers
palette. Click in the
column immediately
to the left of any
layers you want to link
to the selected layer.
A link icon appears
in the column. I did
this with all the fish in
my image. This way I
could move them as
a group up, down,
sideways, stretched,
etc without it
affecting anything
underneath. When I
was happy with the
positioning, I just
unchecked the icon.
Addressing
hairdressing
I feel confident
enough to paint hair
in an image, but not
everyone does. There
is help available in the
form of purpose-made
brushes, which make
the job easier. There
are sites on the web
where these brushes
are downloadable;
some are free and
some have a nominal
charge attached.
Google digital
brushes and you will
be amazed at how
many sites there are.
Alternatively, find a
willing long-haired
maiden and persuade
her to lay her tresses
across a scanner to
make your own brush.
Making brushes is a
skill easily learnt.
16 Making her sparkle
Working on the
mermaid layer again, go to the Dodge tool
and set the Range to Highlights. With a soft edged
basic Brush tool at 61px, I gently stroke in some
highlights where appropriate on the bottom third
of her tail, her left hip and the top of her lovely
swishy tailn. She is beginning to look part of her
environment at last. I save the changes here.
I open the
cutout sh document
and I drag it onto the
main image. On the
sh layer, I open the
Channel Mixer and,
under the Red channel,
I move the Green slider
to -68%. Now, under
Image>Adjustments>
Selective Color, I go
to Cyan and push the
Magenta slider to
-73%, and to Green
and push the Magenta
slider to 73%. I then
resize it until Im happy
with the way it looks.
18 Circling and skewing
I could have used many different types of

sh, but Ive grown rather fond of this one. For perspective I go to
Edit>Free Transform, grab the bottom-right handle and pull down, then scale
as required sideways. I do this with every sh as I place it in the image. I always
use the original sh, which should be Layer 2, transforming them and varying
the opacity appropriately, as I place them in an ellipse around the mermaid.
20 Fishier and shier

19 Darkening the background
The background looked a little too

light now for my liking. I select it, then go to Layer>New Fill Layer>
Gradient, with Mode set to Multiply and at 41% Opacity. I colour-pick the
image for a very light and a fairly dark tone to use.
I now think that the sh looks a little boring,

so I bring on a little blue sh free from Stock.XCHNG (www.sxc.
hu/photo/783733). This one was supplied by Richerman. I cut it out in exactly
the same way as before. I work in an intuitive way, and sometimes it takes a
while before I realise that something needs adding to make an image look
right I dot the little blue sh here and there around the circle. I have 24 layers
at this point, so I atten the whole image and save as a TIFF.
62
1/6/07 11:12:14
Tutorial
eyes
22 The
have it
I open the attened and saved image in Corel

Painter. On a new transparent layer, I take the Fine Tip Soft Air 20
brush, with Size set to 8.5 and Expression set to Pressure and start blocking
in the hair again using the colour-pick method. Corel Painter has so many
brushes to choose from, but for continuity of style, I only use three or four.
For the blending, I use my favourite Grainy Water 30 with a Size of 9.4 and an
Opacity of 26%.
21 Painting the hair
As
you can see in closeup, the mermaid is
already very pretty, but
I decide to give her a
little makeover around
the eyes. This is simply
achieved by using
the Fine Detail Air 3
Airbrush with varying
degrees of opacity
and several colours,
dotted to simulate a
little sparkle. I gently
stroke in a few more
eyelashes at this
point too.
23 Rippling
This is a
great method for
creating a simulation
of movement
underwater. I dont
want to destroy the
whole image with
it. I just want to give
the impression that
the sh are moving. I
went to the Distortion
Marbling Rake tool
(with a Size of 16.4
and an Opacity of
12%) and made light
passes left to right
over the sh. I actually
dont do this to all the
sh, but just a few.
24 Blurring and checking
I blur the sh in the background a

little using Blenders>Blur at an Opacity of 35%. At this point, I
zoom in to actual size and examine every square inch. I am looking for
anything that shouldnt be there, or perhaps needs blurring a little to make it
look better. I would normally blend using the Just Add Water Blender tool for
the edges of a gure, but this PNG was so good to start with it hardly needed
any work in this respect.
Check it out
Create shadows and make your final checks
Heres one
26
I made
earlier!
25 Shadows
I look at the whole image and think the light underneath

her arm looks wrong it suggested light coming from below. With
a new layer open, I grab a trusty airbrush Fine Tip Soft Air 20 with the
Opacity at 19%. Using the existing shadow in the middle of the arm as a
colour reference, I gently cover it. Now I save the image.
Flip the
image horizontally,
as this is the best way
to check the image
works visually.
What jumps out at
me is the fact that
the lips are the only
pink in the image. I
decide to add some
to her cheekbones,
ngertips and elbows.
Using a soft-edged
round Brush tool, with
Opacity set to 17%
and Flow set to 50%, I
make a few strokes.
63
1/6/07 11:13:20
Primer Art Pens
BRUSH CATEGORY
Art Pens
USING GRAIN
For a new level of intuitive, natural drawing,

take a look at the Art Pen brush category
in Corel Painter X
PRIMER
hen it comes to simulating

natural media digitally, two
manufacturers stand head
and shoulders above any
others, namely Corel and Wacom.
Of course, as a Corel Painter user youll
know of the strength and jaw-dropping
capabilities of Corel Painter and if you use
a graphics tablet, then its more than likely
made by Wacom. So imagine the creative
possibilities that could be born from the
collaboration of these two creative giants!
Well, heres some great news! The new
Art Pen brushes in Corel Painter X are the
direct product of this. These Art Pens,
which range from markers, through to
pastel brushes and even include oil and
gouache variants, can be used either with
your normal graphics-tablet pen, or in
conjunction with the new Wacom 6D Pen.
The great strength of these variants
comes from the way they respond to
your drawing stylus in such a way
that they allow you to enjoy a much
more natural and intuitive drawing
experience. Using these pens really
is an absolute dream, and before
you know it, youll feel as if the ink
or colour is quite literally lowing
from your pen as you draw.
If you dont have a 6D pen,
dont worry, these variants will still
knock your socks off. The humble pen
has come of age!
The Square Grainy Pastel Art Pen, as its title

suggests, responds very well to the surface
of the paper currently selected in the Papers
library palette. Use a low Grain setting in the
Properties bar to achieve very visible grain,
and higher values to make it more subtle.
FELT ART MARKER
The Felt Art Marker is ideal for

making bold, spontaneous
strokes that really pile on the
ink. This Art Pen is best used
for reinforcing your drawing
with bold, dynamic lines. Being
chisel-shaped, this pen can be
used for both thick and thin lines.
Use your layers!
WORN OIL PASTEL
The Worn Oil Pastel Art Pen is great for

general shading, and for blocking in
general tones. Use this variant at low
Opacity and low Resat values to have
more control over the tones you lay
down. This Art Pen is quite smudgy
due to its high Bleed value.
6D capabilities
Keep things separate
Tailored to your requirements

If youre using lots of different
Art Pens within the same
image, its a good idea to
isolate each of them on a
separate layer. This way, you
can experiment with different
variants for shading, without
affecting any line work which
youre already happy with.
If you dont like some of the
marks youve made, either just
bin the layer or erase on it.
The Wacom 6D Pen adds another dimension to these

Art Pen variants. If you normally use a pressuresensitive tablet and stylus, youll be used to the
variants within Corel Painter making use of pressure,
tilt and velocity to control aspects of the brush, such
as Opacity, Grain and Size. The new 6D Pen, however,
adds Rotation sensitivity to these Art Pens, where
the brush itself can be rotated through 360 degrees,
adding even more versatility to your strokes.
Its worth taking a look at the 6D Pen at www.
wacom.com. It could add a whole new dimension to
your Painter art.
64
31/5/07 17:50:43
SOFT FLAT OILS PEN
The Soft Flat Oils Art Pen was used here to

add some soft, broad background shading. By
changing the Feature setting for this variant
in the Properties bar, you can make the bristle
lines within the brush either more or less visible.
Primer
Explore the Art Pens

Graphic design in an instant
Felt Art Marker
Grainy Calligraphy
Grainy Edge Calligraphy
Soft Cover Brush
Soft Flat Oils
Square Grainy Pastel
Tapered Camel
Tapered Gouache
Thin Smooth Calligraphy
Worn Oil Pastel
Art Pens
If you have Corel Painter X, you may have missed the Art Pen brush
category what with the excitement of the RealBristle brushes but we
assure you they are definitely worth exploring. Heres a handy look at
what each of the variants looks like.
ART PEN BRUSHES

It may not be the
biggest brush
category in the world,
but theres plenty
of potential in the
variants. Try your hand
at very graphic images
with them.
WACOM ART PEN

