Secrets of Corel Painter Experts: Torsten Wolber
5. After detailing each element of my picture individually (see Figure 11.7), I combine all the parts again onto a new canvas, adjust some of the colors and positions, and then Drop All into one background. See Figure 11.8. In Figure 11.9, I have combined all the different parts of my image into one layer and over-painted them using the Sargent Brush.
I know that combing all parts of my image into a single layer isn’t a common way to work, but because I am used to working on one canvas only, this has certain benefits. For example, I can concentrate on my work without bothering to check whether I’m working in the right layer. Even more important is the fact that the formerly separated objects begin to interact with each other once again — this includes the fuzzy edges and all. Maybe it’s just my “analog habit,” but I definitely encourage you to try to get out of “safety mode” by trying this.
6. At this point I decide to add a textured layer to my image. I add a brushed texture but erase it in certain areas where it appears to be too dominant; it’s easy to overdo this. See Figure 11.10. I add the texture in a separate layer with Brushwork On in Overlay Mode and adjust the Layer Opacity to approximately 20 percent. See Figure 11.11.
I often add a textured layer in the final stages of my work because it helps me avoid a digital look that, especially when printed, appears to be a tad too clean and smooth.
7. I finalize the picture with another Overlay layer, where I add some highlights and shadows. See Figure 11.12. While in Overlay Mode, I also alter the colors where needed. I Drop All Layers again and sharpen the final image just a little bit. Now I’m done.