June Issue of Digital Paint Magazine

June 2012

Darrell Chitty

Death of the Photographer It’s time to reinvent yourself

Truly Scene Blast from the Past

This month you will find Darrell Chitty featured on the cover. Inside, Darrell reveals an exciting brand new mentorship program that is opening up. As I look about and chat with artists, one common thread I see in those artists that continue to improve and grow is the diligence in which they pursue education. Obviously education is a hot button for me and certainly I am criticized for the amount of time and money resources we spend on educational activities. For the last year I have been back in school full time again finishing a degree in education. The goal is to learn more about how our brain works and how we learn new information and incorporate new information (the processes of assimilation or accommodation) into our existing schema. The hardest part of that formal education is over and I have only a few classes left to finish in the fall. I have the summer off to create and to participate in the shows that we juried into.

The journey to discover how we learn has given me more insight into how we can better serve those who wish to learn with us. I am ADD and dyslexic so I learn quite differently than most, having said that though, we all learn a bit differently. Our job here is to curate and create relevant content specific to our market then present it in the manner best suited for our readership. The manner in which we present will be changing.

In August we will celebrate our 3rd year anniversary! We have gone through a number of changes in those three years and radical changes are on the near horizon. I am giddy with excitement and possess an eagerness that is only tempered by an inkling of fear. The changes we are embracing represent great opportunity however with any opportunity there exists a very real risk of failure, therein lays the fear. I have been working diligently to figure out ways to improve our magazine and am moving forward to that end. In July we will launch our first fully interactive issue to the iTunes newsstand. The issue will be optimized for the iPad not the iPhone. The user experience on a smart phone specific to magazines is not good in my opinion. On the other hand the user experience for a magazine on the iPad is incredible.

This magazine is free to distribute by any medium.

You can print it, email it, upload it on your web server. You may however not edit any part of this PDF, copy the content, or split the pages. This PDF must remain whole at all times, the content of which belongs to Digital Paint Magazine. All art and trademarks contained herein are the property of their respective owners.

Digital Paint Magazine - June 2012

We have a variety of details still to work out. Certainly there will be no charge for the app itself and most likely we will still offer a partial text only version for free. Not everyone has an iPad so we will upload to our servers a PDF for those who wish to read the magazine as they are currently doing. There are now over 67 million iPad users so I am hoping to be able to grow our readership as well as to be able to present content in a more user friendly manner. With this change will also come a change in the name of the publication, sadly at this point we are not planning on carrying over the Digital Paint Magazine brand, we will start anew with Digital Art Creation. The change in name will also signify an expansion in our focus. I have thought for the last few years that we were too tight in our focus relative to the market so we will begin to cover more variety specific to digital art. It opens up the possibilities to include more photography, more post printing observations and an exploration of a variety of other techniques and platforms. We will not abandon our love and dedication to digital painting from photo reference we will simply add to it.

Live well, Love much and Laugh often Tim

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In This Issue

Death of the Photographer It’s time to reinvent yourself

By Darrell Chitty Readers’ Gallery

By Ken Romero Cartoon

By Victor Lunn-Rockliffe

Truly Scene

By John Stevenson

Post Print: How to Stretch a Canvas

by John O’Keefe A Blast from the Past Exploring Imaginary Places

by Marco Bucci

Cover

Anticipation

By Darrell Chitty

Old Masters Pino Daeni: Modern Day Impressionist Master

By Nadia Lim Marketing Buzz: iPad Marketing

by Tim O’Neill

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The Death of the Photographer ...

It’s time to reinvent yourself!

By Darrell Chitty

Let’s face it, we photographers are stubborn creatures. After all, it has been implanted in our heads all these years that if only we truly master the art of photography that the crowds will line up outside our studio doors just like they do on “Black Friday”. Perhaps there was a time this may have occurred for a few of us, but very seldom does it now happen.

Unfortunately, just the opposite is experienced. Accomplished professionals now spend the majority of their time on the phone and at their computer contacting potential prospects trying to attract interest in their photography. Regretfully, most photographers are just not wired for this aggressive approach to self-promotion and spend most of their day walking the studio wringing their hands wondering from where their next dollar will come. In spite of the obvious, we photographers cling to our belief system and refuse to adjust until we have no choice but to close the studio doors forever. Oh, how I miss my many wonderful master photographer friends! The world is not nearly as beautiful without them.

There’s a line in the song “The Gambler”, “You’ve got to know when to hold them, know when to fold them’. Nothing speaks more to the plight of today’s professional photographer than those lines. It is my experience that we all have or will experience a day when we must draw a line in the sand and fold them! It will occur for all of us so prepare before you have no options left but to close the door for good.

My Story...

