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Random option for Leaf brush, 196-197 Random Brush Stroke Grain option, 209, 209 random shapes for liquid metal, 265, 266 Record Stroke brush, 139 Rectangular Selection tool background separation, 201 basket weave, 214 floorboards, 147-148 reflections, 183 wet surfaces, 81 background, 202-204, 202-204 cape texture, 215-216, 216 character and background separation, 200-201, 201 forest background, 192-198, 194, 196-198 grass nozzle files, 210-213, 211-213 grass paper texture, 207-210, 207-210...

Keyboard Shortcuts

When you paint, there are two keyboard shortcuts you should learn and use at every opportunity. Their use will speed up your painting process. Ctrl+Alt (Option+F on the Mac) resizes the brush being used in an interactive way. Hold the keys down and drag in the painting window. A circle interactively changes size, indicating the size of your brush. When the size is what you want, let up on the keys. The Alt key (Option on the Mac) activates the Dropper tool. Selecting colors to paint with is...

Enhancing the Scene with Shadows

Adding some shadows on the tree trunks is easy, and the shadows will dramatically enhance the appearance of the scene. We'll add shadows for both the first and second rows of tree trunks on their own layer. The Trees layers that are deeper in the background will not benefit from adding shadows. To add shadows to the first row of tree trunks 1. Create a new layer on top of the first row of tree trunks. 2. Change the Composite Method of the new layer to either Gel or Multiply. Either works...

Finishing Touches

The only thing left to do is paint some detail into the small buildings perched on the cliff tops. At the last moment, I decide that the cliffs and buildings are too dull and do not look like they are being lit in a sunset. This is easy to correct even at this late stage in the painting. Follow these steps to make the buildings and cliffs more colorful. 2. With the top Duplicate layer active, select Adjust Colors from the Effects > Tonal Control menu and...

Creating a D Look with D Tools

This chapter is a mix of general painting methods combined with Painter-specific features and techniques. In this chapter, I will show you how to use Painter X to paint a portrait that has the look of a traditional oil painting. You can imitate the 3D effect of oil paint by using many of the tools found in the program. While this chapter will not be an exhaustive look at using these features, it is a good start. We will build on these techniques in subsequent chapters. The actual sequence of...

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Forest, 192-198, 194, 196-198 jewelry, 272-275, 273-275 leafy, 198-200, 199-200 monster, 239, 239 night scene, 136-138, 137-138 oil painting color, 23-24, 23-24 Red Riding Hood, 202-204, 202-204 separation from character, 200-201, 201 trees, 107, 108 base colors, blocking in, 12-15, 13-16 leafy background, 200 sleepwalker, 144 basket weave, 214, 214 baubles. See jewelry beads, 271-272, 271-272 bevel removal, 95-96, 96 Bevel World options box, 94, 94 Bias setting for rocky texture, 75-76, 76...

Painting the Sleepwalker

This tutorial features a sleepwalker walking down the middle of a hall in the dead of night. He is carrying a candle to light the way on his nightly travels. You may be wondering why this particular subject matter has been chosen for a tutorial. The explanation is simple. This digital painting contains a number of different objects and effects that often cause painters difficulty. Painting a Night Scene Painting the Sleepwalker Painting the Eye Candy in the Image Finishing Touches

Blocking in the Base Colors

In traditional opaque painting, it is good practice to paint from darker to lighter colors in large and fairly rough shapes. That's a process I continue to use when I paint with the computer. At this stage in the painting, the image often looks way too rough and sloppy, but it is not meant to be finished work. The early stage of adding color to a painting is called block-in. Blocking in color involves the simple process of roughly putting colors in the correct values and in the correct spot in...

Painting an Oil Portrait

Painter X has an unsurpassed ability to create digital images with a three-dimensional (3D) look and feel. You can use almost any image with Painter X to create a textural effect in a painting. You can create paper libraries, patterns libraries, and an almost-infinite number of brushes, and you can access filter effects that can give an image a 3D look and feel. With Painter X, you are limited only by your creativity and imagination. Painter X allows you to create images that mimic paintings...