For the perfect
accompaniment to the new
Art Pen brush category, treat
yourself to Wacoms 6D Art
Pen. This looks and behaves
just like a real art marker, from
its shape to the felt feel of
the nib.
Brush tracking
Varied effects
Set your stylus correctly
The joy of Art Pens
The Art Pen brushes are especially

reliant on interpreting the input
from your drawing stylus accurately,
so its even more vital that you set
up your Brush Tracking before you
begin drawing. To do this, simply go
to Edit>Preferences>Brush Tracking.
Within the dialog, make a stroke
on the scratchpad as you normally
would, and Corel Painter will set up
the Brush Tracking to suit your style
with the minimum of effort.
You can get an impressive amount of

effects with the Art Pen category, whether
you have the 6D Art Pen or not. Even if
you use a mouse or a plain old stylus, you
can build up great texture and style with
the correct variant. Get great outlines with
the Thin Smooth Calligraphy or Grainy
Edge Calligraphy. Go for a more washy look
with Soft Cover Brush, or Tapered Camel.
And for the traditional art marker look,
you need to go a long way to beat the Felt
Art Marker.
65
31/5/07 17:51:53
Drawing 101 Still life drawing
The skills of
Still life drawing

Fine-tune your drawing skills with the age-old tradition of still life
Try following our tutorial using
the still life photo on the disc
SOURCE
FILE
ON THE
CD!
he still life genre is one of the

most popular vehicles artists
use to lagrantly show off.
This formula for painting
arrangements of everyday, inanimate
objects dates from the 17th century.
One of the seminal still life artists
is Juan Sanchez Cotan. Cotans work
exempliies the prevailing taste at the
time for all things real and somewhat
grubby. The movement at the time was
Baroque. Its famously stark lighting and
dramatic shadows were a reaction to
the previous beautifying period of the
High Renaissance, glorifying the dirt and
no-frills ugliness of real life. 17th century

Spanish painter Velazquez painted An
Old Woman Cooking Eggs when he was
18. The dark shadows and unforgiving
lighting sets off the copper, ceramic and
metal objects beautifully.
This style of lighting has been hugely
inluential throughout the centuries, and
can be seen in the Godfather trilogy to
create a sense of dark, brooding despair.
We are going to use this dramatic tone to
enhance and enrich our still life setup.
In contrast to this oppressive style,
Audrey Flack is a contemporary
American artist whose body of work
includes some equally stunning work,

yet are in total contrast to the Baroque
themes of darkness. However, they too
have prodigious wow factor qualities.
This artist uses air brushing as part of
her technique, and creates impossibly
colourful, textural and glossy still
lifes. Her work is worth examining to
illustrate two points about still life. First,
her innovative use of composition and
unusual viewpoints gives great results. In
Chanel, her use of a cramped and close-up
viewpoint and the mirror relecting the
scene enriches the detail and intricacy of
the composition.
66
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31/5/07 17:13:29
Drawing 101
Still life scenarios

Accuracy and balance
This shot exemplifies a
poorly balanced pyramidal
composition. All the interesting,
differently shaped objects are
positioned on the left, and
the white shirt takes up the
majority of the right. Aim to
compose your objects evenly
throughout the setup
Still life drawing
Contrast
and definition
Emphasise the
visual qualities
of your objects.
Spotlights create
more highlights
and shadows than
fluorescent light.
Make sure your
objects show off
their best features.
Use a good quality
image and avoid
pixellation
and blurring
What works and what doesnt in this genre
Ellipses and
foreshortening
This unusual shot is
not in keeping with
Baroque Realism.
The scissors and
pens loom bizarrely
towards you and
the circular tape
appears flat.
The stapler is also
disguised by the
foreshortening
and the brush tips
are lost
Chosen composition
All the objects can be clea
rly
seen and are positioned
so they
enhance each other larg
e with
small, plain with intricat
e. This
provides a fun and challen
ging set
of tasks
Poor composition
The aim of composition is to show everything off and to really give the illusion
of casual placement, but to actually arrange things pleasingly with a sense of
togetherness. This attempt misses the point, like the scissors
Second, Flack illustrates another

purpose of still life, which is worth
mentioning here because it may inluence
your choice of objects. In her piece,
Marilyn Vanitas, she refers to the 17th
century theme of still life known as
Vanitas paintings.
Objects are chosen and arranged
because of their meaning. These
paintings were composed speciically
so as to subtly remind people that life
and beauty is leeting. Typically, a small
or partially hidden symbol would lurk
within a stunningly beautiful setup. For
example, in Cornelis de Heems Vanitas
Still Life With Musical Instruments, the

jam-packed virtuoso performance by this
Dutch artist is a picture of disarray and
excess, and at the very bottom, if you look
carefully, a snail hungrily eyes the fruit.
So now it is our turn to rise to the
formidable challenge of still life. Over the
next few pages we will break the task
down into steps, troubleshoot potential
mistakes and list important tips to
help you on your way. This tradition
allows you to explore the elements of
art line, form, shape, tone, texture and
composition and enhance your skills of
observation. We will go through several
different ways to help you see what is

really there rather than look/glance at
what appears to be there. The next few
exercises will help build your conidence
to enjoy drawing successfully.
When it comes to setting up your own
still life, there are alphabetical pointers
to consider: accuracy, balance, contrast,
deinition, ellipses and foreshortening.
The images above illustrate how these
principles can affect a still life setup, so
try them all and get a good grounding in
the principles. Were concentrating on
traditional pencils here, but you can apply
the principles to any format.
67
31/5/07 17:15:33
Drawing the scene

Drawing normally
ow you have a still life photo, its
important to consider some of the
common hurdles and traps that
can occur during this task.
There is nothing more daunting than
a blank page, so drawing a grid over the
photo and then one on the paper will help
you position objects accurately.
Another way to begin is to choose an
object near the centre of your composition
and use it to relate to shape, size and
spaces taken up by other objects. This
measurement can be used to ensure that
everything is drawn in proportion to
that measurement. Keep checking the
relationships between the objects and

correct them if it goes wrong dont keep
blindly trudging forward.
A really clear line drawing can be
sketchy at the outset. Pencil in shapes, but
go over the top of this once again to draw
a bold conident line for clear deinition.
With an accurate line comes accurate
tone. Shading needs layering, subtly and
an appropriate choice of pencil. But, just
as much, it needs really keen observation.
When drawing ellipses, draw the bottom
curve then turn your paper upside down
and re-draw it; it is a much more natural,
controlled and even method.
The mantra less is more is always

worth keeping in mind. In art, it
essentially means that some lines and
shades that you think need to be included
dont. The paintbrushes best exemplify
this. The delicate texture of their bristles
can be lost if you outline them heavily; let
the background do the work for you, leave
the line out, and draw the background
solidly but a bit randomly.
When you are making the marks, bear
in mind the subject you are drawing.
For example, drapery loves curvy, more
circular lines to accentuate the contours,
but use dots and scribbles for sponge.
SQUARING UP
ACCURATE PROPORTIONS
Work outwards from the middle using a cross in the

centre to start the measurements. The spoon fits
about three times into the top half of the picture and
one of the brush tips can be spotted two spoons up.
Now you know you are not going to run out of space
at the top.
LINE DRAWING
This really lets you map out your image without thinking about the
relationships, and is excellent for building your confidence. There
is no shame in using grids, so dont feel like you are cheating. Its
a great starting point and used by many more people than would
care to admit it.
SHADING
REDUNDANCY
MARK MAKING
With a solid foundation of drawing, use 2H, H and HB pencils for

the midtones and greys, and 4B and 6B pencils for the darkest
background areas. Check you have a really broad range of contrast
from black to white. Circular rather than stripy shading can really
improve the smoothness of your shadows.
Look closely at the still life and, where there is a

meeting of intense darks and lights, consider how you
could use the shadow to make the outline redundant.
This really tests your powers of observation, so if at
first you dont succeed
Once you are happy with your sketchy 2H workings

that quietly outline your objects, use a H pencil to
produce a clear and confident shape that sorts out
any complex areas you may have secretly
put off tackling, for example, the scissor blades or
the brushes.
Experiment with the marks to show what you and

your pencil can really do. The metal sheen is achieved
with a rubber, but nothing is impossible. Smudging,
scribble, rulers, rubbers and grids all are acceptable
in the name of the still life wow factor!
68
31/5/07 17:16:21
Upside-down drawing
NEGATIVE ADVICE
By looking at whats
not in the composition,
youre forced to look at
the shapes objects make,
rather than what they
actually look like and
focusing on the details.
Still life drawing
Negative space
Drawing 101
f you can feel yourself bridling at the