For me that day came in 2001 when I watched my senior volume drop from 800 per year to less than 400. I could see that my real competition was no longer the other professional out there in my market but gobs of amateurs, so I decided that I had to learn something that no lazy novice could ever do. In 2001 there were a few photographers experimenting with smearing pixels with “grainy water” and calling that painting. My love for traditional art told me that I had to learn something different. I got on the internet and discovered Jeremy Sutton before Jeremy Sutton was “cool”. The direction I wanted to go could not be more different than that of Jeremy’s style, but Jeremy knew the software better than anyone in the profession. I wanted to learn from the best who was not a professional photographer... a Digital Paint Magazine - June 2012

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brilliant decision on my part. Jeremy is a master teacher with the patience of Job and the mind of Franklin. Today I am in a state-of-the-art studio/gallery reaching a market no one in my community can touch--a market that will never accept the ordinary.

Do not think that the journey has been an easy one to travel. Many, many times I have thrown images away in total frustration, questioning if the thousands of dollars spent in education and experimentation were worth it.

While I still get frustrated with my growth and continue to throw away inferior work, I do so now by comparing my creations with those of the great masters of art.

I know that with every failure I am steadily moving forward. It just doesn’t get any better than this!

Better to Give than to Receive...

While I continue to grow and learn more every day, I do believe now is the time to share these experiences with others in a very unique and intimate manner. I do know how to “reinvent myself” and to actually make money with the “New Me”. Art may be my passion but business development is my education. Besides a Masters of Photography I also have a MBA and am a full-time college professor teaching fine art photography, graphic design, and business development for photographers. I do love teaching, although most of my students would say that I am better suited to be a drill sergeant in the Army.

In the past I have conducted week-long workshops and will continue to conduct one workshop every summer. However, in the future these workshops will be only for those students who have studied with me in the past regardless of their experience with digital painting.

In addition, I have been asked countless times about DVDs I might produce. After consideration I have concluded that these will be too time consuming and costly to justify the effort. So here it is, a mentoring program for the SERIOUS student desiring to learn how to create art in the same manner as the great masters of the past PLUS a mentoring program designed to teach the “old-timers” out there how to reinvent themselves and actually make money in the process.

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Two Mentoring Options: Option One - The Painter’s Touch ... This program is designed for those who wish to develop the painting skills necessary to create beautiful art but are not concerned with the business of marketing their art. Three plans are available all of which will lead the student through my mental and physical approach to painting. Each plan will feature a particular master artist, his life, and his painting technique. The study will be three months in length and will include two online webinars which will be recorded and provided to the student, which then may then be stored in his or her personal digital library for follow-up study. In addition, students will be admitted access to The Painter’s Touch Blog in which I answer questions and provide painting tips. On this blog you may share your work with the entire group, and an added feature will be mixing with members of the Dead Artist Society, a select group of extremely talented artists whom I call on for my personal growth and inspiration.

Plan A: Three Month Program ... $300 Receive two 2-hour webinars

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The Painter’s Touch Blog One personal phone conference each month to discuss student progress Admittance to my summer 4-day workshop in St. Francisville, Louisiana ... only $400 Plan B: Six Month Program ... $500 Receive four 2-hour webinars The Painter’s Touch Blog Two personal phone conferences each month to discuss student progress Admittance to my summer 4-day workshop in St. Francisville, Louisiana ... only $400 Plan C: Twelve Month Program ... $800 Receive eight 2-hour webinars The Painter’s Touch Blog Two personal phone conferences each month to discuss student progress Admittance to my summer 4-day workshop in St. Francisville, Louisiana ... only $300 Option Two - Master Strategies for Success ... $1,500 Let’s face it, very few artists make enough money to survive in their profession. That is why they call them “starving artist”. I made a decision years ago that I was not going to be one of those people. Over the years I have tested many strategies that did not work and a few that did work. This plan is for those of you who want not only to create 6

art but must develop a proven and effective way to find clients who will crave your art and will be willing to pay big bucks in return. My formula for success works if you are willing to work it! There is no shortcut to success. Both you and I will be working very hard to reach your goals. Therefore, before anyone is admitted into Option Two, prospects will be carefully screened to determine if this plan is indeed for them. There must be an exact chemistry between the student and the mentor to assure success.

Receive the Twelve Month Painter’s Touch program above Three Master Strategies for Success webinars with syllabus A minimum twelve personal phone conferences to monitor growth Two full day marketing workshop at my studio/gallery in Shreveport, Louisiana ... only $200 To excel in art and in business requires a passion that very few individuals in the world have. Greatness is not wasted on the slacker but is given grudgingly to only the

very few. Recognize that fact, embrace it, enjoy the journey and finally revel in the thought that you can achieve greatness.

