People

Using Blender brushes Portrait using Blenders Portrait in Pastel Making an inset mount Portrait in Oils

In this chapter a variety of brushes are used to create painterly pictures of children and young people. This chapter starts with an explanation of some of the brushes in the Blenders category as these are particularly useful when making portraits and also for finishing off pictures of all types.

Brush categories which I find particularly valuable for portraits are the Pastel and Chalk ones and there is a step-by-step example using the Pastel brushes which are great for making light delicate portraits.

Another traditional style of painting is with Oils where the rich textures give a much more substantial finish with some lovely brush textures. The example of Griff shows how to use some of the Oil brushes.

Also included in this section is a step-by-step illustration of how to use inset mounts to make a picture more special. In the first edition of this book I included two pictures using this technique, but no step-by-step example and I had several enquiries as to how to make one in Painter. Hopefully this will provide the answer for anyone who wishes to create this effect.

Figure 11.2

Peeping.

Some of the most valuable tools for creating cloned pictures of people are the Blender^^^^^^^^^H brushes, these reside in several different brush categories including Blenders, Tinting an^^^^^^^H Distortion and can also be created from many other brushes by altering the settings.^^^^^^^^^^l

Before we start making the first step-by-step tutorial it will be useful to check out the brush examples below as they highlight some of the most useful blending brushes.^^^^^^^^^^^^^^^l

The principal characteristic of a blending brush is that it smears or distorts the existing image and in doing so creates soft, rough or textured versions of the original picture. The brushes work directly on the image and although in all cases we will use a clone copy to work on, the brushes do not depend purely on taking information from the original.

At the size shown here it may not be possible to see the different textures very clearly so the original files have been included on the accompanying DVD.

Three blenders were used for this example:

Blenders> Grainy Blender was used for the edges and the background, this is a rough blender which is affected by the paper chosen.

Blenders> Coarse Smear was used for the hair, this is similar to the previous brush but is not affected by the choice of paper. Both the above blenders are useful for hair.

Blenders> Just Add Water was used on the face, this is a very soft smooth blender which is a useful brush for removing blemishes on skin. Use it at a low opacity for the best results.

Blenders> Coarse Oily Blender was used for the background and gives a very chunky, rough appearance and smears the images around significantly.

Blenders> Oily Blender was used for the hair, this is smoother than the grainy blenders used in the picture above.

Blenders> Soft Blender Stump is a good brush for the face, used at a low opacity it polishes the skin beautifully. I used it here at between 5% and 10% opacity.

Figure 11.5

Tinting Diffuser, Grainy Mover and

Grainy Water.

Figure 11.5

Tinting Diffuser, Grainy Mover and

Grainy Water.

Figure 11.6

Marbling Rake and Diffuser.

Figure 11.6

Marbling Rake and Diffuser.

Tinting> Diffuser 2 was painted all over this picture at 49% opacity and brush size 30. This gives a very attractive watercolor effect to the edges. Blend the edges outwards first then run the brush around the edges several times and the edge will spread very effectively. The central area was then restored with Soft Cloner.

Distortion> Grainy Mover was used for the hair and dress.

Diffuser>Grainy Water was used on the face, this leaves a little more texture than in the earlier examples.

Distortion> Marbling Rake, size , strength 100% was painted all over this picture. This is a rather drastic result but it achieved the intention which was to thoroughly break up the image. The central areas were then restored with Soft Cloner.

Distortion> Diffuser was blended over the central areas at various sizes and opacities, leaving the edges roughed up. The face was blended at 25% opacity.

Figure 11.7

Acrylic Captured Bristle.

Figure 11.7

Acrylic Captured Bristle.

One of the new brushes in Painter X was used for the whole of this picture. This is the Acrylic Captured Bristle from the Smart Stroke Brushes category

The background and edges were painted using a size 26 brush with 41% opacity

The face was blended with brush size 11 and opacity 51, then again with size 56 and opacity 5%.

This is a very bristly brush and gives the edges an attractive finish.

Portrait using Blenders

In this first example you will use some of the blenders described in the previous pages. The general process with portraits is to start with the rougher brushes and to gradually bring back more detail where required. In all cases it is advisable to work on a clone copy so that you always have the option of using the Soft Cloner to return parts to the original source state.

Step 1 File> Open> DVD> Step-by-step files> ' 11 Annabel 1'.

Step 2 Canvas> Canvas Size and add 150 pixels to each side and 200 pixels to the top and bottom. This will add a white border into which the edges can be blended. Step 3 File> Clone.

