June 2011 Issue Digital Paint Magazine

June 2011

Painter 12’s New Real Watercolor s 7ATERCOLOURS s ! "LAST &ROM 4HE 0AST

June is almost over already! I love summer and the many opportunities to create and view art. Here in Nebraska we have had way more rain than normal and flooding has been a problem, the same in other States as well.

In between packing sandbags I still can paint, photograph and create some fun stuff though. Much of the last few months have been spent in getting a good work flow down for my handmade paper and for large format transfers.

Hopefully we will talk about them next month, it has been fun!

At Digital Art Academy Karen Bonaker’s open Studio is just finishing up and Skip’s new Painter 12 class is rolling. We also have some new self-paced classes coming in the next few weeks that I know you will enjoy.

We also have a GREAT webinar coming up June 28th with Barney Davey. Be sure to check out that information by clicking on one of the ads I have in this month’s magazine.

Please be sure and send us your images for the Readers Gallery section. We would love to see more of our readers’ work.

Until next time.

Live well, Love much and Laugh often, Tim

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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.

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In This Issue Right Click

Painter 12’s New Real Watercolor

by Skip Allen

Readers’ Gallery "RUCE (ERMANS

True Colours Watercolours

by Joan A. Hamilton

A Blast From The Past %XPLORING )MAGINARY 0LACES

by Marco Bucci

Cartoon

by Victor Lunn-Rockliffe

The Old Masters 0IERRE !UGUSTE 2ENOIR

By Nadia Lim

Marketing Buzz:

!RE #HARITABLE $ONATIONS ! 'OOD -ARKETING 4ECHNIQUE Cover

Flowers

By Skip Allen

Digital Paint Magazine - May 2011

by Tim O’Neill

A New Tool to facilitate color!

by Chris Price

4 9 11 29 32 34 36 38 3

Right Click Skip Allen

Corel Painter 12’s New Real Watercolor

I am so excited that Painter 12 has been released. It is a strong and solid update to Painter 11. There are so many new and enhanced features, but I have to admit, my favorite is the new Real Watercolor brushes. Along with the brushes we have a new Real Watercolor Brush Control Panel, which makes creating custom brushes a breeze.

Watercolor painting isn’t an easy medium, traditionally or digitally. I don’t claim to be a watercolorist, but I have been trying to emulate a watercolor look with Painter for the last two years. I thought I was getting pretty close before Painter 12 came out. With the new Real Watercolor variants coupled with Watercolor and Digital Watercolor variants, it feels like I am splashing water all over my canvas. I do worry about my computer; all that water couldn’t be good for it.

I usually prefer to work from scratch with watercolors. I may have a general idea in my head, and sometimes I will do a quick sketch. The first thing I do is determine a color scheme I am going to use. For this painting I used a Split Complimentary theme, which is three colors with two being equally distant from the complement of the third. I have also heard it called a Triad, but I think a triad has three hues equally distant apart.

Once I have decided on the three colors, then I mix them and create a color set. See Figure 1.

My first marks on the canvas are usually simple quick loose washes or splats of color, and I keep the value very light. But for this painting I wanted to paint some daisy-like flowers, and I needed to develop a mask that would work similar to the way liquid masks work for the traditional watercolorist. I opened up the Channel Panel and created a new Alpha Channel. I took a custom real watercolor brush variant

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that I made and changed its method to cover and the subcategory to soft cover. The change allowed me to paint with it on a channel, since variants with the method set to wet cannot. Quick strokes with the brush can create lovely petals. (These brushes are still in the works, but when I get them finished I will post them at my blog.) Working with white paint and single strokes I created the flowers. The image is actually three channels overlapping. I like to separate groups of petals into different channels. See Figure 2.

I am ready to start painting. Since a channel is basically a storage device for a selection, I used the Load Selection command, Selection > Load Selection, to load the three channels. Painter defaults to painting inside a selection, so I inverted the selection, which meant that my washes would be on the outside of the flowers. See Figure 3.

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The inverted selection protected my flowers and left the white space I wanted. At this point I created a fourth new channel and again using white I painted a few background flowers directly on the channel. The transparent overlay of a channel makes it easy to see where to paint. I know I am not explaining exactly how to use the channels, but it is a big subject. I do have an Advanced Painter 11 class at the Digital Art Academy called Channels, Selections and Masks. See Figure 4.

