Red Riding Hood
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
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
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
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
The image is just about finished. 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
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
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
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....
Final Thoughts Gnk
I hope that you were able to pick up some important techniques to use in your own work in the future. In this chapter, you should have learned the following lessons How to paint a light source. In this case, we worked with a candle, but you would apply many of the same steps if you were painting a lightbulb, campfire, lit match, or really any small light source you would want to add to a painting. A way to paint smoke that, while not necessarily accurate to the way smoke looks in real life, is...
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
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
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
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...