The difference between a successful person

and others is

not a lack of strength,

not a lack of knowledge,

but rather a lack in will.

Vince Lombardi

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Readers’ Gallery

Ken Romero http://www.kenromero.com/

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Digital Paint Magazine - June 2012

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“See the light , Fear http: //cargocollective.com/victorlunnroc Digital Paint Magazine - June 2012

the dark�

Victor Lunn-Rockliffe 10

TrulyScene

a first photographic input - original image: © iMagine – Fotolia

a column

John Stevenson

Introduction In last month’s column I took a digital imaging diversion in order to survey the photographic phenomenon which Instagram has become over just the past year-and-a-half. The key insight was that the many millions of users of this application have two tightly coupled interests: the open sharing of their photographic images within a networked community of viewers, plus, use of image processing tools which Instagram provides, to transform their photographs into reinterpreted versions of the original captures.

It should be realized that as far as the critical word included above – i.e., transform – is concerned, Instagram is actually at the tip of an iceberg. There is a large and ever-expanding range of apps for phototransformation work which operate on the different mobile ‘phone platforms. If you are new to this field, then a good example to review is Hipstamatic. This, commercially, pre-dates Instagram – there is a small gallery here: http://en.wikipedia.org/wiki/Hipstamatic, and a brand-new magazine devoted to Hipstamatic, available online at the Apple iTunes newsstand: http://www.snapm.ag/. (One of the unique features of Hipstamatic is that it has already seen use in photojournalism.)

I do realize, given that the majority readership of this magazine is probably centered upon Corel’s Painter™ program as an application of choice, that not everyone is going to run out and immediately get started with iPhoneography upon viewing and perhaps reading this column. Nevertheless, my own interest is to see how to close the gap which could be perceived between the transformation of a photographic input image by manual means in Painter and the auto-filtering which is the cornerstone of apps like Hipstamatic and Instagram.

Digital Paint Magazine - June 2012

a muti-filtered, and multi-layered, output - from Photoshop and PostworkShop

The first two images included here represent a sort of “bridging the gap” work-study example.

They are an input and an output – separated (in the true spirit of the quick re-visualization, which is the characteristic of “InstaHipstagramomatic”, by about fifteen minutes of work time). Please note that in the case of Instagram the user is offered (at least in its incarnation for the iPhone) the opportunity to pre-apply its filters – that 11

is, the raw unfiltered photographic capture may never be recorded.

The Photoshop Reality As indicated in the caption of the second image here, my own demonstration work was done using Adobe® Photoshop® in concert with Xycod’s PostworkShop™ 3 plug-in. This was actually a continuation of the work I set out in my last Digital Paint Magazine column. It did not, however, include any of the Filter capabilities which are native to Photoshop. Adobe has largely ignored these throughout the course of the upgrades within its Creative Suite (CS) editions of the program.

Many are individual legacy items dating back fifteen years or more at this point in time. By my own reckoning the very newest edition of Photoshop (CS6) does include just one additional filter (Oil Paint) over and above its immediate predecessor. But in fact the same capability was actually “available” as an extension to CS5 (via a download of the free Pixel Bender plug-in).

Obviously there is, with Photoshop (and also other high-end/ production-grade photo-editing software) the capability to produce the type of digital mixed-media effect which has been targeted in the demonstration image included above. By-and-large however, it would be necessary for the user to spend a small fortune in software licensing plus specialized tutorial content in order to reach that goal. A good example is the current promotion offered by the Fotolia stock image company, as summarized here: http://en.tenbyfotolia.com/, in which it seems the user is supposed to be impressed by the need to create .psd format files with “over 100 Layers”. Clearly many of these are needed in order to accomplish the complex montage assemblies. But, overall, this is very much the opposite of what yours truly considers to be the hallmark of the “InstaHipstagramomatic” protocol - to secure a range of alternatively subtle and dramatic transformations from just single filters in each case. And, for sure, there are very few (if any) of the native Photoshop Filters which could be used within this type of framework. Finally the, as a matter of comparison, the output .psd file which generated the street scene image above contains four Layers (two of which are identical, but are assigned different Blend Modes and Opacities).

Digital Paint Magazine - June 2012

The TrulyScene Option Again as covered in my last column, it is quite straightforward to produce Instagram-like outputs using: Photoshop, for what it does best – namely, color alteration and chromatic effects, plus the introduction of Masks and also Layer Blending, and, some of the newest third-party plug-ins (including PostworkShop), for which Photoshop is simply a host, as alternative sources of highly customizable and high-definition image filters.