About the Author

Don Seegmiller was born in Provo, Utah, in 1955. He grew up in both California and Colorado. Don graduated Brigham Young University in 1979 with a Bachelor of Fine Arts in graphic design, with a concentration in illustration. After graduation, he decided that he would rather pursue his passion for painting and began a career as an oil painter. While his work has been shown in many major art galleries, the majority of his traditional work is handled by Wadle Galleries Ltd. of Santa Fe. Over the...

Adding Dust Motes

When you see streaks of light up close, there are usually small dust particles randomly floating through them. We will add a few motes of dust to our light Create a new layer above the Light Streaks layer. Use the Tiny Spattery Airbrush variant found in the Airbrush category to add some dust motes in the atmosphere. Use a light touch, and do not overdo the effect. Soften the Dust Mote layer using a setting of 2. Lower the Opacity setting of the Dust Mote layer to about 50 . Now the dust motes...

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See clouds finishing touches, 63-65, 64-66 fundamentals, 34 stone. See rocky cliffs water. See water Lasso tool, 183 Layer Adjuster tool, 91 floorboards, 148 moonlight, 156 neck rings, 257 pits and holes, 58 reflections, 186 sleepwalker, 144 trees, 106-107, 114 wallpaper, 141 Layer Floating Object, 148 layers Leaf brush, 116-118, 117, 193-198, 194, 196-198 Leaf Painter brush, 119, 124 Leaf Painter Image Hose brush, 123 leaves, 116 adding, 118-120, 119-121 brush, 116-118, 117 nozzles,...

Painting Clouds Water and Stone

Painting a landscape seems like a simple task after all, the major elements do not move. Some elements in the landscape, however, can prove difficult to paint in a believable manner. In this chapter, I will demonstrate one method of painting such elements as clouds, water, and rocks. In this tutorial, you will also see me change my mind, back up, and head in a different direction. Often art tutorials make the process seem so clean and straightforward that readers wonder why they can't make it...

Darkening the Image

The Apply Lighting effect is found under Effects > Surface Control menu. One would think that with the name Apply Lighting, the effect could be used only to lighten a painting, but I actually use it more often to darken a painting. I also use it to add an even gradient of color to layer in a painting. One problem with the Apply Lighting effect is that we cannot apply it to a transparent layer. This makes it difficult to use in a multi-layered painting. Nonetheless, the effect is a valuable...

Refining the Details

Be sure to save your work before finishing the clouds for this painting. You want to make sure that you have a saved version to fall back on in case your finishing touches take a bit of practice and experimentation. There is really no specific point at which the clouds are finished. Use a bit of care and restraint as you paint them. It's a fun process, and you can get lost adding smaller and smaller details. But too many small areas, and the overall impression of a cloud can be lost. 1. The...

Final Thoughts

While the subject matter of this tutorial was a portrait, the real reason for doing this tutorial was to show some of the many ways that texture can be added and used in a digital painting. A few approaches we used in this painting included Filling an image with a texture made from a photograph Painting with Impasto brushes Applying a surface texture to an image There are as many ways to apply a texture as there are reasons for wanting to use texture in a painting. In this case, we wanted to...

Putting Up Wallpaper

To create the wallpaper, I will use the Auto Paint feature found in the Brush Selector menu. Auto Paint is a good feature to use when painting large flat areas because the strokes are painted in a much more consistent manner than we can do by hand. 1. Create a layer above the wall. Check the Pick Up Underlying Color box if it is not already selected. Name the layer Wallpaper. 2. Pick the Variable Chalk brush, and set the Grain to 10 in the Options bar. 3. Load the Wall selection so only the...

Enhancing the Mood with Moonlight

Even though the painting is almost finished, it would be nice to add a few more touches to make the image more interesting. I would like to add a window frame to let in moonlight from the outside. This moonlight will fall across both the sleepwalker and the wall behind him. With traditional painting media, this type of effect would be a little difficult and time consuming to paint. But the tools available to the digital artist make creating moonlight a pretty simple chore. To go about adding...

