Tag: digital art

Alone In The Desert

This is a painting I recently finished in Painter 2019. I’m finding that I really like this version of Painter. It was released last summer. Rather than give us some gimmick like they usually do, they made all kinds of fixes under the hood. The app works so much better. It’s smoother than it used to be.

Usually I bitch about Painter quite a bit. But not right now. I’m very happy with it. They finally fixed most (not quite all) of what drove me crazy. Bravo Corel.

It’s a joy to paint and not have these buggy frustrations occur.

It’s my belief we are in the dinosaur era of digital. So we live in the equivalent of the pioneer days when people used to chop down their own tree to make wood for the fire place. Just think of what computers will be someday.

Enjoy your day.

It Was Up To Her

This is a painting that is different for me. First, the colors are more muted. This must be due to getting the huge cataract out of my left eye. It’s not like I have a foggy curtain over my eye any longer. Does this mean I won’t do my bright paintings any more? They have been my signature for the last seven years. But perhaps it is time to move on. Second, the whole feel of the painting is different. It’s in a new direction. It goes down a different road. A road I have wanted to travel for a long time. But I didn’t know how to get there. There was no map. But I finally found another artist who’s giving ideas on Instagram and You Tube. Her name is Pat Butinsky. I really like her art. It’s free and fun.

Just the opposite of what I’ve been doing lately which has been tight and not so much fun.

Done in Painter 2019.

Wondering

This is the second in a series of obscured portraits. I am doing these as a result of a really wonderful class I’ve been taking from Tricia Dewey. You can get information on the class here. She also has many other great classes that you can check out.

I did this piece on my iPad Pro. The apps I will discuss can also all be used on an iPhone.

I applied several textures. Some were textures I had taken at the ocean last Christmas.

I started out with an app I’ve had around for a long time and not used much. I think I had really under rated it. It’s called Repix. I really like the brushes down towards the end. Especially charcoal, chalk, Van Gogh and drips.

I took the piece into Snapseed and applied one of the new looks they have. I think I used Accentuate to bring out the colors in the piece.

Then I took it into iColorama and used the Paint brushes. I also applied Style/Coherence. iColorama is the app that just keeps on giving. Just when I think I might have it somewhat figured out, I find out more.

I enjoyed making this obscured piece. I hope you enjoy it.

Sarcasm

I am taking a class from my friend Tricia Dewey. It is called Obscured. You can check it out here.

We are working on portraits and obscuring them. It’s very interesting.

We are working on our iPads. The main app we are using is Art Studio Pro. It is very close to Photoshop. I am pleasantly surprised by this. It is a very robust app and you can use very large documents with many layers and we are using 50 undo levels.

You can import all the Photoshop brushes, gradients, patterns, etc.

We are also using Snapseed, and Repix.

In this image I started with iColorama using the Brush in Rebound to lay down textures and then moved into Art Studio Pro as well as the other two apps.

Tricia has many other wonderful classes at her web site that are well worth checking out.

These apps can all be used on the iPhone.

Have a great day.

Working in iColorama

iColorama is an app that is very difficult to master. In fact, I bet that aside from the woman who wrote the software, there are very few people who can tell you everything this app does. But, there is so much this app does it’s amazing. Once you get familiar with it and start to understand how it works, you find that the possibilities are endless. It also has a sister app called Metabrush. But I’ll leave that and it’s other sister app iColorama Painter for some other blog.

I’m currently taking a class by two women that both use iColorama to teach the class. It’s an ok class. But I am disappointed they did not cover the app more in depth and go over more of its features. For what I paid for the class, I expected more explanations about the app.

What the class has done is get me using the app more often and exploring it more on my own.

I did learn a few basic things that I had not quite fully understood before.

It also has me doing some different kinds of edits than I normally do.

Unfortunately iColorama is only available for iPad and iPhone.

Kino Glitch A New App

This last week a new app was released for iPhone and iPad. It’s called Kino Glitch. $1.99 at the App Store.

For those of you unfamiliar with Glitch apps, they’re meant to pretty much destroy your photo or drawing.

But this app is different. You have quite a bit of control over it. It’s different from any Glitch app I’ve ever used.

You choose the type of grid you want. Then you can adjust the size of the grid and how much Glitch effect comes through the grid. I chose none for this.

Then you can add a background and overlay.

You can also take your fingers and start moving the piece around. This is proving to be great fun.

The developer seems responsive to problems.