idea of having a go at the serious
high-brow challenge we have just
rattled off, here is a welcome break!
This is a really entertaining and quite
mind-boggling exercise. It is often far
more effective at helping you actually
lay out a picture than squaring up or
iguring out proportion measurements.
We are enchanted by the optical and
psychological magic of it, and it once
again helps to dispel that age-old
procrastinatory myth of I cant draw!
So prepare to suspend your disbelief and
roll up your sleeves to pull off the best
trick in town!
We have included the still life photo
on the disc. Turn this upside-down and,
starting at either the left or right side,
draw what is in front of you. This can
be on a larger piece of paper, but it must
be approximately the same landscape
shape as the drawing. Keep referring to
your drawing and then the photo. Hold
your nerve and dont turn it up the right
way until youve inished! Then, with a
lourish, amaze your audience with the
accuracy of your work.
WRONG WAY UP
Try sketching your still life

upside-down. This can
help you with perspective,
as you are concentrating
on the shapes, rather
than the objects.
ne exercise that will deinitely

increase your understanding
of the still life genre and allow
you to express yourself a bit
more freely is to look at the negative space
of your image.
Our brain often fools us into taking
the easy option and only recording
objects as we expect them to be shown.
Think of how easy it is to draw from your
imagination as a child. The brain stores its
own little visual vocabulary based on past
experiences and previous versions, and
its much easier to churn out these than
to really apply it. Childrens formulaic
drawings of houses are intrinsically
recognisable as houses.
In the room, the objects themselves
occupy positive space and the space
around them is negative. For this task,
draw lines and shapes to represent the
space that the still life does not take up.
The best example of this is the space
between the handle and jug; it helps you
look at the shape of the handle not just
take it in and jot it down without thought.
Draw as if you have never seen them.
69
31/5/07 17:17:06
A still life step-by-step

Break an image down into sections for triumphant results
o, armed with some helpful tips,
some interesting ways to test your
powers of drawing, and a conident
can-do attitude, its time to try showing
off some of your own wow factor. The
following steps show a systematic, logical
approach to tackling the task, bit by
methodical bit.
The setup we have used is a randomly
but pleasingly arranged collection of
artroom paraphernalia. They have been
chosen for their variety of textures, forms
and shapes, but are in keeping with the
muted colours of the Baroque artists we
have looked at.
Working from a photograph is a
great way to begin; its convenient for
many reasons, especially because it
is lat already, and takes up much less
space. When you are conident using
photographs, push the limits of your
comfort zone and rise to the challenge
of drawing a real still life that is right
in front of you. Enjoy the experience
of luctuating light conditions and
mysterious shifting of objects, knowledge
of which will be denied by other members
of your household, and the unstoppable
passage of time on objects that are
perishable! But seriously, the sense of
achievement, enjoyment and relaxation is
worth it so do have a go.
Tackling the still life

Go from photo to a piece of art
STAGE 1
STARTING POINT
Use a ruler to mark the centre of each side and draw a very
light or dotted cross with a x at the centre. Draw the same
(if possible) on your picture. Measure with your finger the
times your spoon fits along the top line (about three times)
from the centre; divide this line into about three equally.
Draw the shape of the spoon.
STAGE 2
TOP HALF PROPORTIONS
Using your standard measurement of the spoon, work out

where the rest of the objects sit in the top half. For example,
the top lip of the jug may be two spoons wide with half a
spoon on one side and one and a half on the other. Think
join-the-dots at this stage.
STAGE 3
BOTTOM LEFT QUARTER PROPORTIONS

Pay special attention to the foreshortening of the scissors;
rely on your standard spoon and be reassured that it will
not try and fox you yes those scissors really are that short!
Concentrate on making sure the outlines are clear and
confident there is no need for tone at the moment.
70
31/5/07 17:18:01
STAGE 4
STAGE 5
STAGE 6
Drawing 101
There is much more detail in these two bottom quarters,

so its important to feel confident that they are accurate.
Take pride in providing yourself with a concrete foundation
to work with. Its not a myth that you should look more at
the still life than your drawing. Keep looking, checking and
tweaking it until you are absolutely happy.
STAGE 7
BASE COAT OF TONE
Shade in the areas you have drawn as shadows. This just

needs to be a general shading; dont worry or overwork
it, its simply to give you an idea of how the shadows are
going to look so that you can correct their shape and
position, but not their intensity.
STAGE 10
MODELLING THE TONES ON THE RIGHT

Work up the right side, using the flattest part of the
tip of your pencil to avoid scratchy marks, correcting
where necessary with a rubber. Enjoy the subtler tones
in the shirt and enhance the folds with curved lines. The
modelling should really take a while, with lots of checking
and correcting.
MAPPING TONES ON THE RIGHT SIDE.
Now you have outlined and positioned the shapes, it is time

to do the same for the shadows. With a light, unlikely-tosmudge, H pencil lightly draw the shapes of the shadows.
Dont worry too much if you dont get them all, the general
catchment area will do fine.
STAGE 8
AND SOME MORE
Once again, shade the areas you have designated as shadow.

Assess the shading in comparison to the photograph; if
you are totally happy, move on. Now comes the hopefully
foolproof non-smudge tip. I have done this as a righthander; sway the sides around if you are left-handed.
Still life drawing
BOTTOM RIGHT
MAPPING TONES ON THE LEFT SIDE.
At the moment you are using a light, hard pencil that can
been shiny and difficult to work into if its used very firmly,
so use it lightly and its very easy to correct, as well hardly
leaving any marks. Draw the outlines of the shadows lightly
on the left hand side.
STAGE 9
MODELLING THE TONES ON THE LEFT
Aim to include the breadth of contrast from black to white in

your image, but this stage is all about the full range of greys.
Work from left to right to prevent your hand smudging
previous shading and really enjoy exploring the marks,
shadows and shapes created by overworking with the HB
pencil. Use the pencil and pressure to its fullest advantage.
STAGE 11
THE BACKGROUND LINES

AND REDUNDANCY
Look very carefully at the top of the stapler and you will see
a thin graceful highlight. Capture this when you fill in your
background, and remember the sketch but bold bristle
effect too. Solidly colour in the stark background and show
off the skill of the foreground. Now treat yourself!
71
31/5/07 17:18:29
ZHUZHU
TITLE
WEBSITE
JOB TITLE
Malena
http://zhuzhu.deviantart.com
Digital artist
Zhuzhu has a portfolio that covers pretty much
every style and discipline you could think of.
From humorous illustrations through to serious
artwork like the image above, his site displays a very
impressive body of work. Visit it today!
072-073_OPM_05.indd 72
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showcase
072-073_OPM_05.indd 73
1/6/07 13:41:06
Your
questions answered
Colour choice
Ive not long been using Corel

Painter and am a bit confused as
to how to pick colour. What do you
think it the best way?
T N
Your experts
Stewart McKissick
Stewart is a long-time user

of Corel Painter and is a
big fan of the airbrush and
illustration potential offered
by the program. Here he
answers your questions on creating cartoons
and character design.
Daniel Cox
Daniel is an extremely
accomplished artist that has
worked for various clients,
including Weta Digital. Here he
tackles your artistic problems,
giving advice on getting paint
effects and improving your style.
What youll find in this section

Software
Dont get bogged

down in a Corel Painter black hole
write to us and well help you
work harmoniously
Richard Schmid wrote in his excellent

book, Alla Prima: Everything I Know
About Painting, that there is no wrong
colour just a colour in the wrong place!
Which is so true. Like any painting, your palette
is very important to organise. Before I started
using Corel Painter, I would set up little squares
in the top-right corner. But no more.
The Color Mixer Pad is a fabulous way of
organising your colours and making sure your
hues all work together. In the example below,
Ive mixed my colours, choosing a rich blue
for the water, a little bit of red for the trees in
the background and skintones, and also mix
in white for the snowy area, which I know
will be covering most surfaces. Out of these
colours, I by find an appropriate cool midtone,
which I fill in the background and get rid of
that daunting white canvas (nothing scares me
more than a blank
01
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
Send in your queries to

Official Painter Magazine Q&A, Imagine
Publishing Ltd, Richmond House, 33 Richmond
Hill, Bournemouth, Dorset BH2 6EZ.
Alternatively you can email us at
opm@imagine-publishing.co.uk.
canvas). After blocking in colour, Ill start to

work in the details, which is where I will find
the painting. This is where Alt/Option clicking
to select colour and value is so useful. Working
in the midtones, I only need two-three values,
so I just select those from the areas Ive already
filled in. This allows me to continue working fast.
Crazy cars
I love the cars that appeared in the

