Painter Skin Palette

In this zip file, you will find four basic skin palettes: one for light skin, medium tone skin, medium to dark, and the other one for dark skin tones.

Download: Painter_Skin_Palette.zip

Photoshop Basic Skin Palette

In this zip file, you will find a basic skin tone palette and its corresponding grayscale equivalent.

Download: Photoshop_Skin_Palette_Basic.zip

Don’t forget to leave your comments below about these palettes.

Enjoy!

I was surprised that when these oils were mixed with just a small amount of water, they get really fluid, like watercolors. So it is great to do washes and under-painting and later use less water. They also dried much faster than regular oils, even when mixed with their water-mixable mediums. They also work better when mixed with medium. I used Winsor&Newton’s Artisan Water Mixable Linseed Oil since I couldn’t fine one from Holbein at the time of purchase and I didn’t wanted to wait. I wanted to start painting right away.

Below is the oil painting I did with these watermixable oils. It is not finished yet, but close: (Click on the image to view it at a bigger size.)

Without medium, I found that you end up using too much paint to accomplish the same effect you would with less paint when mixed with it. The feeling is the same as with regular oil paint but with the added bonus that there is no mess cleaning up your brushes and work area. It’s a real blessing. Great for people with respiratory problems since there is no need for turpentine.

Wacom Tablet

One of the most essential tools to use when working with Corel Painter is something that every digital artist should have. And this is the computer graphics tablet. The tablet is used as a computer input device so that hand drawn images can appear on the computer. This is useful for Corel Painter and other graphics applications, but there are a few things to consider about a tablet.

The type of tablet should be considered when looking for something to use with Corel Painter. There are both passive and active kinds of tablets. A passive tablet is one in which horizontal and vertical wires in the tablet work to transmit and receive the data the stylus pen transmits to it.  LC circuits in the pen are used to help with getting the data to be read. This means that the pen will have to be charged so that the tablet will be able to read it.

Active tablets work differently than passive ones. The stylus pen that is used here works to generate and transmit energy signals on its own to the tablet. The pen has an internal battery in this case and will be able to transmit its own power without having to rely on the tablet for its power source. In fact, with this, the tablet will not have to keep switching between transmit and receive modes, so it will be easier to get the tablet to work.

Another of the things to use for a computer graphics tablet for Corel Painter is to use the right accessories with the tool. For example, some stylus pens have erasers that can be used when turning the pen upside down and using it on the tablet. An airbrush can also be used in the tablet. This is a stylus that is used to simulate airbrush effects. Some unique effects can be used on the pen, including controls on the paint flow and the shape of the nozzle that the paint will come from.

One of the most unique parts of the tablet to use is a graphics tablet screen. Corel Painter and various other tools for digital painting can use these unique tools. This tablet is a sort of screen that will put an LCD screen over the computer screen. This makes it so that the artist can easily draw on the display surface. This can make the process of drawing incredibly easy. A good example of such a graphic table screen is the Wacom Cintiq Pen Display.

A computer graphics tablet is one of the most important tools for using Corel Painter and other programs like Photoshop for digital painting. The tablet will be needed so that it can be easy to get the right strokes into the computer.

To learn more about the different input devices to use wiht Corel Painter, Photoshop, Artrage, and any other graphics application, view this demonstration.

Feel free to leave your comments about this presentation.

No matter how many portraits for painting you are going to be using for a particular subject, you will need to make sure that you have enough perspective for your painting. Having reference photos in portrait painting is important, and you should take into consideration a few things for your photos.

First, you will need to have photos that are especially up to date and are all from around the same time. Over time people will grow up and as they get older they can have more effects on their faces. No one is perfect, but it is important to have plenty of photos from the same time period so that you will be able to have at least a good amount of accuracy in your painting.

Having multiple angles for your reference photos is important too. The portraits for painting that you will be using should be able to give you a good amount of perspective involving the figure that you will be working on. This includes the ability to help with figuring out how different parts of the face or body will look from different angles. By having this it will be better to get an idea with how to design the portrait you are working on.