Painting a Fantasy Forest with the Image Hose

The Image Hose may be one of the most overlooked features in Painter X, possibly because the default nozzles that ship with the program are based on photographs, so they are of limited use when you paint an image. Who, after all, wants photographic elements in the middle of their painted piece The default nozzles tend to look inconsistent with most painting techniques and are generally ignored. But the Image Hose is a wonderful tool when used correctly it can make painting small repeatable...

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Add 500 Evenly Spaced Points option, 170-171, 170 Adjust Colors option color schemes, 222 rocky cliffs, 63 trees, 114 Adjust Dye Concentration options box, 236-237, 237 Align to Path feature earrings, 250-254 neck rings, 256, 258 Alpha layer for background separation, 201 Alt key Dropper tool, 39 keyboard shortcuts, 13 Amount setting Apply Surface Texture, 28 candlelight, 141 rocky texture, 80 wet surfaces, 85 Angle setting for Leaf brush, 197, 197 animals in fantasy forest, 128, 129 Aperture...

What Is Covered in This Book

Advanced Painter Techniques is organized to provide you with chapters that show the techniques used to paint specific subject matter. You can start at the beginning and work through to the last chapter, or you can pick individual chapters and work through them in any order. Though different information is presented in each chapter, the knowledgeable Painter user should have no problem moving between chapters. Chapter 1 Painting an Image with a 3D Feel This chapter covers painting a portrait...

Setting Up the Image

This tutorial is based on a doodle from one of my sketch books (Figure 5.1). You are encouraged to start with your own drawing. If you would rather follow each step a little more closely, the original sketch is available for you to download and use. The brushes and paper textures used in this tutorial are also available to download if you have not done so earlier. There's no reason why you can't just open the sketch and start painting directly on top of the drawing. Often that is exactly the...

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Figure 9.37 Shapes drawn using quick strokes just to the side of the face 5. Duplicate and flip the layer horizontally. 6. Position both layers behind the Face layer (Figure 9.38). 7. Copy, paste, and move individual strokes and groups of strokes to get a denser look (Figure 9.39). 8. When you are satisfied with the appearance of the multiple strokes, collapse the entire group of individual feather-like layers together. Figure 9.39 Strokes are copied, cut, and moved to achieve a denser...

Painting a Gooey Surface

In this section, we will paint a wet effect that looks a lot more viscous, thick, and gooey. Many of the steps are identical to the previous tutorial and will not be repeated in depth again. We'll start out by using the same texture image and Drip layer that we created in the previous tutorial. Because the texture we are using has no large repeating areas, it would normally be hard to see some of the distortions that this technique produces. To make the effect more successful, we will add some...

Softening the Clouds

We'll do one last tweak to the clouds, and then we'll be finished with the clouds. 1. Duplicate the Cloud layer, and make sure the duplicate is the active layer. 2. In the Effects menu, select Soften. 3. Set the adjustment slider to 6.5 or whatever looks good in the preview window. Click OK. 4. Set the Opacity setting of the softened layer to about 50 . 5. Collapse the two Cloud layers together. The softened Cloud layer adds a nice soft-focus feeling to the clouds while still allowing the...

Cooling Down the Night

Generally, night scenes are painted in deep blues, and the values are kept darker. Over the course of painting this image, it has become too warm and a bit too light for a night scene. We need to cool the colors and slightly darken the image. Create a new layer. Fill the new layer with a cool blue color. Change the Composite Mode of the layer to Colorize. The whole image is tinted a blue color. Lower the Opacity setting of the Blue layer to between 40 and 50 . Selectively erase around the...

Painting a Rocky Surface Then Making It Look

This chapter shows you how to use Painter to create several effects. We will start off using several features in painter that make it easy to create a rocky looking texture. This texture will be used as the base for two smaller tutorials about creating or painting different wet-looking effects that will be useful in your Painter arsenal as you work on your own digital paintings. You will learn how to use several new tools as you work through the tutorials in this chapter. These tools include...