Wacky Races cartoons. How can I
make my own?
J B
The Wacky Races featured cars that

were based on themes. To start, youll
need to choose a subject to base your
racer on. I decided on a play on words for
mine. One thing that helps is to have research,
so I gathered photos of cars and objects
that I pasted together in Corel Painter. Using
selection tools, such as the Lasso and Magic
Wand, I put parts together on layers to make
a rough version of our final design. You can
resize and distort things using Orientation
commands from the Edit menu. Some things
I roughly painted out,
then I drew my version.
Dont try to copy your
reference too closely
remember to be
cartoony and have fun!
Try twisting perspective
a bit notice the motion
lines on the wheels and
the shadow under the
car to help give a sense
of action.
Top: Using Painters

Layers, Selection
tools and Orientation
commands, a composite
version of various
photos is made to help
guide our drawing.
Bottom: The final
cartoon, based on our
photo collage, but not
copied too literally
02
SHARE
YOUR
PROBLEMS!
Send in your questions

for our experts to answer
at opm@imaginepublishing.co.uk
Use the Mixer Pad in Corel Painter to keep your

colours under control
74
074-079_OPM_05_artclass.indd 74
1/6/07 10:26:55
Pencil art
A S
A good example to answer this

question is a chiaroscuro painting.
(Chiaroscuro is an Italian term
referring to the modelling of volume by
depicting light and shade by contrasting them
boldly.) As you can see in the image below,
the models face is heavily shadowed on her
right side and a minimal amount of light is
reflecting up into her eyes. After I blocked in
the shapes around her eyes and hairline, I used
the Palette Knife (at around 15% Opacity) to
vertically blend the tones into each other. The
Oily Palette Knife is really great for this type of
blending and I was also able to lose the edges
around her jaw-line.
From out of this, I pulled a singular highlight
that is reflecting light from her eye and cheek,
using the Conte brush and Acrylic brushes at
about 50% Opacity. As long as the placement
is accurate, the viewers eye fills in the missing
detail and it reads as a face, even though there
is no detail and the eyes are essentially just
black marks.
01
Dark portraits can be a

fantastic way of creating
mood and drama to an
image, but you need to
avoid going overboard!
W T
Art class
I want to create a dramatic portrait

where the face is mainly in shadow.
How do I give the impression of
features and not end up with a black mess
in Corel Painter?
The secret lies in the Selections and Layers

options within Painter. By isolating your
scanned-in pencil line drawing on its own layer,
you can colour it without affecting the quality of the
line or the painting around it. Painter has tools to make
this easy.
Q&A
Shady behaviour
I like the quality of my pencil drawings

and wish to keep them in my paintings,
but Id also like them to be in colours as
well as black. How can I do this?
in and select
01 Scan
your drawing
I
scanned my line drawing and
chose Auto Select from the Select
Menu. Since my drawing is black
and white, I used the Image
Luminance option, which is based
on values. With the line selected,
I then chose Float from the Select
Menu this puts the selected
line on its own layer with no
background white.
02 Colour the lines
I
checked the Preserve
Transparency box on the Layers palette
this automatically masks your pixels so
you can only paint where there already is
information on the layer. This allows you
to colour in your line quickly and easily I
varied the colours to work with the natural
tones of the subject matter.
03 Paint on the canvas
I then went
back to the canvas layer to paint I
used lots of textures to create an Impressionist
feel. You can go back and forth between the line
layer and the canvas to adjust the colours as your
work progresses.
75
1/6/07 10:32:49
Q&A Art class
Here you can see how to go from

normal proportions to the stuff
comic books are made of!
Think strong highlights

when it comes to
painting your shiny
metal objects
We could be heroes
Is it possible to get the look

of vector illustration in Corel
Painter? Ive only ever used the
brushes, so am a bit clueless when it comes
to the other capabilities!
T S
I love the traditional comic book

superheroes and want to draw my
own. Can you break down the body
proportions to help my drawing?
As always, liberties can and should be taken in

creating your own dynamic characters, and all
these tips can be modified as needed, but its
usually best to start with a good grounding in
basic anatomy.
The sketches here show a so-called

average human male figure and
a superhero for comparison. The
traditional unit of measure for the body is the
size of the head. The average figure is usually
drawn from six and a half to seven heads tall.
Our superhero, on the other hand, is nearly
eight heads tall. The additional height is gained
by lengthening the hips and legs. Our average
guys knees are at the five head line, while
our heros are nearly at the six. All the heros
proportions are bigger, with the muscles
(especially in the chest and arms) more defined.
The shoulders are broader and the waist
narrower: the classic V-shape torso.
Otherwise, the standard measurements
should be followed, at least if your hero is still
somewhat human. The nipple line of the chest
is at the two head line, for instance. The navel
falls at the three head line, and the fingers of
the relaxed arms fall roughly mid-thigh.
Metal works
T P
Creating vectors
Absolutely. Corel Painter has long had

the ability to draw its own version of
vectors, called Shapes. Since I draw
a lot of cartoon and graphic illustrations, I like
this feature a lot.
You can use the Oval and Rectangular
Shape tools to draw basic geometric forms,
the Quick Curve for freehand lines, and the
Pen tool to make less regular shapes using
the point and Bzier curve method that other
vector-drawing programs also employ. Corel
I want to paint a robot, but am a

bit stumped as to the best way of
getting the really gleaming metal.
Do you have any advice?
D M
Essentially, the metal is going to

reflect the light, so youll have strong
highlights in a very high key. Metal
also has a lot of shadow in it, so use your
darkest shadow colour for this and place it next
to the highlight. In the space scene above, its
a very warm palette of mainly yellow and reds.
So the red would also be reflected, which helps
accentuate the reflective properties of the
material. If its highly polished, then youll also
get singular highlights but for a more realistic
look Id only recommend using one or two, or it
can start to look like Eighties airbrushed van art.
In this example, Ive

made a graphic cartoon
illustration of a beaver
using just the Shapes
feature. Its possible to
mix Painters regular
pixel-based layers with
the vector ones for
varied effects
76
1/6/07 10:28:54
In the background
02 Dene a mood
Instead of thinking
of the background
as something that
draws attention away from the
picture, why not think of it as
a way to focus attention ON
your picture? Using a form of
spotlighting and using subtle
textures in the background with
soft ambient light you can do
just that.
03
03 Rene
Now that
the background
textures and colours are in place
you can rene main picture. I
would recommend painting on
a new layer so you can change
the picture without changing
the background.
Starting point The
background colour
should be decided early on in the
painting process. Either way, do
not go into too much detail on
the periphery because they are
subject to being painted over.
Painter lists each shape on its own special

layer in the Layers palette. It is identified by
a triangle over a circle instead of the stack of
three rectangles on a pixel layer. Here its easy
to rearrange their order and even edit their
transparency. These shapes each have a stroke
and a fill that can be changed over and over
while they are in the Shape mode using the Set
Shape Attributes Dialog menu. Even though
they are vector-based, they are displayed in
an anti-aliased form, meaning the edges can
appear more smooth and photographic than
some vector programs appear.
Art class
Using a large
opaque brush, colour in the
background. To create the
spotlight effect, work dark
around the edges and lighter
towards your main focus.
The edges of the character or
object will pick up and reect
the background colours.
C L
01
Q&A
Whats the best

way of making a
background that
doesnt draw attention away
from the picture, but that
isnt just lat?
02
01
When painting a mass of

objects, such as flowers,
always simplify to avoid
having to paint each and
ever detail. Your image
will look better for it
Floral tribute
Whats a quick way of painting a

collection of lowers? Id like to try
for a traditional loral still life, but
dont want to spend hours on it!
S G
Painting flowers is a great exercise

in simplifying complex shapes. Right
is a crop of the Victorian portrait I
did a tutorial on last issue, but I didnt go into
specifics about the flowers in the hat. As you
can see, I did a drawing first. The best way to
simplify the shapes in the reference is to squint
when you look at it. When you do this, youll
immediately see the edges that suggest the
form of each flower. Painting each petal would
be accurate, but it wouldnt have any life. So,
77
1/6/07 10:29:52
Q&A Art class
Out of this world
I want to paint a planet scene for

a friend who loves space, but cant
seem to get it right. Have you any
advice for painting a simple planet?
01 Using shadows
In this setup,
the light being reflected most
directly is bright white, and then theres
a regular transition to dark grey. Here
there is a more sudden transition to the
darker values in the core shadow, and
then a small amount of reflected light
on the opposite side. The cast shadows
are usually divided up into separate
transitional values as well, getting lighter
as they more away from the sphere.
E
Painting a planet is a good exercise
in remembering our basic painting
fundamentals. As we know, just
about everything is made up of basic
geometric shapes: the cone, cube, cylinder
and sphere. Obviously, our focus here is the
sphere and we just need to be accurate with
the light source for it to read as a planet.
02
Onto the planets Ive rotated around the primary light source
so the planet looks more dramatic. As you can see, its exactly
the same principle, from light source to core shadow. The reective light
would be minimal in space, but for artistic licence Ive included it to pop
the planet shape off the background.
here I block in the basic yellows and pinks of