Having a good amount of reference photos will be important, but it will be even better if the photos are ones that are in a good light. The lighting quality of your source photos will be important in that these portraits for painting are going to be your reference points. In fact, it can be good to have multiple reference photos taken at different lighting qualities so that you will get a better idea of how your portrait should look like in certain lighting qualities.

The last thing involving portraits for painting involves the expressions that are going to be used.  You may want to ask the subject of your portrait about how you want to have that person portrayed, whether it be a smiling look, or a neutral look. This is with the intention of being able to get accurate photos that will have the same expression on them.  Remember, in some cases different facial qualities can appear when a person is smiling.

Reference photos in portrait painting are important in that you will need to use them to make your portrait painting the most impressive and accurate when a model is not available. As I mentioned before, having various angles, lighting qualities and up to date reference photos is very important.  It also helps to have a good idea of the expressions that will be used in these photos.

By using these tips you can get your painting to be its best.

About 6 hours to complete.

Step I: The Muck Up Stage
At this stage I blocked in some colors for placement of features and color harmony after doing a sketch. (Click on each image to view them at a bigger size.)

Step 2: Blending Stage

At this stage I blended a little the colors placed in step 1, especially on the face since the custom brush I used requires many layers of paint. To blend, I used a stump.

Step 3: Face and Eyes

At this stage I was concentrated on the face, adding bright colors to it without any blending, just mixing with the same custom brush. I created this brush with some impasto, just enough to look natural and let me apply paint over paint while blending at the same time when I apply little pressure to my stylus. When I press harder, the impasto relief is stronger and the paint more opaque. When I apply little pressure, this brush allows me to mix the paint on the canvas with some transparency. Also added some details to the eyes.

Step 4: Hand

At this stage, I was concentrated on her hands and arms applying paint in the same manner as I did for the face, but with less blending since I want the face to be the focal point.

Step 4a: Comparison Stage

I closely compared my painting with the source image. I always work with both images next to each other as to avoid having to print the source. I have a 21 inch monitor so I can place both images next to each other and keep working just hiding the palettes.

Photograph courtesy of Barb Kermis

Step 5: Background and Chair

In this step I worked on the background so that it would work with the subject. Also worked on the chair a little. I am not going to work too much on the chair since I want the baby’s face to be the focal point.

Step 6: Reshaping the Face

In this step, I was concentrated on the face reshaping her features to achieve likeliness. I blended a little then added more paint.

Step 7: The Hair

In this step I worked the hair adding several tones and/or colors.

Step 8: The Eyes and the Chair

Here I worked on the eyes and the chair. I added some shadows to the chair so that it wouldn’t look so flat but at the same time not too detailed since it is not the focal point.

Step 9: The Nose, Chin, and Shirt

I worked the nose, chin, and shirt and signed the painting to force me to stop.

Face Close Up Shot:

Face Detail Shot:

Hair Detail Shot:

Hand Detail Shot:

I hope that you have enjoyed this demonstration. Feel free to post your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.

About 7 hours to complete.

Step I: Sketch Comparison

I made a sketch to compare with the painting she started and superimposed it over her painting to check feature placements. It was important to me to make sure all features were in the right place before I started to add paint to it.

Step 2: Blocking in Basic Colors

Next, I blocked in some basic colors following the contours as if I were sculpting the portrait. I used a brush that I created based on one of the acrylics, but I added softness and some impasto as to cover quickly the surface since the brush I’ll use later on requires of many layers of paint to achieve the look and texture I want.

Step 3: The Bandanna and the Shirt

Here I added basic tones to the bandanna and her shirt, as well as adding paint to the shadow areas paying attention to color temperature.

Step 4: Filling the Background

Next, I painted the background and hair loosely.

Step 5: Experimenting with the Background

I continue on the background trying different color combination until I arrived to the tones and color that I believed enhanced the subject. (Click on the image to view it at a bigger size.)

Step 6: Blending

After I blocked in the background colors (with some impasto – the same brush I am using to block in colors on the face), I then started to blend the colors only where two colors met. (Click on the image to view it at a bigger size.)

