Finishing Touches

^ At some point, an image can stand on its own and be called finished. This painting

o has reached a point where I could probably call it finished. There are just a few more

L PI things I want to do to help polish the piece. These things include z • Working in the background corners just a bit more to make the area look like

o canvas.

IT • Giving the overall painting just a few touches here and there to refine the

< look of an oil painting. Mostly this will be adding back in some of the canvas

^ texture.

" • Setting the painting aside for a few days and then looking at it with a fresh

^ eye. There are small areas needing additional work in every painting that often u are overlooked simply because of an artist's fatigue when looking at their own work. Not looking at an image for several days can give you a fresh outlook. While not exactly a part of the painting finish, this is critical to producing the best painting possible.

First we need to fine-tune the two lower corners of the painting to make sure that the canvas looks as if it has been painted over with oil paint. Figure 1.31 shows the bottom-right corner of the painting.

This area does not look too bad. The canvas texture shows well in the corner, and the painted textures show up well as you get closer to the figure. If possible, though, I would like to have the paint look more like it was dry brushed over the canvas texture. Here is how to go about creating the dry brush look: 1. Select the Dons Oil Scumble brush. This brush will dramatically interact with the paper texture. Using the Dropper tool, select the light canvas color in the bottom-right corner of the painting, and paint some rough strokes into the textured areas.

Figure 1.31 The bottom-right corner of the painting as it currently appears

Invert the paper texture in the Papers palette. To do this, just click on the Invert Paper button. Figure 1.32 shows the location of this button in the Papers palette.

Select a color from within the painted and textured area, and paint back into the canvas corner. The result should look something like Figure 1.33.

Figure 1.32 The location of the Invert Paper button on the Papers palette

Figure 1.32 The location of the Invert Paper button on the Papers palette

Figure 1.33 Using the Dons Oil Scumble brush, light color is painted into the darker textured area, and textured color is painted into the canvas corner.

4. Clone the image by using the Clone command located in the File menu. The cloned image appears and becomes the active image, with the original behind it. It is interesting to note that when an image is cloned, the Impasto effect is flattened down into the painting. The small star button no longer has an effect when you click on it.

5. Close the original image. Save the clone image with a new sequential name, and clone the new image once again. You should now have the original clone and a clone of the clone.

6. With the clone image active, select Surface Control > Apply Surface Texture from the Effects menu (Figure 1.34).

7. The Apply Surface Texture box has many options. Move the Amount slider down to about 32% and the Shine slider to 0%, and then click OK (Figure 1.35). The canvas texture is applied to the entire surface of the cloned image (Figure 1.34).

8. Save and rename the cloned image. Do not close it. In the File menu, go to Clone Source, and make sure the textured image is selected with a check by its name. Minimize the painting so it is out of the way.

Figure 1.34 The Apply Surface Texture menu item
Figure 1.35 The available commands in the Apply Surface Texture options box
Figure 1.36 The cloned image with the canvas texture applied

9. Choose the Soft Cloner brush from the Cloning Brushes category, and clone the ■ rough, textured image back into the corner of the painting (Figure 1.37). There N is now a much more convincing transition from the rough canvas texture of the I canvas into the painted textures. G

10. Carefully, and with a light touch, clone a bit of the canvas textured painting U back into the original. This mimics convincingly the effect of canvas showing E through the paint here and there in a traditional oil painting.

11. In a traditional painting, the dark passages are usually thinner paint than the lighter areas, so it is particularly appropriate to clone back in some of the canvas textures in the darker areas (Figure 1.38).

Figure 1.37 The textured clone source is painted back into the lower-right corner of the painting.
Figure 1.38 The result of cloning some canvas textured areas back into the original painting

The painting is now looking quite convincing and really could be considered finished. However, a bit more texture in the background would contrast nicely with the smoother areas of the face. We can add this texture easily using one additional brush.

12. Select the Oil Splatter 2 brush from the brush picker. This brush is a captured dab brush that has been customized so it will resemble splattered paint.

13. Create a new layer and, selecting colors from within the background, paint some splatter textures. Paint as many or as few as you like. Do not worry about the edges of the figure. Because the strokes are being painted on a new layer, any splatter that covers the edges of the figure can be erased (Figure 1.39).

14. Once you have erased the edges, drop the textured layer onto the canvas.

A few minor changes are made to the edges of the figure. Then I add my signature on a new layer, and the painting is done. Figure 1.40 shows the complete and finished painting.

Figure 1.39 Painting with the Oil Splatter brush produces some interesting textures. The rough parts that overlap the figure will be erased.

Figure 1.40 The finished painting

Figure 1.40 The finished painting

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Freehand Sketching An Introduction

Freehand Sketching An Introduction

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