The way this breaks down is that Photoshop can provide useful outputs where the input image is color shifted, even on some localized basis, but where geometric and/or spatial redistributions or distortions within the image are not sought. Whereas, it is exactly the latter which are accomplished best by the newest innovations in plugin software. a second photographic input - original image: © konradbak – Fotolia

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an initial output - in an Instagram-like style, via an Action

be well-emulated through Actions recorded in Photoshop, these images were also produced via the very same procedure. Though Actions which utilize plug-ins are not entirely new – for example, there are some made available here: http://homepages.slingshot.co.nz/~mikefinn/action. html which involve the use of the Fo2PiX buZZ Pro filters – those that I developed for the work shown here are different from most others.

The TrulyScene Actions

a second, Instagram-like output - a more complex style, but also via an Action The first two outputs derived from the classical portrait photograph input included above illustrate more ambitiously what was first demonstrated in the previous column. However, just as I showed there that the filters which are native to Instagram’s software could Digital Paint Magazine - June 2012

Actions are another feature of Photoshop which have been left largely alone through the development and release cycles of the Creative Suite. It may well be that the introduction of Lightroom® left them, and Scripts, with less utility. But it is possible to record Actions in a multi-stage form, and to have them execute very quickly on a currentgeneration Mac or PC. The different stages incorporated in the Actions used to produce the output images included here are as follows: stage 1 – specific input image corrections and enhancements, stage 2 – separation of the background/periphery from the primary subject “zone” via one or more manually made Selections (it is also possible to make spatial sub-divisions of the input image according to ranges of tonality, so separating shadows from highlights, etc.), stage 3 – creation of the primary effect, inclusive of masking – this usually involves multiple uses of the plug-in, to create a set of Layers in Photoshop, and, a third Action-generated output - in a simple drawing/sketch style 13

an final ouput in a painted style - with a more careful treatment of definition

an alternative output in a drawing style - with a more careful treatment of tonalities

additional, optional stage(s) · fine detailing,

an alternative Action-generated output example - in a simple painted style

· texturing (via secondary masks), · borders, · supplementary coloration, and, · final color, and/or tonal and/or contrast correction(s).

All six of the output images I have included in this column are illustrative of what can be done using this approach, incorporating drawing, sketched and painted effects. (The input image itself was used at a size of 2500 by 1667 pixels.)

Wrap-up Whether you the reader find any of the images in this column appealing, intriguing, etc. is of course a purely personal choice. But, there can be no denying that in the overall context of digital image manipulation Digital Paint Magazine - June 2012

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and transformation, the marketplace has now spoken. Users who have direct access to the increasingly better cameras integrated into their mobile ‘phones and tablets like having the ability to create a custom look or finish for their own images. Albeit, at present, with just a very few choices for that customization.

What I have explored is – at root – a similar set of customization routines, which can be very easily run, almost autonomously, in Photoshop when using conventional digital photographs (from a DSLR) as the original source. At the very least the Actions can provide a pre-visualization for digital painting and rendering done in the classic manner. And there is also the possibility that the outputs themselves could become a transition point into conventional, already established, digital painting practices. I’d certainly welcome any thoughts, feedback or questions you have – please just send them along to: john.stevenson@photoscena.com Going forward: I plan to make the Actions available commercially, probably in small packs of four or six, within the next month.

This initiative will also be the subject of an upcoming webinar, featuring the full series of TrulyScene Actions across a broader range of subjects. This will be a part of the current offering of Digital Paint Magazine online sessions – please look out for details of that shortly. john.stevenson@photoscena.com © John Stevenson – Photoscena LLC 2012

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Post Print

Step 1 Assemble all materials and tools before starting.  Cloth Work Surface  Giclee Print (not shown)  Pre-Made Stretcher Bars  Square Ruler  Mallet  Small Hammer  Flathead Screwdriver  Staple Gun  1/4" Staples  Tape Measure  Canvas Pliers Digital Paint Magazine - June 2012

Step 2 (Step 2 through 4 are optional) We will use Elmer’s Wood Glue to bond the stretcher bars ends together.

Because we are using pre-made stretcher bars that come ready to assemble we may need to sand rough edges that have resulted from the cutting tools used during the manufacturing process.

How to Strecth a Canvas a tutorial by John O’Keefe

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Step 3 (Step 2 through 4 are optional) Apply a small amount of glue to each end as shown. Repeat this for each of the stretcher bars before continuing to the next step.

Step 5 Begin mating the stretcher bars.

Step 6 Step 4 (Step 2 through 4 are optional) Using your finger, spread the glue around the surface of each of the cut ends as shown. Repeat this for the remaining stretcher bars.

Digital Paint Magazine - June 2012

Make sure that you fully seat the stretcher bar ends. If you see a gap along the seam where the ends meet, then you have not fully mated the two bars.