the flowers very quickly, and them blend them
together with the Palette Knife. Then, I paint
the petals hard edges, using the Conte brush
at low opacity. I also paint very small, which
further forces me to paint just those edges
that describe the form and keep looking at the
painting until they read as flowers.
All made up
Any guidelines for painting realistic

makeup? Im a bit worried about
turning my lovely portrait into a
painting of a clown!
G F
03 Glowing report
As we see, even the cast shadow can be

included here, blocking the light from the sun, which creates
further drama. I pulled some of the sun flare out using a Textured
Blender, and then blended and softened the edges using the Wet Oily
Palette Knife over the top at low opacity to create a soft glow.
When attempting makeup, I start

by painting the face as you would
normally sans makeup focusing
the planes of the face, the light etc. When
happy, I use the Conte brush to block in a very
strong red at very low opacity, making sure I
dont go below the nose line. I did the eyeliner
the same way, but on a separate layer so I
could colour-adjust it separately. As I shifted
the hues around, I found the green gave it the
oomph I was looking for. To simulate a lot of
lipstick, I find several highlights are needed.
On plain lips, the highlight isnt as bright and
also softer. As lipstick has essentially the same
reflective qualities as plastic, I use a very sharp,
unblended mark, using the Acrylic brush.
You dont have to have a degree

in cosmetics to apply a realistic
touch of mascara!
78
1/6/07 10:30:45
Speed demon
There seems to be a little confusion

about what speed painting actually
is. Im a long time member of Sijun
(a digital painting community, which can be
found at http://forums.sijun.com) and
theres a speed painting thread on there that
would probably give the wrong idea to most
Art class
S B
This is a speed painting I did

based
on a trip to the gorgeous
Huka Falls in New Zealand
What I focused on here was
.
just the basic shapes and ligh
t. As
you can see, theres no det
ail at all. Its all about the valu
es and
how the light affects the ma
in forms of the girl, trees and
path.
The decision-making is mo
stly done at this stage.
Q&A
Ive heard a lot of people talk

about speed painting and gush
over the virtues of it, but no one
has really said what it is. Is it literally just
painting quickly? Why would anyone do
that and what are the effects of applying
a technique like this in Corel Painter?
beginners. A lot of the large community art

sites will have a speed painting thread where
digital artists will show off work that they
have created, along with the time that it took
them to complete their work.
Theres also a lot of skill involved in the
process. You need to be able to work
with colour and brushstrokes to create
recognisable subjects, without actually
having to add a great deal of detail.
In my opinion, speed painting is only
a benefit if you limit yourself to no more
than an hour per painting, which forces you
to focus on the bigger shapes and values,
which is the point of speed painting: to be
as accurate as you can be in your art, while
working quickly.
01 The rst draft
02 Moving on
From here, as I
developed it, I focused on
edges, creating soft edges
in the shadows and sharper
edges in the light. I knew
from the speed painting
that I wanted the viewers
eye to be lead from the girl
to the path, which meant
sharper edges where the
light would be reecting
off the sand and the shrubs
around the path.
03 More detail
The main change

from the previous image to
this nal painting is really
just rendering. Alluding to
detail in the trees and the
texture on the path, etc
But, as you can see, the
decision-making was done
earlier, so this is where the
brain shuts off and you can
just have fun.
79
1/6/07 10:31:30
Using the
produ, ctaketsn on
Our seascape
D, was
the Pentax K10 of
e
given a new leas stel
Pa
e
th
to
ks
life than
l Painter
brushes in Core
The creative products on test this issue
Pentax camera
In the market for a shiny new
digital SLR? Check out the review
of the Pentax K10D, and see if
its features and capabilities will
persuade you to buy it
Wacom
Cintiq 21UX
Its expensive, its big and its jaw
droppingly gorgeous! Find out
what else the Cintiq can do apart
from making us excited!
book reviews
Looking for some brain content?
Inject yourself with a mighty
dose of inspiration, thanks to this
collection of artistic and ideainducing books
japanese
fibre paper
We take a look at some exquisite
Japanese Fibre paper that gives a
beautiful texture to your delicate
watercolours or ink drawings
Reviews
Use this section to discover what creative

products can boost your use of Corel Painter,
learn about the best artistic books and discover
ideas for displaying your artwork
81
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Reviews Pentax K10D
Pentax K10D
750 | Take your photography to new heights with this superb model
Menu systems
The K10Ds menus are
really easy to navigate
and let you control pretty
much every aspect of
your photography
nyone who has been researching the

market for a quality digital SLR may
notice that this particular model looks
very similar to the Samsung GX-10,
but there are differences that make this a Pentax
model through and through.
The K10D sits very comfortably in the hand,
and the extra weight of the camera in comparison
to its competitors doesnt present much of a
problem. All of the buttons and switches can be
reached easily and are comfortable to operate,
and the Info button, which calls up the current
settings on the 2.5-inch LCD, is a great feature,
particularly for visually impaired photographers.
The 2.5-inch TFT monitor has a wide angle of
view, making it easier to chimp without taking
your camera off its tripod. In playback mode, the
rear e-dial functions as a zoom wheel, while the
d-pad can be used to pan around images. With the
ability to magnify your images up to 16x, checking
for sharpness and clarity is really simple too.
Users can also apply digital ilters in-camera
and then send their images to PictBridgecompatible printers. Selecting Digital Filter from
the Fn menu in playback mode takes users to the
Filter submenu, where they can choose from
B & W, Sepia, Color, Soft, Slim, or Brightness. Each
ilter can be adjusted, with the Color ilter offering
18 ilters, for example. Additionally, the softness
of the Soft ilter can be set, as can the brightness
of the your images, which can be adjusted in a
range of +/-8 levels.
RAW images can also be edited via this Fn menu

in playback mode. Users can adjust everything:
image quality, white balance, ISO, image tone,
saturation, sharpness and contrast, before saving
the RAW ile in JPEG format under a new name
all without even going near a computer. Although
this is a handy feature for those who prefer to
print directly from their cameras, computer users
are unlikely to want to do all of their processing
in-camera. The TFT monitor is pretty good, but
still no substitute for checking your images on a
computer screen.
One much-talked-about feature is the Shake
Reduction system, which, according to Pentax,
shifts the position of the CCD image sensor
vertically and horizontally at high speed using
magnetic force, while adjusting the shifting speed
in proportion to the amount of camera shake
detected by a built-in sensor. The big advantage
of this is that users dont need expensive antishake lenses and all of their pre-existing lenses
that are compatible with the K10D can beneit.
Pentax claims that its SR system offers an
outstanding compensation effect equivalent to
two to four shutter-speed steps. Although we
were unable to perform a scientiic experiment to
test this theory ourselves, we did ind the Shake
Reduction system to be pretty good.
In short, the K10D is an innovative, easy-touse DSLR, which will suit advanced amateurs
perfectly. A few of the advanced settings
and ine-tuning features may be a little too
Exposure bracket button
Lens
The lightweight kit lens is quick
to respond. Its a little noisy when
focusing, but it does yield decent
images considering the price. A wide
choice of lenses is also available
Screen
The 2.5-inch LCD is brightnessadjustable and offers a wide angle
of view, making it easy to navigate
menus and review images at
awkward angles
OK button
Memory card
The door protecting the memory
card is robust and the switchoperated system means youll
never knock it open by accident,
protecting your images
Record Mode
Custom Setting
Info
button
Connections
Shake reduction switch
FN menu
Card cover unlock lever
The door concealing the

connections panel clicks firmly shut
and sits flush to the camera body,
providing reassurance. All cables
connect cleanly and easily
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1/6/07 11:40:45
Pentax K10D
SP+AP, M, X speed,
750 Bulb, User
(with 18-55mm lens) Flash modes
Megapixels (effective) A, A+RE,
10.2 Fon, Fon+RE,
Max resolution SS, SS+RE
3,872 x 2,592 Connectivity
Lens data USB, NTSC,
By lens PAL, PictBridge
Price
Front e-dial
Zoom
RAW
button
camera specs
Flash
button
Weight
By lens 710g (excl. batteries)
Focus/Macro
Dimensions
By lens 141.5 x 101 x 70mm
Self-timer
lamp/remote
control sensor
Shutter speeds
Focus mode
lever
Batteries
30-1/4,000 sec, bulb Rechargeable