Step 4 Select the Blenders> Grainy Blender 30. brush size 136. opacity 100%.

Step 5 Change the paper to Sandy Pastel Paper and paint over all the edges leaving the head and body clear. The intention is to remove all traces of the original picture edge. but not to extend right to the edge of the canvas. If you paint over part of the figure by mistake it can be restored with the Soft Cloner. Figure 11.9 shows the picture at this point.

Step 6 Select a new brush from the Blenders brush category Just Add Water. size 160. opacity 20%. Paint over all the background with this large brush until all the area is completely smooth. You will need to reduce the brush size down gradually to do the areas around the head and body. Figure 11.10 shows the result.

Figure 11.8

Original photograph.

Figure 11.8

Original photograph.

Figure 11.9

Using Grainy Blender to break up the background.

Figure 11.10

Just Add Water.

Figure 11.9

Using Grainy Blender to break up the background.

Figure 11.10

Just Add Water.

Corel Painter Just Add Water

Figure 11.11

Blending the hair.

Figure 11.11

Blending the hair.

Step 7 If you have encroached on the face and clothes this is the time to restore it to the original. Select the Cloners> Soft Clone brush and brush over the areas which need replacing. There is no need to be totally accurate with this step as the edges will be softened in the next step, the face is the most important.

Step 8 Change to the Distortion> Grainy Mover 20, brush size 20, strength 25, paint over the hair making sure that you follow the direction that the hair flows. Cover all the hair with brush strokes. Reduce the brush size to 10 and smooth out all the texture, the hair should look soft and silky when you have finished.

Step 9 Select the Blenders> Grainy Blender 10 size 10, opacity 38% and paint over the pink top following the lines and shadows of the material. Leave the white lace until you have finished the pink, then use the same brush and paint over the lace with small circular motions, this will remove the photographic appearance but it will remain distinct from the pink.

Step 10 Use the Blenders> Soft Blender Stump 10, size 10, opacity 20% to smooth out any rough areas, these are usually near the darker sections, Figure 11.12 shows a detail of the dress.

Step 11 Return to the Grainy Blender 10 and blend the book and the remaining non-blended areas with the exception of the face and arms. Soften the rougher sections with the Soft Blender Stump as before.

Step 12 To paint the face and arms select the Soft Blender Stump 10, size 4.9, opacity

25%, grain 23% and bleed 56%. Enlarge the picture on the screen and carefully blend all over the face, remember that the blenders will drag one color into the next so do not drag darker tones such as eye shadow into light areas. For larger areas of skin use a larger brush, up to size 25, this will give a smoother overall blend.

When you blend the hair shadow on the left side of her face, move the brush in the direction of the hair which will lighten the area slightly.

Figure 11.12

Blending the dress.

Figure 11.12

Blending the dress.

Step 13 Continue with the same brush and blend the arms and hands. Step 14 Look at the picture to see if it needs any further work, in the one I have made the white blanket under the book looks rather dark, so select the Airbrush> Soft Airbrush 50, size 206, opacity 2%. Hold down the Alt/Opt key and click on a light gray area of the blanket, this will activate the eyedropper tool and select the color with which to paint. Lightly paint over the darker gray areas. If necessary select lighter tones and paint until it looks bright but not overbright.

Step 15 Finally, check over the picture and blend any areas that still look photographic or are rather rough. The final version is shown in Figure 11.13.

Figure 11.13

Annabel with book.

Figure 11.13

Annabel with book.

Portrait in Pastel

Figure 11.14

Original photograph.

Figure 11.14

Original photograph.

For this next picture we will use brushes from the Pastels section, this particular brush is a favorite of mine as it has such a lovely finish to the brush strokes.

Step 1 File> Open> DVD> Step-by-step files> ' 11 Annabel 2'.

Step 2 Canvas> Canvas Size and add 150 pixels to each side. This will add a white border into which the edges can be blended. Step 3 File> Clone.

Step 4 File> Select the Pastels> Artist Pastel Chalk, size 127, opacity 65%.

Step 5 Click the Clone Color option in the Colors palette. Step 6 Change the paper texture to Sandy Pastel Paper.

Step 7 Paint around the edge, pushing the color to the outside, then run the brush around the very outside to restore the white border. Paint out all the background. Unlike the previous example, this brush is cloning from the source picture and not just blending the picture, Figure 11.15 shows this completed.