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Step 7 In this view all four stretcher bars are mated together. However, we need to ensure that all four corners of this assembly are square before the glue sets. (i.e. A, B, C, & D)

Step 8 If you used glue (as shown is steps 2 through 4) wipe off any glue that has squeezed out during the mating of the stretcher bars.

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Step 9 Measure the distance between corner A and corner B.

Step 10 Measure the distance between corner C and corner D. Compare the two distances against each other. If the distances AB and CD are equal... then you are square. If they are not equal... you are not square.

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(In our example distance AB was .125 inch larger than distance CD. We now need to make an adjustment following steps 11 and 12.)

shown here. Hold the square ruler as shown and check that both inside edges of the ruler run flush along the surface of each stretcher bar. If the ruler lifts off one side (not running flush along one surface while being fully flush on the other) then your not square on that corner.

Repeat this check on all the remaining corners. If your stretcher bar assembly is square then you are ready to start the canvas mounting process.

Step 11 While firmly holding the stretcher bar assembly, tap the corner with a mallet that had the largest measurement.

(In our example we will tap corner A.)

Step 12 Recheck all corners to make sure they are square. We can use the tape measure method shown earlier or we can use a square ruler method as Digital Paint Magazine - June 2012

Step 13 Using a light grade sandpaper, gently remove any jagged or broken wood from corners.

Step 14 Ensure the corners are sanded thoroughly and no jagged edges are remaining.

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Step 15 Before laying down your giclee canvas print make sure there is no debris or wood pieces (that may have fallen off during stretcher bar assembly) which could damage the printed surface. A soft cloth work surface is preferred which further minimizes the chances of causing small scratches to your giclee canvas print.

Lay down your print (face up) and make a final close examination to ensure its not damaged from the print supplier.

Step 17 Place your stretcher bar assembly over your giclee canvas print as shown.

Step 18

Step 16

Starting with the right side, carefully lift up the canvas print and ensure that the image is wrapping around the front face of the stretcher bar.

Repeat this on the opposite side, moving the stretcher assembly left or right as needed until you see the image wrapping equally around both side bars.

At this point turn over your giclee print so the image is face down. You are now ready to position your stretcher bar assembly.

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bar, moving the stretcher assembly up or down as needed until you see the image wrapping equally around the top and bottom bars.

Step 19 Once you are sure the stretcher bar is centered in relation to the printed image, draw a reference line along each side as shown. This reference line will come in handy later if the stretcher assembly moves out of position and you need to realign it.

Step 21 Once you are sure the stretcher bar is centered in relation to the printed image, draw a reference line along each side as shown. We have now centered the stretcher bar assembly in both the vertical and horizontal directions with respect to the printed image. We are now ready to begin the canvas stretching, wrapping, and stapling processes.

Step 20 As we did in Step 18 for the side positioning, we now want to center the stretcher bar assembly along the top and bottom bars. Carefully lift up the canvas print and ensure that the image is wrapping around the front face of the bottom stretcher bar. Repeat this for the top stretcher Digital Paint Magazine - June 2012

Step 22 Starting with the top stretcher bar, wrap the giclee canvas print around 21

the stretcher bar as shown. Be sure that the stretcher assembly has not moved out of the reference lines we drew earlier.

Step 25 Step 23 Holding the staple gun squarely on the canvas and stretcher bar, staple the canvas to the stretcher bar in the center of the bar as shown.

Step 24 Check that your assembly looks like this - having one staple in the center of the top stretcher bar.

Digital Paint Magazine - June 2012

While firmly holding the canvas pliers, grip the canvas in the center of the bottom stretcher bar opposite from the first staple that was inserted in the center of the top stretcher bar.

Step 26 Using the stretcher bar as leverage, rock the canvas pliers forward (compare images from step 25 and 26) until canvas has stretched notice the canvas tightly wrapped around the stretcher bar.

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stretcher bar and staple the canvas to the stretcher bar in the center of the bar as shown.

Step 27 Before releasing the canvas pliers, press your thumb onto the canvas.

Holding your thumb in this manner will maintain canvas tension during staple insertion.

Step 29 Check that your assembly looks like this - having one staple in the center of the bottom stretcher bar.

Step 30 Step 28 While maintaining tension by firmly pressing your thumb on the canvas, insert one staple. Hold the staple gun squarely on the canvas and Digital Paint Magazine - June 2012

Once you have inserted the first two staples into the top and bottom stretcher bars as shown you should notice a slight tension pull on the canvas between the two staple points (i.e. points A and B.)

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Step 31 Using the canvas pliers, stretch the canvas starting on the left side and hold tension using firm finger pressure. (...I am holding the pliers away from my body and this provides less stretching and leveraging control.