Using a Paper Texture for the Image

This painting is based on a sketch from one of my sketchbooks. I drew the sketch on 110-pound cover stock paper with a black grape Prismacolor pencil. I like to draw on heavyweight cover stock because it takes a lot of abuse and generally has a very nice surface on which to sketch. The black grape Prismacolor pencil is a nice dark, somewhat gray, violet color. I scanned the original sketch at 300 dpi (dots per inch) for this tutorial. I reduced the image to about half of the original scanned...

Painting the Clouds

Cloud Painting Techniques

Clouds always seem to be a problem for the landscape artist. First of all, they move, g constantly change shape, and generally don't give you enough time to accurately draw u them. Of course, a cloud will stay still in a photograph. Often, though, if you simply 2 copy a photograph, the cloud will look static and not have the fleeting and insubstantial tial characteristics that are so important when painting clouds. While there are many different types of clouds, this exercise will concentrate...

From Concept to Complete

Tentacle Monster Figure

A lot of work that I do is designing characters, creatures, environments, buildings, and other elements that may be needed in a video game, film, television work, or book covers. The subject of this chapter is based on a project where I designed a number of different creatures to represent an imaginary monster with some health issues. This creature is a variation of one of the original sketches. It is more like monster design, the sequel. In this chapter, we will paint the creature using some...

Painting the Rocky Cliffs

Horizon Line Painting

The last major element to paint is stone. Now, stone should be easy to paint. It does not move or change shape in the time it takes to paint an image. On the other hand, because stones do not change, they are often hard to paint well because artists tend to assume they already know what rock looks like and they don't study it. The stones in this painting are not real but show one method of painting them. We'll handle the rocks in this scene very simply and directly paint them on a new layer. No...

Adding Floorboards for Balance

As we paint the figure, the background starts to look a little stark. Adding a floorboard to the junction of the floor and wall gives some weight to the bottom of the image and helps balance the composition. We can create the floorboard using rectangular selections. 2. Drag a long narrow rectangular selection the width of the painting using the Rectangular Selection tool. The height of the selection is up you. 3. Using a dark color from one of the corners of the painting, fill in the selection...

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Burning, 151-153, 152-154 sleepwalker, 145, 147, 147 candleholder, 145 canvas monster, 238 oil portraits, 3-4, 3-4 Red Riding Hood, 191 sea serpent, 165, 165 toning, 10-11, 10-12 trees, 108, 108 Canvas Toner brushes, 10 cape texture, 215-216, 216 Capture Dab option, 116, 195 Capture Paper feature, 164 grass, 207 scales, 173 Capture Pattern feature clouds, 46 scales, 173 sea serpent, 164 thorny vines, 204, 204 Captured Bristle brush block colors, 12, 13 trees, 104, 105 Chalk category. See...

Creating a Rocky Texture

This section explores some of Painter's features so you can create a realistic-looking rocky texture. You can expand on these basic steps to create a limitless supply of natural-looking rocky textures. Let's begin by using the Create Fractal Pattern Command. Because the menu items that we need to make our texture are available only when an image is open or a new image is created, we will make an image to work with first. After we create the image, we can minimize it to get it out of the way. 1....

Smoothing Out the Rough Spots

Soft Focus Watercolor Techniques

The whole image needs some blending to smooth out some of the rougher spots. The best brush for the task, or at least one of my favorite blending brushes, is the Grainy Water 30 variant from the Blenders category. Not only does this brush blend well, but it also interacts with paper textures. Blending leaves some texture behind. It is actually quite a nice combination. 1. Pick the Grainy Water 30 variant from the Blenders brush category. 2. Lower the Opacity setting of the brush to around 20 ....

Creating a Nozzle File of the Trees

Row Painted Trees

Now that we have painted a number of different trees and placed them on different layers, we will combine them into a nozzle file that can be used with the Image Hose 1. Select each Tree layer by clicking on it in the Layers palette while holding the Shift key choose the Layer Adjuster tool in the toolbox and, with the Auto Select Layer box checked, drag over the layers you want to select in the document window, or click on the small menu arrow at the top right of the Layers palette and choose...