Step 8 Reduce the brush size to 12.2 and make the opacity 100%. Paint over the hair following the flow of the hair, this will give it quite a chunky appearance.

Step 9 In order to restore some delicacy to the hair select the Cloners> Smeary Camel Cloner brush. Make the brush size 23, opacity 50% and move the Feature slider to 4.9. The Feature slider affects how the individual hairs in the brush work and by increasing this to 4.9 the individual brush hairs are emphasized; you should experiment with this slider to understand how the control works. Figures 11.16 and 11.17 show the difference in the hair. Step 10 Return to the Artists Pastel Chalk and with brush size 22 and opacity 100% paint over the pink dress.

Edge Soften Around Photos Corel

Figure 11.15

Edges complete.

Figure 11.15

Edges complete.

Hair detail Step 8.

Figure 11.17

Hair detail Step 9.

Figure 11.16

Hair detail Step 8.

Figure 11.17

Hair detail Step 9.

Step 11 The face can be painted with the same brush, reduce the opacity to 21% and make the size about 40. At this opacity the brush will smooth out any blemishes but still leave a delicate texture on the skin.

Step 12 Paint over the lips and eyes with care, use a small brush and vary the size and opacity until they look right. Eyes are particularly difficult to handle as too much overpainting will look wrong, while not enough will look too photographic.

Step 13 Check over the picture now for final corrections, tidy the edge if necessary and adjust saturation and contrast prior to printing. Compare this picture to the previous step-by-step tutorial, the choice of a chalk brush has given it a more obvious pastel finish while the first example in this chapter has a watercolor look.

Figure 11.18

Dress detail.

Figure 11.18

Dress detail.

Figure 11.19

Painting the face with the Chalk brush.

Figure 11.19

Painting the face with the Chalk brush.

Making an inset mount

This rather charming picture was taken at a wedding, I loved the expressions on the faces of the girls but the background was rather distracting and needed to be simplified. This tutorial explains how to change the tones to a very pastel finish and make the inset mount.

Step 1 File> Open> DVD> Step-by-step files> ' 11 Wedding Children'.

Step 2 The first step is to remove all the distracting background, but before we do that the picture can be cropped to reduce amount of work. Crop the left to the edg the girls sleeve and the right side to where her arm goes up to the hand.

Step 3 Use the Rubber stamp tool (new in

Painter X) hold down the Alt/Opt key and the e of the e of

Figure 11121

Original photographl

Figure 11121

Original photographl

Figure 11122

Monochrome layer clonedl

Figure 11122

Monochrome layer clonedl this will turn the layer into monochrome. Step 8 Make a new empty layer and once again Fill with Clone Source. Step 9 In the Layers palette change the layer composite method to Screen and reduce the opacity to 75%. This will gently overlay the original color. Step 10 Effects> Focus> Super Soften and set 13.0 in the number box. This will add a very attractive gentle glow to the picture. This is a very useful technique for adding a softening layer to many pictures.

click in the picture where the imagery is to be taken from, then paint. Use 100% for most of the background and reduce it to around 20% around the hair. It is not necessary to get it perfect as some imperfections will be hidden by later steps. Step 4 File> Clone.

Step 5 In the Layers palette make a new empty layer.

Step 6 Effects> Fill with Clone Source. Step 7 Effects> Tonal Control> Adjust Colors and reduce the Saturation to zero, Figure 11.22 shows this stage completed.

Figure 11123

Reduced color

Figure 11123

Reduced color

Figure 11.24

Super soften.

Figure 11.24

Super soften.

Step 11 Make another new layer, choose white in the color picker and Effects> Fill> Current Color. Change the layer composite method to Soft Light, this will gently lighten the whole picture.

Step 12 Make another new layer and fill again with White. Leave the layer composite method on normal, this will hide all the picture.

Step 13 Create a layer mask (click the mask icon in the Layers palette).

Step 14 From the Brush Selector choose the Airbrush> Fine Tip Soft Airbrush Size 108, opacity 10%. Click on the mask to activate it and change the painting color to Black. Activate the Tracing paper briefly to see where you are painting then brush over the faces and clothing and gently remove the white from these areas. Reduce the layer opacity to around 50%. Figure 11.25 shows the picture at this point. As always with a layer mask if you want to reverse the effect simply choose White in the Color palette and paint in the mask again.