Because I’m not applying strong tension for the first side staple, I chose to use the pliers in this way. However, when you are stretching opposing sides it is recommended to hold the pliers so that they are facing toward your body as shown in images 25 through 28)

Step 33 Repeat stretching and stapling process as shown in steps 25 through 28. Be sure to firmly hold canvas with your thumb before removing the canvas pliers prior to inserting the right side staple.

Step 34 Be sure that when stapling opposing sides you stretch the canvas so that it does not droop or sag. Our assembly should now have one staple placed directly in the center of each stretcher bar as shown.

Step 32 Insert one staple in the center of the side stretcher bar.

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Step 35 Flip over the assembly so that you are looking at the printed image on the front. Check that the image is centered both vertically and horizontally - you should see the image wrapping equally around all sides and no ‘white’ border should be visible along the front face. Check that the image has not rotated clockwise or counter-clockwise so that it is no longer square with the stretcher bars. Also, check that the printed image is not overly loose or sagging. In the next steps we will tighten the canvas as we stretch, wrap, and insert the remaining staples, but now is the time to remove the staples and make adjustments if the position of the image is off or the canvas is very loose and sagging.

Step 37 Insert staples starting from the center staple and moving left with each new staple until you reach the left stretcher bar as shown. Use canvas pliers as needed.

Step 38 Step 36

Moving to the bottom stretcher bar (2), stretch canvas using canvas pliers and hold tension by applying pressure with thumb.

Beginning with the top stretcher bar (1), stretch canvas using canvas pliers and hold tension by applying pressure with thumb.

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Step 39 Insert staples starting from the center staple and moving right with each new staple until you reach the right stretcher bar as shown. Use canvas pliers as needed.

Step 41 Now we begin applying more tension when stretching the canvas using the pliers. Always have the canvas pliers facing away from your body during the final stretching and stapling steps for maximum tension and leveraging control. Starting closest to the center staple on the bottom stretcher bar (1) stretch the canvas, hold tension with thumb, and insert two or three adjacent staples starting from the center staple moving left.

Step 40 Repeat the previous step for the left (3) and right (4) stretcher bars... in that order. Remember to start from the center staple and move in the direction of the arrows (as shown) as you staple the remaining two sides. Use canvas pliers as needed.

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Step 42 Move slightly to the left of the staples you just inserted in step 41, 26

use the canvas pliers to pull the canvas tight, apply thumb pressure to maintain canvas tension, and insert two or three more adjacent staples moving in the left direction toward the left stretcher bar.

Step 45 Step 43

Repeat steps 41 through 44 for the top (2), left (3), and right (4) sides - in that order until your assembly looks like this.

Reposition the canvas pliers closer to the left stretcher bar, pull canvas tight using canvas pliers, hold tension with thumb, and insert several adjacent staples.

Repeat this process until you reach the left stretcher bar.

Step 46 Step 44 This is how your assembly should look after inserting staples along the bottom (1) stretcher bar.

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A good test to see if you stretched the canvas enough is to tap the center of the canvas with your finger and listen to hear a drum-like sound. If the canvas was improperly stretched and is too loose it will not have this sound and will flop around as you tap it. Also, if you see ripples in the canvas then you have an uneven tension problem - the canvas should be pulled tight throughout.

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Step 47 Now we must fold and secure the four corners. Hold the corner of the canvas material as shown.

Step 48 While applying tension, wrap the corner around the stretcher bar as show so that the fold is on the side of the assembly. The fold should run at a 45 degree angle as shown.

Digital Paint Magazine - June 2012

Step 49 While continuing to apply tension on the canvas material, fold it around the back face and hold securely in the position shown in preparation for stapling.

Step 50 While holding the corner in position, insert several staples as shown.

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Step 51 Repeat steps 47 through 50 on the remaining three corners. Be careful that your folded edges are always on along the side stretcher bars. Your finished assembly should look like this when viewed from the back. Now use your hammer to ensure that all staples are fully inserted.

John is a landscape painter. His landscape scenes are created in a painting style similar to the famous Hudson River School and Victorian era artists. You can see more works

by John O’Keefe by visiting his website at http://www.okeefe-arts.com/

Step 52 Finished! http://www.okeefe-arts.com/okeefe_arts_resources_tutorial_canvas-stretching-2.shtml http://www.okeefe-arts.com/okeefe_arts_resources_tutorial_canvas-stretching-1.shtml

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A Blast from the Past Exploring Imaginary Places Marco Bucci Method 1: Starting With A Sketch Step 1: In this approach, a quick sketch is done to establish an overall picture and very rough value placements before I begin painting. You can do this drawing as detailed as you need it to be. I like it rough, so I don’t lock myself down too early. I will reach those conclusions I explore the picture further with paint.

