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Learn to think like a painter and render images that look like they were created with oils or acrylics, using the latest digital artist's tools. Author and artist John Derry introduces the process of interpreting a photograph into a painted work of art. He begins by explaining his system of visual vocabularies, which describe how to replace the visual characteristics of a photograph with that of expressive painting, and also shares the custom brush sets and actions he uses to achieve these results in Adobe Photoshop. The course also covers working with filters, layers, effects, and more to add further detail and texture.
When you're out shooting photos, an essential skill to utilize is to look at the world as if it were painted. I call it my mental painting filter. This skill goes hand in hand with taking the time to look at and analyze traditional painted imagery. One of the best ways I can recommend for improving your eye for painting is to look at painting, lots of them. Study the compositions, colors, subject matter, brushstrokes, and the like. A lot can be learned from simply searching the web for examples of genres, styles, and artists that interest you.
Some museums' online websites have representations of paintings that can be navigated in high resolution, and that lets you get your nose up close and see the detail. Later in this course, I'll show you how to incorporate some of these physical surface effects into your paintings. This technique works especially well when finished artwork will be viewed on a display or the web. Take note of how lighting affects a painting's appearance. Look at how physical paint has a third dimension, depth. Some artists exploit this via the technique of impasto, which is intentionally applied thick paint.
Observe how the painting incorporates the canvas weave into a painting's physical quality, as well as how thinly applied paint allows canvas texture to be visible. A traditional painting projects an aura of physicality that is a part of its perceived value. Projecting some of these physical qualities into a digital painting can intimate some of this value into the artwork. Another important observation is to look at paintings both up close to examine its physical characteristics, as well as stepping back to see how these characteristics' interpretation change with distance.
For example, a few seemingly abstract daubs of paint, viewed up close, can become well-delineated foliage with highlights and shadows. This is something that many digital painters ignore. When painting, you must be aware of both close and far interpretations of painted artwork. Another very useful activity is to simply play with your digital paint brushes. You don't need a subject or goal in mind, the idea is to explore the breadth and variety of marks the brush is capable of. Experiment with how different colors mix and interact.
In essence, know your brushes, they are the voice of your expression. The more you study and absorb the language of painting, the better your results will be when interpreting a photograph. Armed with this knowledge and experience, you can effectively look through the lens of a camera, with your mental painting filter in place, and reactively adjust how you choose to frame, compose, and light your subject matter.
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