ISO sensitivity D-LI50 li-ion
A, 100, 200, 400, Storage
800, 1600 SD, SDHC
Metering options
LCD
MS, CW, S 2.5
Exposure modes
Green, P, Sensitivity
Priority, SP, AP,
Build design
The K10D is solidly constructed, has a reassuring weight
to it and feels like a professional piece of kit. Ergonomics
are good too
Mode
dial
on the top
bits and pieces that will inevitably help to guide

photographers in the right direction, easing them
into the world of professional DSLRs rather than
throwing them in at the deep end.
The price and resolution of this camera mean
that its up against stiff competition. All of the
cameras in this price bracket have a lot going for
them and the K10D is no exception. This camera
faithfully reproduces colour and records detailed
textures across the board. In terms of sharpness
and overall image quality, the K10D isnt quite up
to the same standard as some of its competitors,
but it is certainly worthy of consideration.
If youre searching for an innovative DSLR
with some really unique attributes, the K10D
represents fantastic value for money.
Main
switch
Metering Mode lever
What we like
What we dont like
A DSLR thats
a bit more
technical than an
entry-level model
you can grow
with the K10D
Features
Shake Reduction
feature good for
low-light shots
Robust feel
Excellent results
A bit rattly
when focusing
Can be noisy at
higher ISOs
10
Ease of use
we say
technical for some users, but armed with the

comprehensive manual provided, K10D users
are offered an excellent opportunity to learn
more about the technical side of photography.
The assumption that this camera is aimed at
the more experienced amateur is echoed by the
absence of the usual preset modes that weve
come to expect from low- to mid-range DSLRs.
Users are expected to rely on their pre-existing
knowledge of camera settings when using
the K10D, although the manual provided is an
excellent source of information. The K10D is not
a dedicated professional DSLR, rather a bridge
between an entry-level and a pro camera think
of it as your very irst proper mountain bike with
the stabilisers removed. There are all kinds of
Built-in
flash
verdict
If youre searching for an innovative DSLR with some really

unique attributes, the K10D represents fantastic value for money
9.0
Quality of results
8.0
Value for money
9.0
D-pad control
The four-way switch and the OK button make menu navigation
simple and they emit an audible click when depressed, so
users know that theyve hit the right key
Test shot
The colours are rich and accurate, and the anti-shake technology
can really help out, especially when you use the kit zoom lens to its
full extension
Overall
score
9.0
83
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1/6/07 11:41:03
Reviews Wacom Cintiq 21UX
Wacom Cintiq 21UX

2,016 | In an ideal world youd be able to paint directly on your screen
well, now you can! Wacom brings the dream into reality with the Cintiq 21UX
igital art, and the equipment to help
you create it, has come a long way in
the last few years. But if youve been
used to painting and drawing directly
on canvas or paper in the past, there still seems
to be a kind of no mans land between your hand
and the drawing surface.
Drawing and painting via a graphics tablet
is indeed far superior to trying to draw with a
mouse the size of a small brick, but its still not
like drawing directly on a surface. In an ideal
world youd be able to paint directly on the
screen. Well, thanks to the Wacom Cintiq 21UX
interactive display, you can do exactly that!
Just an initial word of warning here.
Before reading this review, get a close friend
to hide all of your bankcards and entrust your
wallet to someone not tempted by jaw-dropping
digital gadgetry, unless you want a rather large
hole in your inances very soon. Put simply, if
youre into digital art, and particularly if youre
a Corel Painter addict, the Wacom Cintiq is
sheer brilliance.
First of all, the Wacom Cintiq 21UX is a
fabulously large, crisp and sleek 21.3-inch TFT
display. The quality and clarity of this screen
are second to none, and it displays even the
most subtle shifts in tone and colour faithfully
and lawlessly. The response times of the
display are amazingly fast, and the screen
shows no sign of the ghosting often exhibited
by cheaper lat-panel displays when moving a
brush, pointer or palette across your canvas.
If you were to use the Cintiq purely as your
primary computer monitor, and disregard its
other wizardry, youd not be disappointed in its
screen. It can cope with resolutions up to 1,600
x 1,200, so youll not want for lack of visible
detail and deinition as you work, whether on
ExpressKeys
Work area
creative projects or day-to-day administration.

But, of course, the Cintiq is about much more
than a great display. Its real strength lies in the
fact that you can draw and paint directly on it
with great results.
The Cintiq arrives very well packed
and protected, but just prepare yourself
for a big box, as this is one big beast. Once
youve unpacked the thing, there is a little

physical setting up to do. The Cintiq has a
very substantial adjustable stand attached
to it, which enables you to tilt and rotate the
screen. You have to it this yourself after youve
unpacked, but its a simple case of tightening
a couple of screws. All cables are attached, so
once the stand is itted youre ready to roll.
Grand designs
The screen real estate is
big, but youre going to
need a lot of desk space to
home this beast with a
large stand on the back
Room to breathe
The Cintiq stylus
One of the great things about the

size of the screen itself is that it
encourages you to draw naturally
The stylus supplied is exactly the

same as those supplied with the
Intuos 3 range
ExpressKeys
The ExpressKeys and Touch Strips are
conveniently placed on either side of
the Cintiq screen
84
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higher, graphics
card with VGA or
DVI (recommended)
connection, USB 2.0
Price
2,016
(Internet prices can
be a lot less)
Website
Mac requirements
www.wacom.com
Mac OS X 10.2.6 or
higher, graphics
card with VGA or
DVI (recommended)
connection, USB 2.0
Operating systems
PC and Mac
Touch Strip
Cintiq specs
Wacom Cintiq 21UX
PC requirements
Windows 98SE,
2000, ME, XP or
Grip Pen
Youll be hard pressed to beat the Cintiq 21UX it will take

your digital painting and image manipulation to a new level
start using it to draw and paint with. Although
the actual surface of the display looks fairly
smooth and glossy, its got an almost-invisible
texture to it that grips the tip of the drawing
stylus very nicely indeed, giving you the same
sort of control as youd have when drawing on
paper with a pencil.
Remember, just as with Wacoms Intuos range
of graphics tablets, once youre painting you
have pressure and tilt sensitivity built-in, so
if youre using pencil or charcoal within Corel
Painter, for instance, you can control the opacity
and size of your brush simply by varying the
pressure you apply with your stylus. You can
also use this sensitivity in other ways.
size, rather than using the bracket keys on the

keyboard. There are ten of these keys in total,
so once you conigured their functions via the
Cintiq Control Panel, you really neednt touch
your keyboard at all as you work. You also have
two touch-sensitive strips that respond to your
inger being dragged over them. These are ideal
for controlling things like zooming in and out of
your images.
So, in conclusion, as digital gadgetry goes,
youll be hard pressed to beat the Cintiq
21UX. It will take your digital painting and
image manipulation to a whole new level of
interactivity and real world feel. Use one for a
few minutes and youll be a Cintiq devotee.
Cintiq Control Panel

From the Control Panel, you can control every aspect of the
Cintiqs functionality, including pressure sensitivity, doubleclick speed, tilt sensitivity and, of course, the assignment of
functions to the buttons, ExpressKeys and Touch Strips.
What we like
Super-bright, huge
21-inch display
The ability to
dramatically tilt and
rotate the display
ExpressKeys that
render the keyboard
virtually redundant in
Corel Painter
If you dont mind

the price, then
this will take
your digital work
to the next level
What we dont like
The price tag!

Its heavy and large
Rear-mounted setup controls are a bit
fiddly in use
Features
10.0
Ease of use
we say
And this is where the warning comes in.