Step 2: I scan the drawing in (or take a digital photo, in this case), and set it to ‘multiply’ mode in Photoshop. I now make a layer underneath the drawing, and using a big soft brush (a basic airbrush will do), I loosely block in a general color scheme. The multiply layer will keep your values in tact, so I’m just glazing color at this stage. I’m establishing the idea that this painting is going to modulate from warm, yellow-green hues into cool cyan-blues.

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Step 3: I flatten the entire image, so I’m now painting on one layer. I slow down and start articulating smaller areas of light and shadow within the larger masses. I am now painting on a layer over top of my drawing, so I have to be careful to keep sight of the big picture, as the brushstrokes begin to cover my original drawing (this is why the drawing was kept so rough). As a general rule when working this way, I work on the whole picture at once, bringing everything up at the same time. The success of a painting is usually determined by how areas relate to all other areas, rather than how nicely you rendered each part individually. It took me a long time to learn that.

and relative detail are all now at a degree that I find satisfying as a finished statement. It’s okay for areas to have less ‘finish’ than other areas (I want that to be the case, actually). But I do think every area should still read as something. If something doesn’t read as anything recognizeable, it can actually become hold the viewer’s eye there (in an undesired way) while their brain tries to make sense of it. And it’d be a shame to let that happen, after all the hard work and planning required to get here in the first place!

Method 2: The Direct Approach Step 4: Since the big picture is established, I can focus in on smaller areas.

In this step, the most noticeable work has been done on the right side of the picture, articulating that cool light hitting the forms. Notice that even though this side of the painting is overall a cooler cast than the left side, there are still warm/cool relationships happening within it. However, the strongest warm tones are reserved for the left side of the painting. Again, I’m always trying to keep sight of the whole picture, not compromising my original idea.

Step 5: A painting is finished when you’ve said what you set out to say.

That sounds vague, so allow me to clarify. Could I have rendered stuff out more? Of course. But the important things, like values, color temperatures,

Digital Paint Magazine - June 2012

In this method, I start with a blank canvas with no drawing at all. I have a rough idea of the picture I want to create, but really the goal is to ‘discover’ the picture as I paint. This is my preferred way of working, but I will warn you that it is a little more advanced.

When working this way, I like to cover the canvas with what I affectionately refer to as “garbage”.

Just abstract patterns (sometimes even chopped up bits of random photographs), all mashed

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together and covered with textured brushstrokes.

Naturally, my brain will begin to make sense of this mess, and sometimes I will see shapes that will inspire an entire painting. Other times, I’ll just start painting in one area, seeing what happens.

It is like walking a tightrope without a net. I like to establish a focal point early on (unlike the sketch method, where I work on the whole thing at once), and bring it to a near finish. This is the stage that that this image is in. At this point, it’s clear where the picture is headed, much like a jigsaw puzzle gets easier as you connect more and more pieces. This method of painting feels a bit like a dance...sometimes I lead, but sometimes the painting leads me. The abstract background that was laid in at the very beginning can actually show through in areas. So long as you have a good level of finish in your focal point area(s), some controlled abstraction can be a nice thing.

Compare this block-in to the finished painting to see how much further I took some parts, but also notice how little I did to other parts! I recommend trying this approach. I’ll warn you that it’s scary at first, but with experience, I guarantee it is a very fun and creative way to work.

My Book: Imaginary Places The Art Of Marco Bucci I am pleased to announce that I have released a book of digital paintings. I called the collection ‘Imaginary Places’, because every painting in the book was inspired by my imagination, rather than reference photographs. It has 45 pages of artwork, an essay on light and color, and a bonus DVD with digital painting demonstrations! It was released in July 2010, and is available to order online from my website: www.marcobucci.com.

Digital Paint Magazine - June 2012

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Digital Paint Magazine - June 2012

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The Old Masters Pino Daeni: Modern Day Impressionist Master

By Nadia Lim Unlike more Classic and Romantic counterparts, what sets modern day Pino Daeni’s paintings apart is his love for movement. Always, there is constant movement in all of his paintings and illustrations- a boy hiding behind the skirt of the mother, a woman dressing up in her chamber or a couple walking down the beach. Although still sentimental, Daeni’s paintings are always exciting to watch whether they be in the middle of an intimate scene or that of a topless gypsy learning to play the guitar.

Daeni has always been talented even in his early beginnings. Born as Giuseppe D’ Angelico in Italy, his talents were quickly recognized by his primary school teachers, who later told his father, Tommaso D’Angelico to hone it as much as possible.

The older D’Angelico though was not so keen to have his son be a painter.