Creating a Leaf Brush

It is easiest to paint the leaves that will make up the nozzle file by creating a new leaf-shaped brush based on a leaf-shaped dab. Actual leaf brushes we create are the most useful in many cases. When we create a new brush, it takes its attributes from the currently active brush. Therefore, we need to consider which brush to use as the base. If the Eraser H brush is active, the newly created brush would also be an eraser, which is probably not what we want. While we can make enough changes to...

Creating the Paper Texture

Painting Techniques Water Reflection

The first thing we need to do before we begin painting is create a paper texture that will be used as the base texture in the painting. The paper that this sketch was originally drawn on has a nice organic texture, and I want to use this texture in the painting. There are several ways to do this. I could build a texture by selecting some of the scanned sketch and repeatedly pasting copies until the whole canvas is covered, but an easier and less time-consuming solution is to scan a blank sheet...

Red Riding Hood

Figure Drawing Techniques

The painting for this tutorial is based on the fairytale Little Red Riding Hood and is pretty straightforward. Most of the tutorial will take place in the painting of the background. A combination of techniques is used to paint the dense undergrowth in the background. This includes the creative use of paper textures, patterns, custom brushes, and the image hose. Some of these techniques were demonstrated individually in earlier chapters, but this chapter combines them to paint the background on...

How to Contact the Author

Sybex Com Painter

I welcome feedback from you about this book or books you'd like to see from me in the future. You can reach me by writing to donsbook seegmillerart.com. For more information about my work, please visit my website at www.seegmillerart.com. Sybex strives to keep you supplied with the latest tools and information you need for your work. Please check this book's website at www.sybex.com go painter, where we'll post additional content and updates that supplement this book if the need arises.

Drawing the Sketch and Toning the Canvas

Portriet Metod Sketch Com

In this painting, I quickly drew the sketch in Painter X using one of the brush variants from the Pencils category on a white base. Only the bare essentials of the figure are indicated, because there is the temptation, when using a detailed drawing as the base for a painting, to work in a coloring-book mentality and just fill in the lines. Figure 1.7 shows the sketch that the painting will be based on. Save the sketch. Figure 1.7 The sketch for the portrait First we'll copy the sketch into the...

Creating Fluffy Clouds

Cloud Paintings

Now it is time to do some serious cloud painting. In the brushes associated with this book are three brushes called Cloud, Cloud2, and Cloud3. You can use each of these custom brushes to paint nice fluffy clouds with some ease. 1. If the Brush tool is not currently active, select it by clicking on the Brush icon in the toolbox or pressing the B key. Pick the Cloud Variant in the Book Brushes brush category the Brush Selector is in the upper-right corner of the Painter workspace. The Cloud...

Adding Fauna in the Flora

Painting Forest Scenes

For a nice final touch, we'll add just a little bit of animal life to the painting. In this case, a small red bird would complement the color scheme nicely. We won't use any tricks with layers, special brushes, or image effects to add the bird. We'll simply create a new layer and paint the animal Figure 4.36 . Figure 4.36 A small red bird is painted on a new layer to add a bit of life to the forest scene. Figure 4.36 A small red bird is painted on a new layer...

Creating a Leaf Nozzle

Rows Trees

The steps used to create the new Leaf nozzle are the same as those used to create the Tree Trunk nozzle earlier in the chapter. If you need detailed instructions, please refer to that section. To create a Leaf nozzle based on the Leaf brush, follow these steps 1. Create a new image. Something about 400x400 pixels is large enough. 2. In the new image, create about 10 new layers. The actual number is not critical as long as there are enough layers to produce a random-looking brush stroke. 3....

Painting a Wet Surface

Drip Painting Techniques

In this tutorial, we will take the rock texture created earlier and paint a wet surface on it. Creating a surface that looks wet is not difficult. In fact, it is much easier in Painter than it would be with traditional media. Once the wet surface is painted, we will vary the method slightly to create an additional wet-looking surface with different characteristics. Open the rocky texture that you created in the earlier tutorial if it is not open already. The following steps are simple to follow...

