Starting with the basics and moving on to cover brushes, textures, cloning, toning, and other effects, Martin Addison will help you master the techniques needed to transform photographs into beautiful painterly images. Packed with vivid images to illustrate what can be achieved with the right skills and know-how, Painter 12 for Photographers will inspire you to get creative with your photographs. Painter 12 for Photographers features: A new chapter on portraits, including children and adults A new chapter on animal portraits, including cats, dogs, and horses A new chapter on creative montage A revised and expanded chapter on Painter basics A new extended tutorial on taking a picture from the camera stage through printing Updated tutorials A companion website with over two hours of clear, no-nonsense video tutorials and high-quality, original photographs for the tutorials for you to download.
Passar bra ihop. Painter 11 for Photographers Martin Addison. Ladda ned. Painter X for Photographers Martin Addison. Painter 12 for Photographers Martin Addison. Bloggat om Painter 12 for Photographers: Creating Pa Another new layer was created to give more emphasis to the line between sea and sky. The various elements were blended together using the Artists Oils Grainy Blender at various sizes and opacities, this softened the transition between the background and the more detailed boat.
The technique of using multiple layers is dealt with in detail in Chapter 7, Layers and montage. The final example titled Auto Van Gogh on Auto has been created in a different manner. There are no controls, it just does the one clone. Try it and see. The Impressionist brush can produce some very attractive textures and in many cases can be used to provide an underpainting before adding more details.
In this case the picture was created with the new Auto-Painting palette which was first introduced in Painter IX.
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The Smart Stroke Painting option was ticked so that the brush strokes would follow the lines in the picture. After the Auto-Painting was completed the remaining white holes were painted in with the same brush. Check the enlarged detail picture and note the very distinctive brush marks which this variant makes. They can be used directly on photographs and also on finished clones to add a further dimension.
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Several of the variants, such as Diffuse Blur and Round Blender Brush, smear the image and give it a furry look. Others, like the Detail Blender, smooth the image but retain the overall shape and color. There is more detail on Blenders at the start of Chapter 11 as they are excellent for portraits. Many other brushes not in this category can be made to work as blenders by reducing the ReSat value to zero and increasing the Bleed value. The Coarse Smear Blender was used to make this picture.
I painted all over the photograph making flowing lines in the lavender and streaking the grasses out against the dark background, look at the detail in Figure 3. The Coarse Smear Blender was used once again on the clothes but changed to the Detail Blender 3 to work on the faces and fine detail.
The picture was taken at the Lavender Farm in the Cotswolds, England. The blender range of brushes create lovely textures and are well worth experimenting with. It is usually better to make a clone copy and work on that, which gives you the opportunity to bring back detail from the original image. All of these brushes use the Cloning method and are therefore very good for using with paper textures. In the examples below the first three brushes have been used at their default settings and have the opacity and grain at high levels. The strokes are very similar, however, it is the texture that is different.
The Calligraphy Thin Smooth Pen 10 was used to make this picture. The small brush was used at a high opacity to sketch in the lines of the reeds and add some lines in the water. You can still see the dark lines in the water where they were put at the start of the picture with more added at various opacities at the end. Washes of color were painted with the larger brush sizes at a low opacity. The brush was used in a very definite calligraphic style to make full use of the thin and wide strokes that are characteristic of these brushes.
Some of the dabs are square and the icons in the list of brushes on this page gives an indication of the shape. In most of these examples below the grain and the opacity settings have been reduced to emphasize the paper grain. The papers chosen vary and it is the differing papers that have changed the appearance of the texture. The Tapered Artists Chalk is particularly smooth yet it also brings out the texture.
The Sharp and Square Chalks give the roughest finish. The original picture of rust on the side of an old vehicle was very striking already and the clone has given it even more impact. The Tapered Large Chalk variant was used to paint a very rough texture that reacted well to the strong colors and shapes. Harsh Texturing paper from the Relief set of paper textures was the paper used, this additional brush library can be loaded from the Extras folder on the Painter program CD. The brush size was initially They are excellent for interacting with grain textures, in most cases you will need to reduce both the grain and the opacity settings.
The Sharp Charcoal Pencil seems to work almost like an airbrush in the way it lays down clumps of clone image.
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A variant that is quite different is the Soft Vine Charcoal which shifts around the cloned image and blurs it out of register with the original. The Soft Charcoal Pencil also does this but to a much lesser extent. The Sharp Charcoal Pencil was used to create this picture. A large brush size was used for the early stages and then various smaller sizes to bring in more detail. To complete the clone the paper was changed to Basic Paper, which helped to even out the texture.
All the brushes have been set up ready for cloning with no adjustments needed.
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There is no sense of strong identity with this set as they have been presented together for convenience. Some, like the Splattery and Texture Spray cloners, are very rough while the Camel cloners are smooth and smear the original picture. The Soft Cloner is invaluable in bringing back detail to many pictures made with other brushes.
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Most brushes in other brush categories can be made to work as cloners simply by clicking the Clone Color option in the Colors palette. The picture above was painted with the Smeary Bristle Cloner, this is an interesting brush as it gives a very pronounced bristle effect and is quite unusual in that it reacts differently depending on the speed the paint is applied.
The faster the brush stroke is made the smearier the result. A very slow stroke will give complete clarity. I left the finished picture slightly rough in appearance to give a quick hand painted look. The first three examples can be used in the Cloning Method but they have a rather unique style. When you make a brush stroke, the brush picks up the color first clicked on and continues painting with that color and ignores the source image. Some variants gradually fade out while others continue with the same color. The rest of the examples cannot be used for cloning at all, or at least, none that I have found.
They can, however, be used to work directly upon a picture, so perhaps it might be best to think of them as a sort of blender. This picture was created using the Grainy Colored Pencils variant. The outlines of the statues were traced with a narrow brush at a low opacity then a larger brush size filled in the shapes. A medium brush integrated the two brush sizes. To finish the picture the original image was selected and copied, then pasted into the clone document on top of the clone layer.
More detail on using layers can be found in Chapter 7. When you remove the different sizes there are only three different variants of the Conte Brushes. Like the Chalk and Charcoal categories, these brushes are excellent at picking up a paper texture as they have a very rough finish. They can all use the Cloning Method. In the examples below the brushes have been shown using both the Cloning Method and the Clone Color option. This tree had a wonderful bark pattern and I was particularly attracted to the lovely range of colors. The Tapered Conte brush was used to make the picture above, brush size The paper used was the Artists Rough Paper.
The two odd ones are the Grainy Hard Crayon and the Waxy Crayon, both of which smear the cloned image. The second example of the Dull Crayon brush uses a paper called Crystalline Formation from the Molecular library, which is one of the paper libraries that can be loaded from the Extras folder on the Painter program CD.