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Digital Painting: Architecture
Illustration by John Hersey

The vocabulary of painting


From:

Digital Painting: Architecture

with John Derry

Video: The vocabulary of painting

A painting is an object crafted by human hands. Its visual vocabulary reflects this hand-wrought sensibility. Rather then machine-like percision, painting reveals the hand of its maker via small imperfections and accidents. The viewer then senses a painting as unique object rather then a reproduction. By understanding the visual elements that make up the vocabulary of a painting, a photograph can act as a source framework upon which to replace its language with that of paint.
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  1. 26m 4s
    1. Introduction
      1m 3s
    2. Using the exercise files
      32s
    3. Installing custom content
      2m 46s
    4. Setting up Wacom express keys
      13m 32s
    5. Setting Wacom touch ring preferences
      2m 14s
    6. Setting Wacom stylus preferences
      3m 24s
    7. Division of labor: Image prep and painting
      2m 33s
  2. 19m 9s
    1. Visual vocabularies
      3m 49s
    2. The vocabulary of photography
      7m 38s
    3. The vocabulary of painting
      4m 59s
    4. Looking at reality through a mental painting filter
      2m 43s
  3. 38m 57s
    1. Removing lens distortion with the Adaptive Wide Angle filter
      6m 47s
    2. Removing distractions
      8m 7s
    3. Don't be a slave to the original photograph
      10m 51s
    4. Correcting image adjustments
      2m 58s
    5. Telling a story with added image elements
      10m 14s
  4. 25m 2s
    1. The eye has a better sensor than a camera
      3m 2s
    2. Adding natural shadows with Field Blur
      8m 47s
    3. Using the Shadow/Highlight adjustment filter
      7m 48s
    4. Using the HDR Toning filter
      5m 25s
  5. 39m 56s
    1. Resolution is in the brushstrokes
      3m 26s
    2. Using the Surface Blur filter
      6m 17s
    3. Using the Displacement filter to add imperfections
      6m 22s
    4. Using the Oil Paint filter
      11m 51s
    5. Making tonal and color corrections
      12m 0s
  6. 22m 40s
    1. Nondestructive layer painting (NDLP): Your creative safety net
      5m 54s
    2. Setting up the Mixer Brush cloning action
      7m 29s
    3. Using cloning layers
      2m 58s
    4. Working with adjustment layers
      6m 19s
  7. 20m 7s
    1. Using tool presets and not brushes
      3m 41s
    2. Categorizing and organizing brushes
      6m 14s
    3. Adding canvas texture
      4m 51s
    4. Using Sample All Layers
      5m 21s
  8. 14m 48s
    1. You must destroy detail
      2m 9s
    2. Establishing compositional structure
      3m 46s
    3. Determining a style and sticking to it
      7m 30s
    4. Painting in progress: Finishing the underpainting layer
      1m 23s
  9. 26m 40s
    1. Understanding simplified indication
      9m 9s
    2. Understanding color: Warm advances, cool retreats
      4m 9s
    3. Painting in progress: Introducing texture to the intermediate layer
      13m 22s
  10. 40m 19s
    1. The play's the thing
      5m 18s
    2. Focusing on the subject through detail
      4m 40s
    3. Using a traditional paint color swatch set
      4m 37s
    4. Painting in progress: Completing the detail layer
      16m 25s
    5. Adding surface texture effects
      9m 19s
  11. 12m 47s
    1. It pays to wait a day
      1m 55s
    2. Adjusting your importance hierarchy
      4m 49s
    3. You'll never paint the same thing twice
      2m 7s
    4. Helpful resources and inspiration
      3m 56s

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Digital Painting: Architecture
4h 46m Intermediate Jan 03, 2013

Viewers: in countries Watching now:

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.