From the irst moment you sit down and try
the Cintiq, you will be hooked. Drawing
on-screen is so intuitive that it makes even
graphics tablets seem clunky and awkward.
Not only is it a dream to draw onto, but the
bracket makes things even better. You can turn
and tilt the Cintiq to get in the perfect drawing
position, just as you would with a piece of paper
or canvas.
If all of the above is not enough for you, theres
more! On both edges of the Cintiq, you have
a cluster of ExpressKeys. Essentially, you can
conigure these keys to perform any function
that youd normally use the keyboard for. For
instance, you could conigure one of them to
increase brush size, and another to decrease the
verdict
The unit itself is powered by a small mains

transformer, and the video signal is transferred
by either a VGA or DVI cable. The entire
graphics tablet bit is done via a USB connection.
Driver installation is a breeze, performed
directly from a CD.
As soon as youre plugged in and youve
installed the driver, youll be up and running.
You can now not only draw and paint across
this huge screen in programs such as Corel
Painter, but you can even use the stylus itself
as a replacement for your mouse, controlling
all of the computers functions as you normally
would. With the stylus, you can double-click as
you would with the mouse, and you even have
left and right buttons on the stylus itself. The
Cintiq really starts to sing when you actually
10.0
Quality of results
10.0
Value for money
8.0
Overall
score
9.5
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Reviews Books
New Fashion Illustration

17.99 | Become a dedicated follower of inspirational fashion art
t may be that the idea of buying a
fashion book for artistic inspiration
seems weird to you, but fashion has
a rich history of illustration that
doesnt depend upon interest in needle
and thread. Author Martin Dawber more
than proves this point, with his collection
of the best fashion illustrators from
around the world.
But we should really stop talking of
this as a fashion book. What we really
enjoyed about this title was the varied
styles of art on display, created in a
whole range of mediums (and, yes, Corel
Painter does appear!). Just a quick lick
through reveals anything from collage
images to traditional oils to digital ink
sketches, and they can range from serious
We enjoyed the varied styles of art on display Just a

quick flick through reveals anything from collage images
to traditional oils to digital ink sketches
Artist profile
Each artist featured has a small profile where they
speak about their work and influences. This is a great
way to see whos behind the art, and you can also find
contact information in the back of the book
compositions through to more cartoon,

graphic representations.
Rather than bunch a group of images
together, Dawber has instead arranged
the art according to different artists. This
results in a series of proiles on talented
(fashion) illustrators, beginning with
some words from each artist about their
work, background, inspirations and
working practices. Once the introductions
are made, you then move into examples

of that artists work, along with details
of what medium was used to create it.
The print quality of the book is topnotch, with bright and vivid colours. The
printing also captures texture and subtle
brush marks exceptionally well, so you
dont feel as if youre missing out by just
seeing the painting in a book as opposed
to in the lesh.
We love inding books like this the
ones where the subject matter isnt
instantly appealing, but after a bit of
further investigation it turns out to hold
a treasure trove of interesting goodies.
There are some really engaging pieces of
art here and the production qualities of
the book are very high. The paper quality
is nice and thick, but isnt so glossy that
you leave lots of ingerprints on it, or
it suffers from lots of glare. If you are a
fan of fashion design and illustration,
buying this book should be a no-brainer.
But even if you arent, wed deinitely still
recommend buying it.
Traditional touch
In addition to all the digital
goodness, you can also enjoy
examples of traditional techniques,
such as this artist who uses oil
on canvas
Inspirational
illustration
One aspect of the book that
we really enjoyed was the examples
of illustration, such as this one
above. Again, its a great source
of inspiration
Edited by
Martin Dawber
Price
17.99
Publisher
Batsford
ISBN
0-7134-8961-8
Great ideas
Take advantage of the range of
ideas in the book. For example, why
not try scanning in pieces of fabric
and using them in your next Corel
Painter creation?
Many mediums
A lot of the artwork in the book
is created using a few different
mediums, all of which have their
digital counterpart in Corel Painter,
so you can emulate the styles
yourself quite easily
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Colour
14.99 | Enter the world of colour harmony
Author
Gavin Ambrose and

Paul Harris
Price
14.95
Publisher
AVA Publishing
ISBN
2-88479-066-7
ny artist knows that colour

is of prime importance and
most people have some basic
semblance of what constitutes
a good use of colour and what should be
avoided at all costs. But theres no harm
in boosting instinctual action with a
bit of theory, and this book has lots of
information regarding colour usage.
Bursting with examples of different
colour relationships, this book moves
from colour theory to colour printing
processes through to looking at the
mood of colour.
This is a really nice little book. Theres
a perfect mixture of theory mixed with
interesting little nuggets of information
that makes you think about colour and
how you use it in your work.
Granted, most of the examples are
based in illustration or graphic design,
but theres plenty to give you a solid
grounding in using colour to the best
effect in your art.
The founding
principles
The book begins with
some fundamental colour
theory points, such as
understanding the colour
wheel and the relationship
between colours
Colour treatments
There are plenty of examples in the book about the
different methods of applying colour in images, which you
can use in your artwork
Moody moments
One of the best parts of the book is the pages that deal
with different colours and what kind of moods they evoke,
which is essential knowledge for all digital artists
Pattern and Palette Sourcebook 2

19.99 | A great compendium of patterns and designs
Authors
Heidi Arrizabalaga
Price
19.99
Publisher
Rockport
Publishers Inc
ISBN
1-59253-317-5
heres a growing number of titles

appearing whose main use is as
a one-stop resource for design
elements. This book is one such
example, and its title explains what it
offers perfectly: patterns!
There are two elements to this
book. The irst is, erm, the actual book.
This provides a visual guide to nearly
1,000 patterns and colour combinations,
and serves as a fantastic way of getting
ideas for patterns and colours that work
well together.
The second part of the book is an
interactive CD. On here you can ind all
of the patterns in the book, but you can
use a Flash player to alter the colour
combinations of the patterns. If you
like what you see, you can also print the
pattern out, maybe to create you own
wrapping paper or art borders.
This book is a lot of fun that does a
good job of teaching you about colour
relationships and design, which also
works as a great creative tool.
Pattern
collections
The patterns are divided
into categories, which
kicks off with a small bit
of text about what the
patterns evoke
Patterns galore
Enjoy flicking through the book and drink in the various
patterns and colour combinations, which can all be
incorporated into your work
Make your own

Load up the included Flash player from the books CD
and you can have a go at different colour treatments you
can even print them out
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Reviews Output
Visit www.on-linepaper.co.uk to
order the Japanese Fibre paper
Create textured
prints and artwork
You can order products directly from

the site on a secure server
Use special media paper from On-line Paper.co.uk to print out your artwork or use
as the basis for some exquisite Corel Painter paper
Tutorial info
Artist
Jo Cole
Time needed
10 minutes
Skill level
Beginner
ast issue we looked at three

different companies that offer
customers a wide range of special
inkjet papers. Some of these
were obvious choices for the digital artist
such as canvas or watercolour paper, but
some were a little bit unusual.
On-line Paper was one of the companies
featured last issue and we decided to
have a look at a brand of its paper in a
little bit more depth. The Hahnemuhle
Japan Fibres paper is an excellent product
that looks just like traditional Japanese
tissue. Available in white, you can see
little strands of ibres in the paper, giving
a wonderfully textured appearance.
One thing thats really nice about the
paper is that it has a very delicate feel
and appearance, yet it is still robust and
doesnt tear easily. It can be used in any

inkjet printer and holds the ink extremely
well. This means that you can indulge
yourself in delicate ink and watercolour
creations, safe in the knowledge that
when you print it out, everything will look
like it should.
This paper obviously lends itself well
to any Asian art you may be working on,
but its uses doesnt stop there. Because
the paper is so textured, you can scan it in
and then use it as a basis for creating your
own papers in Corel Painter. Its very easy

to do and means you can incorporate the
lovely ibre texture into each brushstroke.
You can pick up a pack of the Japan Fibres
paper by going to www.on-linepaper.
co.uk and heading to the Hahnemuhle
Art Line Papers section. A pack of 20 A4
sheets will set you back 15 (excluding
VAT) and you can order from the site even
if you live outside of the UK.
So pay a visit to www.on-linepaper.
co.uk and order some today!
One thing thats really nice about the paper, is that it has
a very delicate feel and appearance, yet it is still robust
and doesnt tear easily
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Get creative with fibre paper

One product with two uses!
Ink coverage
Although this paper
does handle ink very
well, its still best if
you use it with images
that are very loose
and sketchy. Since the
beauty of the paper is
in the fibres, it seems
a shame to then
drown them in a sea
of ink, especially if its
dark colours.
01 Feed into the printer
Your type of printer will determine just

how you load the paper. If your printer has an accept all policy on
paper, just feed it in as normal. However, if you are using a printer with special
settings for ne art paper, such as this HP Photosmart Pro B9180, then follow
the instructions. The paper isnt as thick as canvas or card, but it is thicker than
normal print paper.
02 Dry and enjoy
The printout is pretty dry as soon as its nished

but its an idea to not touch any of the printed area and just let it sit in
the air for a few minutes. Then you are free to enjoy your artwork! Try to pick a
frame that enhances the work and dont cover over the lovely texture!
04 Papers
palette
03 Use as a paper
Before you print on

all the paper, take a moment to scan a
piece onto your desktop. Do this at a nice high
resolution so you can see all of the lovely bres
and load the scan into Corel Painter. Pick the
selection tool and then draw around an area you
think is most interesting.
Open up your Papers

palette and click on
the right-pointing
arrow. Choose
Capture Paper and
then enter a name. We
called ours Japanese
Paper. Make sure that
Crossfade is on 100%,
otherwise your paper
wont be smooth.
Click OK and the paper
will be made.
or
06 Inallbits
at once
05 Different options
The Papers palette