Step 7: The Face

Once I finished with the background, I continued to add colorful paint on the face. This time, I used my other custom brush (the one that requires many layers of paint). Notice that for this tutorial, I left the sketch on a layer on top as a guide. Later this was deleted. I decided to leave this sketch up to this step so that my friend (and anyone else viewing this) get the idea on how/where I place the different colors. (Click on the image to view it at a bigger size.)

Step 8: Molding the Features

The sketch was deleted. Once I had a considerable amount of paint, I blended the colors on the face and neck for the first time, molding the subject’s features. To blend, I used a stump. (Click on the image to view it at a bigger size.)

Step 9: Adding Color to Strategic Areas

I continued adding more paint including the eyes. These colors were placed in strategic places as to enhance her features. (Click on the image to view it at a bigger size.)

Step 10: Blending while Preserving the Impasto Look

Here, I blended the colors again softly as to preserve the impasto stokes. (Click on the image to view it at a bigger size.)

Step 11: Skin Tones

I then added dark skin tones to the areas in shadow and added complimentary colors. (Click on the image to view it at a bigger size.)

Step 12: Adding Saturated Colors

I added stronger colors.  In this picture, it gives the impression that I covered the green on the neck with the red-orange, but it is actually not covered.  It is hard to appreciate it from this small picture. (Click on the image to view it at a bigger size.)

Step 13: The Garment and Lip Definition

I blended the colors just a little and added the garment on the neck and further defined the shirt. I also paid attention to her lips defining its shape and color. (Click on the image to view it at a bigger size.)

Step 14: Refining Her Complexion

Further developed her complexion adding darker variations of skin color and compliments for the area of light. In this stage, I am not blending with the stump at all, just adding paint. The custom brush I was using at this stage blends the different colors applied when I apply just a little pressure on my stylus. I further defined the lips, and the areas around the eyes, nose, and mouth. (Click on the image to view it at a bigger size.)

Step 15: Detailing

In this final stage, I detailed the eyes and added some assumed reflected colors (light). I also detailed the earrings and the hair, and called the portrait DONE!… and signed it. (Click on the image to view it at a bigger size.)

Face Detail:

(Click on the image to view it at a bigger size.)

Eye Detail:

(Click on the image to view it at a bigger size.)

Background Detail:

(Click on the image to view it at a bigger size.)

I hope that you have enjoyed this demonstration. Feel free to leave your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.

About 3 hours to complete.

Step 1: Linear Marks

In this portrait. I started with some loose linear marks just to get the feel of his features. I didn’t feel it was necessary to draw a preliminary sketch. I used a custom brush, the Big Wet Luscious from Jeremy Sutton.

Step 2: Filling the Big Areas

After finishing the linear marks, I started to fill in big areas with the Palette Knife at a very low opacity. At this point, I tried to block in the lights and shadow shapes.

Step 3: Coarse Distorto brush

I continued with the Coarse Distorto brush to move paint around at the same time I was adding paint.

Step 4: Soft Diffuse Digital Watercolor brush

At this stage, I used the Soft Diffuse Digital Watercolor brush to darken with washes of color the shadowed areas of the painting, especially the skin’s dark tones.

Step 5: Soft Diffuse Digital Watercolor brush

After finishing with the Soft Diffuse Digital Watercolor brush, I went back to the Dirstorto brush to define the eyes by moving paint around and adding some paint at the same time. To accomplish this, I set the brush to a small size with its opacity set between 20-30%.

Step 6: Defining Stronger Shadows

In this almost final stage, I kept adding more paint defining stronger shadows and some accent colors, like the light blue on his hair to match his suit to balance the composition.

Step 7: Detailing the Eyes and Chin

At this final state, I finished detailing the eyes and chin. (Click on the image to view it at a bigger size.)

I hope that you have enjoyed this demonstration. Feel free to post your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.

About 3.5 hours to complete.

Step 1: Sketch

This time I did a sketch of the portrait. Sometimes I start painting right away without a sketch but I felt that I needed to sketch this particular portrait. The sketch was done with a 2B pencil.