Nevertheless, Daeni continued on his pursuit. He studied at the Academy of Brera and was influenced by many Italian Movements such as the Pre-Raphaelite, Digital Paint Magazine - June 2012

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Raphaelite and even Expressionism. He studied and honed his skills in live nude but went on to pursue the Impressionistic Style.

Even in his early 30s, Daeni already garnered recognitions and awards. He not only concentrated on getting commissions for paintings but for book illustrations as well. Perhaps because of his nude background, Daeni’s paintings and illustrations always have a sensuous touch to them. He likes to take his women subjects on excursions to the beach or paint them on their boudoirs. They are almost always in between a movement, like waiting for their lovers, for example or looking at a far distance.

He found 19th century feminine figures to be very feminine and played with light to give them a sense of intimacy.

After his success in Italy though, he found the place quite restricting and longed for the artistic freedom found in the United States. His works were soon absorbed by the Borghi Gallery who gave him several shows in both Boston and New York. There, he was able to gain more commercial success. He was able to work with big names and companies such as Harlequin, Bantam, Dell, Simon and Schuster and Penhuin USA. He made over 3,000 book covers, and soon became one of the most sought-after and highly-paid illustrators in America.

Despite his commercial success though, Daeni soon became restless, and longed for the artistic freedom of painting. He wanted to be free from deadlines and requirements, so he soon spent more time doing his paintings after having sent five to some galleries in Scottsdale, Arizona. Pino is well-known for using oils on linen. His trademark, apart from his selection of subjects is his ability to use vibrant backgrounds and dresses along with green shadows and thick highlights. Several hotels have bought his paintings Digital Paint Magazine - June 2012

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for thousands of dollars.

Part of his success is also due to his son, Max, who represented him and took care of all his marketing needs. Max was the head behind all the TV appearances and magazine interviews.

Digital Paint Magazine - June 2012

Pino died on May 2010 at 70 because of cancer.

Nevertheless, it is quite apparent Pino’s work will soon join the ranks of his Masters before him.

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Marketing Buzz

By Tim O’Neill

iPad Marketing Digital technology has impacted my daily routine now for over seven years and each year it my involvement gets deeper and deeper. It first started with my first digital camera in 2002. Then blogging and differences in website design came into play. From there podcasting, and various social bookmarking and social media sites became important. Smart phone platforms changed things even more and the iPad triggered a paradigm shift in how the masses consume data. A large number of people have disconnected the television and watch news, movies and other visual entertainment via their laptops or iPads.

How does this affect our marketing? How do we change and embrace more of a pull marketing situation than ever before? There are a variety of questions I had over the past three months as I began to reassess marketing in our new digital age.

One of the thought leaders specific to marketing and technology is Dave Sutton of Top Right Strategic Marketing. He offers a free white paper Digital Paint Magazine - June 2012

on the topic that is a very interesting read.

I know that marketing is not a hot button for many artists.

In fact in general anything with social media and marketing usually receives less than twenty percent the interest does that a nice tutorial on learning another technique will. The same holds true for workshops and at conference, there just is not as much interest in marketing art as there is creating art. Having said that the few that spend the resources to learn marketing will find a much higher ROI there than in most places of their business. The point is that Mr. Sutton’s paper is well worth taking the time to read.

Lisa Arthur a contributor to Forbes online did an interview with Sutton called How the iPad Will Change Marketing. The interview is now 18 months old but some of the information is pertinent.

One of the questions speaks to why the iPad is unique.

David says, “I believe that the iPad is revolutionary because it has the potential to enable entirely new business strategies. The iPad is unique because it represents: 1. Technology convergence.

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next edition of marketing buzz I will be looking at a variety of ways to use your iPad or smart phone in your marketing endeavors. If you have anything to share with us please send it to Tim at Digital Paint Magazine. The cool thing about next month’s issue? When we share the information you share with us we can go directly to your images and website from within the magazine platform for those reading on an iPad. Very cool!

Tablet formats combine advanced processors and high resolution with mobility, portability and affordability.

2. A form factor shift. With more than three million units sold in the first quarter after launch, it’s clear that consumers have embraced not only the iPad’s design quality, but also its versatility and intuitive usability.

3. The maturity of iPad app development. Both consumers and businesses are now hungry for apps, and the app development community is robust, mature and credible.” (Arthur, page2) Another interesting points from the interview speaks to that of the user experience. As artists we are in a field that is represented very strongly in most cases visually. The iPad showcases work in spectacular fashion.

I know many people in the portrait and wedding business that use iPads during the sales presentation. Have you ever looked at someone’s latest creations via smart phone? All of this technology gives us incredible opportunities to showcase our work. In addition to my mantra of ABC, always be creating” is ABS which is “always be showing/selling” In the Digital Paint Magazine - June 2012

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