Topics include:
  • Setting up a Wacom tablet
  • Removing lens distortions
  • Correcting distracting image elements
  • Making shadow and highlight adjustments
  • Simplifying details with filters and Smart Blur
  • Modifying color
  • Cloning layers
  • Using a traditional paint color swatch set
  • Using custom actions
  • Working with canvas texture
  • Creating physical surface texture effects
  • Painting with custom brushes
Subjects:
Design Design Techniques Digital Painting
Software:
Photoshop Wacom
Author:
John Derry

The vocabulary of painting

A painting is an object crafted by human hands. Its visual vocabulary reflects this hand-wrought sensibility. Rather then machine-like percision, painting reveals the hand of its maker via small imperfections and accidents. The viewer then senses a painting as unique object rather then a reproduction. By understanding the visual elements that make up the vocabulary of a painting, a photograph can act as a source framework upon which to replace its language with that of paint.

In this video, we'll take a look at the vocabulary of painting. Well, first and foremost, the granular element that makes up painting is brush strokes, or what I sometimes refer to as brush work. So it is this brush work that is the assimilation of the image, and is what the viewer senses and is able to read as imagery when they look at the final work. In this example this is a Van Gogh painting, and if we zoom up on it, a bit, you can see how his brush work was very distinctive.

It's almost impossible to not recognize a Van Gogh painting. Even though this is one of his earlier works, and not necessarily one that you think of in his later period. However, it's still the same approach, and that is that it is done with a very, what I call economy of stroke. He doesn't over-elaborate through a lot of application of strokes to define his imagery. Here's an example. I keep using this example of a tree doesn't have every leaf in it. Well, here's a tree in this scene, and we certainly recognize it as a tree, but if you really look at it close up, you know, you don't even know what that is when you get too close to it.

However, you can see how just by some different dabs of paint applied in a sort of mottled manner, he's able to give us the impression of a tree so that when we look at this in the overview of the image, there is no doubting that that is a tree within the scene, but up close you can see how little is really there to define the fact that that is a tree. So brushwork is first and foremost the component of painting that is basic to it.

Then we get into how a painting is constructed, and the approach I use here and is also used in traditional painting, is you begin often with what's called an under-painting. And I'll give you an example of that. This is an under-painting. This is a version of the image we're gonna be working on. Now, we can tell this is a, a building outside, but you don't know much beyond that, and that's because, at the stage of the under-painting, you are basically describing the compositional nature of the artwork.

So, at this point, it's really very flat. There's not a real great attempt yet to actually define 3-dimensionality within the work. It's basically just dividing up the planes of the canvas into its major compositional components, and once that's applied, the under-painting then acts as a framework that we build upon. So the next step beyond the under- painting is starting to apply the intermediate detail. What we're doing, essentially, is replacing the photographic high detail with selective detail that the artist applies by slowly building this up.

So he starts from a very vague representation, as we see with the oil painting, and then it starts to proceed forward to where more detail and more bits of the imagery are added to it. And this is a continuation of just slowly, selectively returning detail to the image, but rather than photographic, precise detail, it's this selective detail that the artist is just applying within certain regions. So once we get closer to the finished version of this work, now enough detail has been applied here that we recognize the surface, that it's brickwork.

We recognize the countryside, that there's some houses out there and some fields with trees in them. It's this continual refinement of the image from this very base image, up to finishing it with enough detail that the eye recognizes it and reads it, and the trick of applying this detail is doing it in such a manner that it's in this indicative way that I've described. You are providing the dots so that the viewer can put those together and assemble it into a final image. And the more you let the viewer connect those dots, the more it engages the brain and becomes a source of interest that leads the viewer into the work.

So, being able to apply this selective detail takes a little bit of time to learn how to do without overdoing it, but that's the key to really ending up with a good painting is understanding how to apply selective detail, to apply just enough dots so that the user has to connect the rest of them.

Find answers to the most frequently asked questions about Digital Painting: Architecture.


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Q: I'm unable to install the custom Wacom settings included with the exercise files. Any advice on how to load them?
A: After the course was recorded, we discovered that the Wacom preference files are not cross-platform and are specific to the machine that created them, which limits their use. However, in the exercise files you'll find a PDF labeled Intuos4 Mapping_PS_CS5.pdf; using this document, you can manually enter the settings in the Wacom control panel. Also, please note that the settings are not necessary to complete the course.
 
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