Step 2: Adding Basic Colors

I started blocking in some basic neutral color to start getting the feeling of the shape of her face and what I wanted to express. This time, I used the Wet Soft Acrylic brush.

Step 3: Adding Vibrant Colors

I started to block in some vibrant colors alternating between the Wet Soft Acrylic brush and the Acrylic Dry Brush for some scumbling. (Click on the image to view it at a bigger size.)

Step 4: Detailing and Blending

I started to define some details on the face, like the eyes, nose and mouth. And also started to block in the background colors. At this stage, I also used the Soft Blender Stump to blend a little where different colors met. (Click on the image to view it at a bigger size.)

Step 5: More Vibrant Colors

I continued to add more colors in different locations and again, to the arm, alternating between the previously mentioned brushes. (Click on the image to view it at a bigger size.)

Step 6: Even more Vibrant Colors (I love them!)

I continued working on the background colors and adding some more contrasting colors to the skin to do some scumbling with more vibrant colors. (Click on the image to view it at a bigger size.)

Step 7: Using the Acrylic’s Dry Brush to Blend

I wasn’t happy with the background, so I added more dynamic colors to match the portrait itself. Look how her forehead has many colors that were added by scumbling with the Acrylics’ Dry Brush. (Click on the image to view it at a bigger size.)

Step 8: Shadows and Eyebrows

Some purple shades were added to shadow areas of the face. The eyebrows were also corrected at this stage. (Click on the image to view it at a bigger size.)

Step 9: The Hair

At this stage, I added the hair, since I was finally happy with the background colors. (Click on the image to view it at a bigger size.)

Step 10: The Eyes

In this step I worked on the eyes’ details and reflections. (Click on the image to view it at a bigger size.)

Step 11: Corrections

To finalized the portrait, I corrected her mouth so that it would appear as if she was biting her lower lip. (Click on the image to view it at a bigger size.)

I hope that you have enjoyed this demonstration. Feel free to post your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.

In this video, you will see how you can achieve the look of traditional painting using Painter program. My approach of painting digitally is similar to how I paint traditionally. I apply all my knowledge as a traditional artist to my digital art as well.

In this portrait demonstration, I’ll show you how I painted Solitude II from start to finish. I also explain how the brushes I used work and when to use them.

Since Painter replicates all conventional mediums, it allows me to paint digitally with a similar approach, building my portraits by applying paint over paint, without the use of any filter, cloning, or any automated action.  No Undo is used either since I believe that when you fix your mistakes by applying paint over paint, it will add to the richness of your painting. This is very well demonstrated when you see how I ’struggled’ while painting his ear! Order your copy today and take advantage of this great Introductory Price!

View Sample Video Clips

Get Your DVD Set Today

Solitude II Digital Oil Portrait Demonstration

BUY IT NOW for only $69

Work-in-Progress is Posted on My Previous Blog:

Part I – Part II – Part III - Part IV – Part V – Part VI – Part VII

Part VIII – Part IX – Part X – Part XI – Part XII – Part XIII

I hope that you have enjoyed this demonstration. Feel free to post your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.

In this video, you will see how you can achieve the look of traditional Pastel painting using Corel Painter program. My approach of painting digitally is similar to how I paint traditionally. I apply all my knowledge as a traditional artist to my digital art as well.

In this portrait demonstration, I’ll show you how I painted Solitude I from start to finish.  I also explained how I used each particular brush to achieve the look I desired.

Photograph by Janet M Garcia

Since Painter replicates all conventional mediums, it allows me to paint digitally with a similar approach, building my portraits by applying paint over paint, without the use of any filter, cloning, or any automated action.  No Undo is used either since I believe that when you fix your mistakes by applying paint over paint, it will add to the richness of your painting.

View Sample Video Clips

A DVD Video will be available soon.

Work-in-Progress is Posted on My Previous Blog:

Part I

Part II

Part III

I hope that you have enjoyed this demonstration. Feel free to post your comments.

All images are Copyrighted © 2005 Janet M Garcia.  All rights reserved.