At this point, I repeat loading all the channel selections. Again I invert the selections and paint more of the background. Any wet method brush can bleed into a selection; sometimes it is a happy accident.

But if the bleed isn’t working, I will invert the selection again and on the PC hit backspace to delete the contents of the selection. I believe the delete key is used for the same operation on the Mac, but I may

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be wrong. It is important that you work on separate layers for this technique to work. See Figure 5.

I loaded all selections again. Actually, the first time I loaded all four

selections, I saved them as a new channel, Select > Save Selection.

Anytime you save a selection a channel is created.

This time when I loaded the selections, I did not invert because I wanted to paint on the flower images. Again I used custom brushes.

All of the custom brushes that I used have been default Real Watercolor variants that I tweaked, or older custom brushes that I converted to Real Watercolor variants. The new Real Watercolor brush engine is very powerful and can create the look and feel of traditional watercolor.

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See Figure 6.

I saved the file and then dropped all layers to the canvas layer. Then I used “Lift canvas to a watercolor layer� command found in the Layers menu. At this point I did an iterative save and essentially I am working with a new document, Save > Iterative Save.

I loaded the selections for the three main flowers and began adding more washes. I wanted to bring in a bit more color to the background.

The edges of all the flowers were pretty hard, so I decided to soften them using a custom brush from my Splashing Water brushes, which are available for download at my blog. The brush is called WC Pencil

Blender Wet. It is using the old watercolor brush engine and the brush is very wet. It will re-wet any previous marks on a watercolor layer, Digital Paint Magazine - May 2011

softening the hard edges. Additionally, I used Real Watercolor > Scratch to scratch a few lines into the wash. See Figure 7.

Karen Bonaker had made some traditional watercolor splashes on paper and scanned them into the computer. She made them available for members of Painter Talk. I thought one would look nice with this image. I brought the scanned image in using the Place command, File > Place. I then created a layer mask using the icon at the bottom of the Layers Panel. Some strategic painting on the mask blocked part of the placed image. I duplicated the layer and flipped it horizontally and vertically. To do this required that I commit the watercolor layer to a default layer. Using the eraser tool, I cleaned up areas of this 7

duplicated layer. See figure 8.

To finish the painting I added a splatter or two and some blue leaf-like structures in the background using procedures already described. See Figure 9.

I enjoy working this way. I do believe the new Real Watercolor of Painter 12 will give us a very convincing watercolor image. I still need

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practice with the new software, but I am very encouraged.

Enjoy, Skip http://skipallenpaints.com

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Readers’ Gallery 40 years ago, or so, I went to school for art. Next thing you know I had a family, and was working in construction.

I never lost my love for painting & sculpture.

A few years ago I discovered Corel Paint, and Photoshop. As I have always been an amateur photographer, I fell in love with digital art immediately. I will be retiring in a few months and plan on spending much, much more time with my art... I am very excited. Digital Paint Magazine has been very inspiring.

Bruce Hermans Granby, Massachusetts

Air Dry in Venice

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Accordian Man

Wohoo! Congratulations Bruce. We look forward to seeing more of your work at the magazine and Digital Painting Forum. -Tim You can see more of Bruce’s work at http://www.flickr.com/photos/35845342@N04

Thornsflowers

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With the advent of the Real Watercolour Brushes in Painter 12, those of you not upgrading at this time may feel there is no point in trying to paint with the watercolours until you have. Or you may be using Painter 12 and want to use these brushes in conjunction with the Real Watercolours and the many Custom Watercolour sets freely available on the Painter Talk Forum.

The key to controlling these brushes is in knowing how the controls change the character of the brush and therefore the look of the mark you are making.

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The controls remain the same in Painter 12 as in Painter 11 for the Wet Watercolor Variants and some of the Real Watercolour Controls such as Pick Up, Evaporation Rate, and Dry Rate are similar to the Wet Watercolour ones.

When you start to use Custom sets made by other people or by making your own you will see why an understanding of these controls is so important when you want to alter brushes or design your own.

Note : the images for the watercolour controls start their numbering at 1 in the image, but they are saved differently in the folder.

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The first control on the water control Palette is the Wetness Slider. P11 Help Index defines it like this: “slider controls the dilution and spread of the paint.

