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In Painter 11 Essential Training, John Derry, one of the original Painter authors, demonstrates basic and advanced creative techniques that can get beginners up and running. He also shows old hands the new features that can get a creative vision out of the head and onto the canvas. John demonstrates how to establish an easy workflow in Painter by using a Wacom tablet, and he explains how to create, edit, and publish projects. Exercise files accompany the course.
Download the Painter/Photoshop Consistent Color Management PDF and the Brush Troubleshooting Checklist PDF from the Exercise Files tab.
If you've ever looked over someone's shoulder while they are kind of busily drawing and just see the sort of haze of lines and sketches, and I mean it just looks like chicken scratches, and you have no idea of what they are doing. What artists employ is a facility that I call the conceptual squint. Often times when an artist is drawing, it's going to look more like, oh! I'm kind of doing something like this and it might not look like anything to anybody. But the artists, as they are drawing, they're conceptualizing. He is working on in my case on kind of cube kind of structure and maybe it's going to be a house, and there is a phone pole or something back here, and oh yeah, there is a fence back here that I want to have and, the fence keeps going over here, and maybe there is a driveway or something.
But this looks like nothing, but the artist can see through all this. In fact, if I go and create a new layer, now I can use this as a way to start to okay, well, now I want to refine this a little bit and the fact that I had that early drawing in there, means that I'm now going to have a better idea second time around as to what it is that I'm trying to draw. So now if I go down here and undo this, you can see already, I mean I'm starting to get much better at what it is idealizing and I can make another line here.
Now, I can say well, this is going to be a set of fence elements in here. I could next go in and start to add a little shading to this. But the idea, I'm trying to get out here is the conceptual squint is a way that you can look at things early on and not try to necessarily get to a final result. But just you're starting to build up an idea and the conceptual squint is just obviously something that some people don't have and they won't be able to see in that early drawing, the final concept the artist wants to see.
But use the conceptual squint to kind of fearlessly start thinking through an idea and just building up almost compositional elements and what not and you'll start to realize very quickly that this conceptual squint will be able to provide you with the tools to start to visualize things more clearly and sometimes it takes two or three concepts to build up to a drawing or a composition that's ready for final application. It's an iterative process, and the early stages of an iterative process are often quite rough.
So don't be afraid of the conceptual squint and the better you get at it, the more quickly you're going to be able to reach your goal.
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