Step 15 Add another new layer and with the same Airbrush as before, size 160, opacity 10% and slowly paint with White around the edges creating a vignette. It is a good idea to paint outside of the picture and allow the brush strokes to gradually encroach into the image. If you don't already have your picture full screen, press Ctrl/Cmd + M to allow you to paint in this way. This creates the soft edges seen in Figure 11.26. You could use an oval selection to make the vignette but I prefer the flexibility available with this method. The layer opacity can be adjusted if necessary. This completes the first stage of the picture.

Figure 11.25

Step 14 with white layers.

Figure 11.25

Step 14 with white layers.

Figure 11.26

White edges.

Figure 11.26

White edges.

The next step is to create the inset mount. You should have been saving the file at regular intervals and you need to save another copy at this point in its layered version. Then save it again using Save As and give it a new name so that you do not inadvertently overwrite it. Step 16 Click on the Canvas layer then Select> Select All Step 17 Edit> Copy.

Step 18 Edit> Paste in Place. This will paste a copy of the canvas at the top of the layer stack. Click on the copied layer and drag it down until it is under the other layers and on top of the original canvas. Step 19 Highlight all the layers except the Canvas by holding down the Shift/Opt key and clicking on them in turn. All the layers except the canvas should have turned blue.

Step 20 Click on the layers palette menu and select Collapse. This will merge all the highlighted layers leaving the Canvas intact. Rename this layer 'Composite'.

Step 21 Select the Rectangular Selection tool from the Toolbox and make a selection which encloses the two children. This can be any size, you can see what I have chosen in the final version. This technique also works with circular or freehand selections.

Step 22 Select> Save selection and give it a name, this step is useful in case you lose the selection at any point. Make sure the single layer is highlighted before the next step.

Step 23 Edit > Copy then Edit> Paste in Place. This will copy the selection and put in onto a new layer.

Step 24 With the newly created layer active go to Effects> Objects> Create Drop Shadow. Use the settings in Figure 11.28 or experiment with your own. Tick the Collapse to one layer box. This layer can have the opacity reduced if the effect is too strong, I have reduced Detail of background blending. it to 68%.

Figure 11.27

Step 15.

Layers palette at

Figure 11.27

Step 15.

Layers palette at

Pi Drop Shadow

X-OfM: [S

pixels

Radius: 60.0 pKils

V-Offiel: ;ô

pixels

Angle: 114.6 ■

Qwciy: ¡100

H*

Thinness: 75 %

0 Colspse (o om

| Cancel | j OK

The drop shadow dialog box.

The drop shadow dialog box.

Step 25 Click on the layer above the Canvas and select the Blenders> Grainy Blender 30 change the size to 41, opacity 38%. Paint over all the background that is visible, this will add an attractive texture to the picture.

Step 26 Now to add back some of the original color to the central panel, go to Select> Load Selection and choose the previously saved selection. Step 27 Click on the Canvas layer and Edit> Copy and Edit> Paste in Place to create a copy of the layer at the top of the stack. Reduce the layer opacity to about 30%.

Step 28 Return to the Canvas layer, reload the selection and copy and paste the image again to make another layer on top. Step 29 Change the layer composite method to Screen and reduce the opacity to 20%. Step 30 To give this a final blur, go to Effects> Focus> Soften and select Gaussian and level 40.00.

Step 31 The final layer stack is shown in Figure 11.30, turn the layers on and off to see what each one does, changing the opacity of any layer will alter the final appearance. I have made a final crop to tighten up the composition.

Figure 11.30

Final layers.

Figure 11.30

Final layers.

Portrait in Oils

Figure 11.32

Original photograph.

Figure 11.32

Original photograph.

The sun shining through the open door highlights this teenager filling in a waiting moment by playing with his electronic game. The warm tones will work well in Painter but there are background distractions, in this step by step you will see how easy it is to remove undesirable elements by simply painting over them.

Step 1 File> Open> DVD> Step-by-step files> '11 Griff'.

Step 2 File> Clone.

Step 3 Select the 0ils> Round Camelhair brush, size 41, opacity 100%, Resat 17, Blend 100 and Feature 7.8. The Feature slide has been increased from the default and will result in a more textured finish.

Step 4 Click the Clone color option in the Colors palette.

Step 5 Start by painting the curtains, brush down the folds until the pattern has disappeared and the colors have blended well. The glass doors can be brushed straight down and the horizontal bars reintroduced by running a slightly smaller brush along them.

Step 6 Continue to brush out all the background and the chair, follow the shape of the chair covers. This is a fairly large brush and you may well paint over the boys face or shirt, this can be corrected quite easily later.

