Secrets of Corel Painter Experts: Torsten Wolber
Torsten Wolber: About the Artist
I studied at the Cologne International School of Design with a focus on illustration. Over the past 12 years, I have worked as an illustrator, and I switched to digital painting in 2004. Since then I have won several prizes for my digital artwork, including the Painter Master award from Ballistic, first and third place prizes in the CG Challenge, the German International Docma award, and the Corel Painter award. Most of my work reflects daily commissions for advertising, magazines, TV, and games. These include stern, FOCUS, WirtschaftsWoche, Playboy, Jung von Matt, WDR, Blue Byte, and KARAKTER Concepts.
Software: Painter, Photoshop, and sometimes SketchUp for perspective
Hardware: MacPro, Quato Intelli Proof monitor, Wacom Intuos 4 A4
Frankly, I’ve never completely understood the mystery that people make about being an artist. I think that if you have a vision and the strong urge to share it, it’s merely a matter of time and hard work to find a unique way to express yourself. Tools like Painter make it easy for me to transform my painting experience into the digital world, which leads me to new inspirations by other artists, a still joyful game in which it is fun to learn from each other. I’m grateful every day to have this wonderful profession.
It’s hard to say what my direct influences are, because I always try to keep an open mind to all different influences in art. I have never developed a truly unique illustrative style, so there are a still a lot of artists from different corners of the world who influence me, and I enjoy this freedom. Because of this, my range of illustrative styles is probably a little broader than that of most other artists.
Step-by-Step Tutorial: “Trophies”
1. I begin by drawing a small sketch of my idea. By small, I mean that my doodle is not more than 5 inches in height on my screen. I use the regular Acrylics, Opaque Detail Brush 3, and every now and then, I alter it to an ellipsoid shape by changing the angle and form. To prevent losing my vision of the drawing, I work as fast as I can at this stage. It shouldn’t take more than an hour and a half to complete this first step. I don’t limit myself by focusing on details right now. It’s the big picture I’m looking for. See Figure 11.1.