Painting Shiny Baubles

This final chapter is about painting shiny things. There is often a need when digital painting to paint shiny objects. Shiny objects are no harder to paint than other objects you just adjust the values differently. There are a few tools in Painter that make painting shiny objects easy. This chapter looks at several of the methods I might use when painting shiny jewelry or other highly reflective objects in a painting. In this particular case, I'll be painting imaginary jewelry on a stylized...

Adding Wispy Smoke

Alvaro Castagnet Paintings

Let's begin by painting some wispy smoke coming from the candle. 1. Pick the Fine Spray airbrush variant in the Airbrushes category, and paint a wispy and curly plume of smoke coming from the flame Figure 5.17 . Pick the Soften effect and blur the smoke. Set the Amount to 4. Duplicate the curling Smoke layer. Hide the bottom Smoke layer so it's easier to see the changes you're making to the top layer. Figure 5.17 A curly plume of smoke is painted on a new layer using the Fine Spray airbrush. 6....

Setting Up Your Canvas

Let's set up the canvas, apply a texture, and get painting 1. Create a new image. You can do this in several ways, including using the keyboard shortcut Ctrl N F N on the Mac . 2. Change the default resolution if you want, and put 3000 in the Height and Width fields, with Pixels as the unit of measurement. 3. If you have not already done so, use the Pattern Selector menu to either open the Chapter 1 pattern library Chapterl.ptl or, using the Pattern Mover, open Chapterl.ptl, click your left...

Refining the Portrait

Toning The Canvas For Portrait Painting

The block-in is a relatively easy phase of the painting process that quickly sets the tone for the painting. Most of the work is just beginning. The finish takes those early building blocks and refines them. Most of the painting is going to be done with Impasto brushes. You can find all the brushes used in the painting in the Chapter 1 brush library. There are a few things you should be aware of as you paint using Impasto brushes You can turn the Impasto effect on and off to view the painting...

Toning the Canvas

One Stroke Painting Techniques

You can use various methods to change the value and color of a blank canvas before painting on the computer. Filling the area with a color using the Paint Bucket tool is often enough. For this particular project, though, we want the look and feel of a traditional oil painting, and a simple fill will not suffice. Also, the canvas already has some color and a pattern that we don't want to cover. The solution is to use one of Painter X's Watercolor brushes to paint a darker tone across the canvas....

Adding a Little More Light and Dust

We will add another set of light rays in the foreground. Create a new layer on top of all other layers. Load the saved light rays selection. Use the Digital airbrush and paint streaks of light on the new layer. Deselect the layer and soften using a value of 10. Lower the Opacity setting of the layer to between 30 and 50 . These streaks should not duplicate the ones on the lower layer even though they were created using the same selection. 6. To change the size and shape of the new streaks, use...

Enhancing the Oil Painting Texture

Texture Layers Painting Techniques

To give the painting the appearance of an oil painting, we need to add more texture to the 3D illusion. 1. Create a new layer above the Sketch layer. Some of the original sketch will be covered while you paint on this layer. 2. Pick the Variable Chalk variant from the Chalk category. This is a brush that ships with Painter X you don't need to change any of its default settings other than size as you paint. The brush is good for painting textured surfaces. Because the paper texture that is...

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Pattern layer is blurred slightly, and its Opacity setting is lowered to 50 . 8. Collapse the two Pattern layers together. 9. Collapse the Pattern and the Face layers. A nice random circular pattern has been added on top of the dark robe, and the painting is now ready for the addition of some jewelry Figure 9.4 . In the next section, we'll start adding some jewelry to our painting. Figure 9.4 A subtle pattern has been added on top of the robe. In this section, we will begin to add some jewelry...

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Figure 7.22 Blades of grass created for the nozzle files. L 4. Select each blade of grass, and cut and paste it into a new layer. It is important E that each blade of grass is on its own layer. 5. Select all the layers by holding down the Shift key and clicking on each layer in the Layer palette, using the keyboard combination Ctrl Shift 1, or using the Layers palette menu and choosing Select All Layers. 6. Group all the selected layers using the keyboard combination Ctrl G. 7. From the Nozzle...