Step 7 Having completed the background and chair it is time to remove the distractions from the background. In order to really simplify the picture we will remove the two pictures, the stone fireplace on the left and also the black objects behind his left shoulder. I also feel that the patterned wallpaper will be better painted out.

Step 8 In the Colors palette untick the Clone color option so that the brush will paint color rather than clone. Holding the Alt/0pt key click on an area underneath the picture on the wall, wherever you click the brush will use that color to paint with.

Figure 11.33

Painting the background.

Figure 11.33

Painting the background.

Secret Technique Overpainting Photos

Figure 11.34

Overpainting the background.

Figure 11.34

Overpainting the background.

Step 9 Paint over the picture until it cannot be seen, then continue down the wall, hiding the texture of the wallpaper. Change the color frequently so that the wall has some small variations of color. Watch out for the shadow in the corner where the two back walls meet, this should be retained to keep the perspective.

Step 10 Paint out the other wall, picture and stone chimney and the black area by his left shoulder.

Step 11 Change to the Soft Cloner brush and clean up the edges of the boy where previous brush strokes have spread too far.

Step 12 For his shirt use the Camelhair brush again making sure you are back in Clone color mode. We will use a smaller brush with less bristles. Size 16.9, opacity 60%, Feature 6.3. Follow the folds of the clothing but also paint the opposite way, this will give a subtle crosshatching effect. The lower opacity with overpainting several times will allow a more subtle finish to build up.

Step 13 When you get to the design and writing on the shirt go out of cloning and paint over the area, remember to sample the color many times and to keep the overall shape of the cloth. Logos and writing on clothes are difficult to handle, if you clone it very accurately it often looks false and if it is smeared then it can look dirty. In this case we will paint out all of the writing then bring back some parts (Figure 11.35).

Step 14 Turn on the Tracing paper and reduce the brush size to 2.9, enlarge the view on the screen and clone the bird design and the posts onto the shirt.

Figure 11.35

Shirt detail.

Step 15 We now come to the face and here we have another problem because Griff has freckles. We cannot paint every freckle but if we smooth out all the freckles then it will not reflect Griff as he appears. The solution in this case is to clone over the face using a medium opacity and a light touch on the pressure sensitive pen so that the sense of the freckles will still be there but in a diffused form. If you are using a mouse for this then reduce the opacity to around 30%. B^^^^^^^^^^ Figure 11.36 Face detail. Step 16 Reduce the brush size to 4.6, opacity

60% and the feature to 2.9. We could use a blender brush here but by altering some aspects of the brush but retaining the general characteristics the brush marks stay consistent with the rest of the picture. Paint over the face carefully, don't rush this stage as the face is the most important part of the picture. Under the chin and for some areas of the face a larger brush can be used, this will give a slightly more textural finish. Step 17 Paint the arm and hands in the same way but use a larger brush, around 6.9 and use crosshatching again, pulling the light areas of the arms into the dark. Figure 11.37 shows this stage.

Step 18 Paint the legs now, use a larger brush 15.6 and a lower opacity 28% and concentrate on where the light and dark areas come together. The reason for the light strokes pulling into the dark and vice versa are the^^^^^g^^^^ Arm detail-Resat and Bleed settings. Try changing these and see how the brush characteristic changes.

Step 19 Paint his trousers with the same brush, remember that we do not need clean edges in this area, slightly smudge the edges to reduce their importance. Step 20 If you have painted over any part of the Electronic game you can restore the clarity with the Soft Cloner, then use the Camelhair brush, size 5.4, opacity 65% and feature 2.0 to give back some texture.

Step 21 The hair can be done now, change to the Medium Bristle Oils brush, size 9.6, opacity 28% and click the clone color option in the Colors palette. The default bristles are too thick for this picture so go to the Window menu on the top bar, click on Brush Controls and then on Show Bristle. This will bring all the brush control palettes on screen and in the Bristle palette change the thickness to 29%.

Brush over the hair foiiowing the flow of the hair and aiiow the brush to streak out a iittie around the edge of the head so that the transition between the head and background iooks good.

Step 22 The back of the head is very biack so untick the cione coior option and reduce the brush opacity to about 15%. Ait/Opt ciick a iighter part of the hair to seiect a suitabie coior and then iightiy brush in some detaii into the very dark areas. Don't fiii aii the dark areas in, just enough to provide some detaii and texture. Figures 11.38 and 11.39 show detaiis of the work on the hair.

Figure 11.38

Hair detail of original picture.

Canvas Painting For Beginners

Canvas Painting For Beginners

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