For anyone interested, I own a page on Instagram that features all kinds of photography, edits and art. If you would like to be featured, just tag to #BPA_Arts.

Enjoy your day!

I’ve Seen You Before

I've Seen You Before

I’ve Seen You Before

This is a painting that I did in Corel Painter.  I promise I won’t bitch about Painter or tech support at Corel.  Actually, in Painter 2018, things are going very smoothly.  Painter released in this version some stability to the application that seems very nice.  They also released for their trick to get you to buy it and/or upgrade a thing called thick paint.  They claim this looks like real paint.  Well hold it, Corel, what have we been using all these years?  Has our paint not looked like real paint all along?

Anyway, maybe this looks more like real paint.  I’m just not sure.  But boy is this stuff thick.  It is like painting with gloop.  I initially stuck my nose up at it and said no way am I painting with this stuff.  Not only because it was gloop but because it has its own separate layer.  It has a separate layer that does not act like a real layer.  So it is isolated.  It will not do many of the things a layer should do.  Plus the brush engine for the thick paint has a lot of controls to figure out.

In the past, Corel rolls out its latest trick brushes and then the next year it acts like it never heard of these brushes.  You are left holding the bag as to these brushes.  Well, why should I learn the complex brush engine of these brushes if Corel is just going to move on to some other trick brushes next year?

Eventually, when I took Skip Allen’s Introduction class, I came to love the brushes Skip made and I used some of these brushes.  But, I’m holding off judgment on them.  I’m not embracing them yet because I’m concerned Corel will not develop them further in the future.  For example see the Dynamic Speckle Brushes that were developed a couple of years ago.  They have great potential. But still need some tweaking.  Hello, Corel, are you ever going to tweak those brushes?  No.  The program is full to the brim of brushes that need a tweak here and a tweak there.

Anyway, I bitched about Corel Painter.  I guess it’s the best thing out there, but they sure can make a person angry with their shortcomings.

This painting I did with my thick paint brushes that I was in the process of making before I knew Corel was going to come out with thick paint brushes.  I started working with the impasto brushes to see how thick I could make them and have them look like real paint.

In the impasto control panel you can pick the depth method.  It is right below the Draw To box.  The Draw To box is where you pick Color and Depth for impasto.  I swear I have never noticed the Depth Method box before.  Probably because the print is so small and there are so many options in Painter.  There is always something new to discover.

Anyway, I started using Paper for Depth Method and it opened a whole new world in Impasto.  Wow!!!  I have a huge collection of papers that give me lots of different depths.  But even if you don’t, just using Painter’s default papers give you a huge variety of textures.  This is especially true if you adjust the contrast and brightness to the paper.  I take the contrast up and bring the brightness down usually.  I believe that Painter reads the dark areas of paper.  Or else it reads the white areas.  But, I’m pretty sure it reads the dark areas.  But experiment for yourself if you need to actually know.  The other adjustments you can make to the paper are the paper scale which can be very important.  Then there is an adjustment for rotation which can play an important part.  Then new to Painter on the grain setting is the Random Grain Rotation setting and the Random Grain Position setting.  I really like the first one.  It makes your strokes on a piece of paper look very real.  Without this setting, you are just repeating a digital pattern.

Be sure to have Grain Expression set to pressure.  Then, and this one I consider essential, be certain that you have set the Brush Calibration for the individual brush.  I think it is essential to do this.  There are many that believe that global brush calibration is ok.  That just is not true, in my opinion.  Set Brush Calibration for every brush.  It makes a huge difference.

I painted this picture with some of my new impasto brushes.  While I was doing that I started goofing around with Liquid Inks.  I then remembered that if you went into the layer settings for Liquid Ink, it would cause the Liquid Ink to become thick and raise up and become 3D.  Wow!!!  Awesome!

OK, Painter really is an awesome app!!!!  It does some awesome things.

So then, I decided, I would have to add some of the thick paint that I wasn’t liking so much.  So grudgingly I put some on here and there with the fabulous brushes that Skip made (see my earlier blog for information on the Intro Class to 2018).  All in all, this was a really fun painting to do.

Oh!!!!  I have to tell you, I have fooled around with this painting since 2014!  I have repeatedly tried to paint it with nothing but failure!  But I got it out this time, now in 2017, and it just came together.  So, never give up on a painting, no matter what.

If you are interested in my brushes and want them, drop me an email.

Kerry

 

 

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