also has various other options that allow
you to change how brush strokes will interact with
it. You can use the top slider to zoom in and out of
the paper, or adjust its brightness and contrast to
bring out the detail.
Now you have turned

the Japanese Fibre
paper into one of Corel
Painters Papers, you
can set it to work with
each brush stroke or
use it with the Surface
Texture effect to apply
all over an image.
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1/6/07 12:15:13
Readers gallery issue five
Gallery
A successful painting doesnt have to be super-sharp and

focused Cheryls Blanchard loose style is a joy to behold.
We find out more about the artist and take a look at how her
images are created
he readers gallery this issue
comes courtesy of Cheryl
Blanchard. Her expressive,
loose gallery caught our eye on
the magazine website, and we very much
wanted to ind out more about her work
and painting practices.
To see more of Cheryls work, pay a visit
to www.pbase.com/cherylblanchard or
comment on her gallery by going to
www.paintermagazine.co.uk/user/
Cheryl Blanchard.
When did you rst start using Painter?
Two years ago I met a photographer
who showed me Corel Painter. I was
immediately entranced by this medium.
Ive been a ine artist for 35 years,
working in oils and pastels, and a
commercial artist in the wall-covering
and textile industries for 27 years. With
the experience of a traditional painter
and ten years of Photoshop, this was the
perfect opportunity for me to combine
the two. By that evening I had purchased
the software, and I havent been back to
traditional medium.
What are your favourite tools?
Ive spent the last two years
experimenting and inding my way,
and have come to love the Artists Oils
and the Pastels. These mediums afford
me a similar experience to which Im
accustomed, with many more luxuries.
The Artists Oils have a creamy feel to
them and the Pastels are rich and chalky. I
paint hard and fast, and enjoy the fact that
I can sit down at any moment and get right
to it! And no brushes to clean when Im
done no fumes, no dust.
Who are your favourite Corel
Painter artists?
My favourite artists are two whom
Ive met at Marilyn Sholins Digital
Painting Forum.
Jordan S Dill is an artist who paints
a cast of characters that may seem
unsettling at irst glance, but with a closer
look, relect a great deal of our human
experience. Jordan brings a ine-art
perspective to this medium and a unique
point of view. His palette is rich and deep,
Cheryl Blanchard
This self-portrait was created using
Hard Pastels and was done in the
Chiaroscuro style
and enticing. He goes on to illustrate his

paintings with thought-provoking prose
that adds yet another dimension to his art.
David Cole is another artist who
has impressed me with his skilful use
of brushes, colour and space. Davids
portraiture and landscapes are always
exciting and masterfully executed. His
paintings are a pleasure to behold each
and every time.
Have you got a favourite painting, either
yours or someone elses?
A favourite painting of mine has to be
Our Little Broadway. This represents a

bridge to a different form of expression,
more abstract and intense. The Artists
Oils worked perfectly for me here. There
is nothing that compares to painting with
pixels and light!
Another favourite is Jordan Dills
painting titled Madness Not, Court Of
Leaves. This striking image leaves one
feeling a bit unsettled, but at the same
time offers a glimpse into our own secret,
dark corners. Hes created a superbly
painted image, with a palette and
technique all his own.
92
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01
Title: 36th St Rush Hour

Created using Oils and Pastels, this image shows Cheryls
typical style, full of life and loose strokes. We really like how the
image changes according to where you view it from up close
it is a haze of colour, but forms appear when you stand back.
02
Title: Night Vision I and II
Created with the Hard Pastels, these capture that feeling of

driving around late at night, with the lights of the city passing
you by. Theres a great photographic quality to these images
and the colours are lovely.
03
Title: Hes Seen Enough Art For One Day

In this humorous piece, Cheryl has used the Artists Oils to great
effect. The composition is what makes this piece so great you
dont instantly see the man, but when you do, the whole joke
comes together beautifully.
93
1/6/07 13:44:38
Gallery
04
Title: Our Little Broadway

Created with the Artists Oils. This image should
give hope to anyone who is scared to tackle
a freehand painting because they cant draw
photo-realistic shapes. Even though there are
no clearly dened forms, its easy to see that this
image is depicting a bustling scene.
05
Title: Looking In
Created with the Artists Oils. The expression on
the mans face is what makes this image and,
once again, Cheryl has used composition to
add character to the painting. Her brush strokes
are nice and clear, and the near framing of the
subject makes him look like a cheeky pixie!
94
1/6/07 13:45:53
06
Title: Waiting For The Night

A wonderfully textured piece, created with
the Artists Oils. You can almost feel the thick
splodges of paints with this, and once again
Cheryls loose brush movements have made a
common scene something very evocative and
intriguing. The colours are also excellent.
95
1/6/07 13:46:17
Challenge
ondering how the previous
challenges have been coming along?
Look to the right where you can see
the winners from issues 1-3. If you
feel inspired, load up the images you see below from
this issues disc and try applying your own creative
style to them. Do whatever you like to them

clone, composite or use as a reference sketch. Its
completely up to you how it works!
Theres no set deadline, but we will judge the best
images that come through for the on-sale period of a
magazine. So be as quick or relaxed as you like!
This challenges materials
THE WINNER
WILL GET
THEIR PAINTING
PROFESSIONALLY
PRINTED ONTO
CANVAS!
How to enter the challenge

To share your work with others, send your pictures in to
us and you could be featured on these pages. Just pop
your images onto a CD and send it to:
Creative Challenge, Ofcial Corel Painter Magazine,
Imagine Publishing, Richmond House, 33 Richmond Hill,
Bournemouth, Dorset BH2 6EZ, UK
Alas, we cant return any CDs.
If your entry is under 2MB, you can email it to
opm@imagine-publishing.co.uk
Remember! You can email your entries to opm@imagine-publishing.co.uk

96
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1/6/07 13:48:06
Cha llen ge
winners
Check out the winners from the irst

three competitions
hanks to all of you who have sent in your entries to our
regular Readers Challenge. Its been really interesting
to see how you have taken the supplied images and
then twisted them to it in with your own artistic
vision. Weve got the winners here from the irst three issues,
but dont worry if you havent made it this time you can enter
as many times as you like. And it doesnt even matter if you take
your time over your entry. There are no deadlines we simply
pick the best one that came in during the magazines on-sale
period. Congratulations to these winners your canvas is being
made as we speak!
ISSUE 2
Winner: Kobi
McKenzie
ISSUE 1
Winner: Lydia
Price
ISSUE 3
Winner: Ata
Alishahi
97
096-097_OPM_05_comp.indd 97
1/6/07 13:48:44

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Ofcial Corel Painter TM Magazine

Learn to paint digitally today!

Discover the rules

Special tutorial! See page 40

Visit us online www.paintermagazine.co.uk

Welcome once more to

Visit our website!

Jo Cole, Editor in Chief

ON THE FRONT COVER

Celia Yost masterclass pg 32

SIX-PAGE GUIDE TO DRAWING

P40 CONCEPT DESIGN

OUR DIGITAL EXPERT TAKES YOU

Regulars in every issue

10 Corel Painter Community

pg 22 Immerse yourself in Constable country

84 Wacom Cintiq 21UX

The rst in our special pages

Another inspirational dose of

88 Japanese Fibre paper

Try your hand at this unusual way

Original artwork by Daniel Conway

Getting to know Painter artists

Create inspirational art

32 Celia Yost shows you how

40 Design a concept car

Our expert walks you through

52 Create, load and save

58 Paint an underwater scene

Get up and running

64 Brushes: Art Pen

They are new in Corel Painter X,

Get to know your tools

n ews eve n ts res our ces letters web site s

ou dont have to wait for art

artworks, make purchases and even set

Tokarta (www.tokarta.com) is an online gallery where

but accessible and welcoming, with a

hen it comes to giving Corel

Creative happenings from

There are plenty of

Karen Sperlings Artistry

Get creative with 3D stock

Use models as the basis for your

Immerse yourself in some

Become a student at the

For Corel Painter help, inspiration and advice, pay

Get the latest issue of Official

n ts res our ces

Good source of knowledge?

Hello to you all. Just bought my irst copy

Everywhere you look in

real media tool, but how close is the

As you say, Corel Painter is a real media

Ive been a member of an artists and

Its a good idea to look at other sites for inspiration

get up to. The obvious solution is to build

Sketch Motel (www.sketchmotel.com) is

Bright Palm Beach

Interview Daniel Conway

www.artofconway.com and http://arcipello.deviantart.com

ne thing thats really

perfect, but he has also joined the hallow

just a case of getting a good colour