For this chapter, you’ll use the following items from the website that supports this book:
• Images: delicious3.jpg and apples_bowl.jpg
• Custom palettes: Basic drawing palette
An Apple a Day
One of the best assignments I ever had in a traditional art class was to create a series of 20 versions of an apple, each using a different medium or style. There are several photos of apples in the Things > Food folder on the website that supports this book. They all look good enough to eat, and draw (not necessarily in that order). Open delicious3.jpg, shown in Figure 2.1.
Painter X (pronounced “ten”) introduced changeable opacity for tracing paper. In Painter 12 (pronounced “twelve”), the tracing paper controls are found in Navigator Settings and also in the new Clone Source panel. Percentage indicates hiding power, so the higher the value, the more opaque the tracing paper and the less you can see the original image. This is a handy feature for accommodating different stages in your drawing or different kinds of source images.
Dude! Where’s My Clone Source?
Painter 12 introduces a powerful new way to organize your source images for tracing and cloning. Use the Clone Source panel to designate any open image as the one you want, or click the Open Source Image icon to browse for any other image on your computer. Be sure to save your work in Painter’s RIFF format to preserve the Clone Source info, even after you close the file. Without an image as the clone source, all versions of Painter default to the current pattern.
The outline drawing looks flat, of course. Open the apple photo again, if you need to, and notice the areas of light and shadow. You’ll do another drawing that emphasizes these light and dark variations, so you can create the illusion of depth. A traditional way to render light and dark involves working on medium gray or tinted paper. Paper color does a lot of the work, and all you have to do is add the lightest and darkest parts.
With the Dropper tool, sample a medium red or pink color near the bright highlights on the photo. Use File > Quick Clone for a fresh canvas. Choose Set Paper Color from the Canvas menu. Nothing happened yet, but when you Select > All (Cmd/Ctrl +A) followed by Delete/Backspace, your new rosy color will fill the blank canvas.
Here’s What Happened
Painter defines Paper Color as whatever an eraser reveals. When you select a new current color, and then choose Set Paper Color followed by the select-and-delete maneuver, you have in effect erased the entire canvas, revealing the new color.
This time use a Conte stick for the dark outline, and then switch to white for the left edge, indicating the light source. Traditional French Conte sticks are firmer and creamier than chalk or charcoal, and Painter emulates them rather well. As with any new brush variant, make a few test strokes and scribble on a “scratch pad” canvas. Adjust the pressure sensitivity of your tablet if needed, using Painter’s Preferences > Brush Tracking. Figure 2.6 was done with Real Soft Conte, reduced in size to about 12 pixels. Notice that there are a couple of breaks in the outline. This is deliberate, allowing some ambiguity between the foreground shape and the background.
Now that you have the outline, you don’t really need Tracing Paper anymore, so turn it off and use the “eyeball” method[md]just look at the source photo to guide your placement of highlights and shadows. (This is a good reason to keep the source image open!) Apply a few white strokes in the light areas, pressing harder in the brightest spots. Use dark brown to create some shadow areas. Switch between white and brown as you work by sampling with the Dropper.
Toggle Your Dropper
A speedy way to sample colors is to hold down the Option/Alt key. This changes your brush to the Dropper so you can tap your stylus on any desired color in your image. Release the modifier key and you’re brush tool is back.
Take another close look at the apple photo. This time, concentrate on its rounded contours. You’ll work on white paper with black lines. Tone and form will be built up from overlapping strokes that follow the contours of the fruit. This hatching and crosshatching is another traditional method, often used by cartoonists and graphic artists, especially for commercial black-and-white printing.
Sketch the stem and outer edges of the apple quickly, and begin to make a series of roughly parallel strokes that follow the curves of the fruit. Use strokes that vary in length and spacing as you build up the form. For darker areas, overlap strokes in different directions. Refer to Figure 2.8 as you go.
Rhoda Draws, the artist formerly known as Rhoda Grossman, is the author of numerous books and video tutorials on the creative uses of Corel Painter and Adobe Photoshop. She has taught basic drawing as well as digital painting and graphics techniques at several schools in the San Francisco Bay Area, where she has earned a reputation for lively and humorous presentations. Rhoda began using digital media in 1990 and uses pixel-based software for commercial illustration and cartooning, as well as fine art projects. She has successfully transferred traditional figure-drawing skills to the computer and brings her MacBook Pro and Wacom tablet along to life drawing workshops. As "Rhoda Draws A Crowd," she is a pioneer in using digital media for live caricature entertainment at trade shows and events. Visit her website at www.rhodadraws.com.