As the wetness is increased, the resulting stroke expands over a larger area, eliminating the appearance of brush hairs.�

The increased amount of Wetness in the second brushstroke, as well as the increased Diffusion make this brushstroke spread further and look wetter. The Dry Rate is also lower which makes it take longer to dry during the diffusion process.

The higher Evaporation value in first brushstroke reduces the amount of paint spread because it controls the minimum amount of water that can still diffuse.

The Dry Bristle brush does not have a bristle dab type, despite its name. It has a Camel Dab Type.

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The biggest differences in these brushes are caused by these controls mainly; Wetness – huge difference, which will dilute the paint and spread it further.

Dry Rate – higher values reduce the amount of spread because it ‘dries’ faster.

Grain Soak-In is dramatically different between these two strokes. 100% on Left makes the paint soak into the paper grain a lot. 0% on the right shows the paint not soaking into the paper grain at all. All 3 elements of these controls work together to give a wet look and the Wind Force of 23 % pointing down pulls the wet paint down.

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Capillary Factor is the only Water Control difference between these two brushes. I painted them both with gradient colours. In the one on the left the edges are slightly more jagged. Cap Factor slider controls the effect of the paper’s grain on the diffusion of the paint.

It is not very noticeable with this stroke because my Italian Watercolour Paper is only very slightly bumpy.

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Pickup, Cap Factor and Grain SoakIn are the big changes between these two brushes. The latter two will mean the stroke is going to be grainy and have a rougher edge.

The high Pickup value means it will move the paint and blend together a bit, especially with a little bit of Wind Force to pull the paint down. It makes the bristle marks look fuzzier or more diffused.

These two strokes by the same brush produce a very different look because of the changes in the Water Controls for Pickup and Diffusion. Higher values for Pickup produce more leaching and mixing of paint.

Diffusion appears to be a very important factor in the wetness of a WC Brush. Higher values produce more diffusion of the paint which results in softened edges that feather into the grain.

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These two strokes by the same brush produce a very different look because of the changes in the Water Controls for Pickup and Diffusion. Higher values for Pickup produce more leaching and mixing of paint.

Diffusion appears to be a very important factor in the wetness of a WC Brush. Higher values produce more diffusion of the paint which results in softened edges that feather into the grain.

Image 5.2 Image 5.2 shows the dramatic effects of Diffusion only, on a stroke in the two examples of painted strokes.

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The only apparent difference from these two brushes seems to be the amount of Diffusion , which is a difference of 15 %. Obviously something else is causing the squared-off end on the Fine Flat stroke. As you will see in the next illustration the difference is the Dab Type which is not in the Water Controls. It can be found in the General Brush Controls.

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Image 7 shows the Watercolour Camel dab type which has softer more diffused edges. The one on the right is the Watercolour Flat Dab Type which has hard edges and a more oval squeezed shape which allows for finer lines type strokes.

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Not only are the dab types different, but the settings for the controls are very different between these two brushes as well. In brush two the controls that make the paint spread further and look less grainy are the Wetness, Pickup, and Grain Soak. These make the major differences between them.

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Not all the airbrushes change into watercolour airbrushes that are very useful. I use a Wet Fine Spray, a wet Variable Spatter, a Wet Pixel Spray and Wet Tiny Spattery Airbrush. You generally have to use a very light colour with them and a low opacity or they are too dark.

Tips: I sometimes use a dry airbrush where I need to change colour ie: to add more light, then the layer can be dropped to the canvas and lifted again to a watercolour layer to incorporate that ‘dry brush’ into the wet workflow.

You can also use the distortion brush Confusion (set to Multi) to blur your tiny spots to make them look wet or like part of a back run.

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These illustrations show the effects of the various controls on the same brushstroke. Make a Control stroke using Record Stroke and Playback. Then vary your controls one by one and see what happens. Return brush to default state in between if you wish, but the effects are often a result of one or more variances in the controls. Remember your goal here is to discover and understand how the controls change the brush.

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There are eleven variants with the descriptive word “Runny� in them. It means that the paint will run in whatever direction the Wind Force arrow is pointing.

The thing the Runny variants all have in common is the use of the Wind Force and Direction of Wind Force. They all have varying degrees of other water controls changes as well, which help give each a distinctive look.

The Dab Type in General controls also varies depending on whether the brush is a Bristle, a Camel, or a Flat Dab type.

You can also change Dab type to Static Bristle keeping your Method Wet for a whole new interesting set of variables! Or you can start making your own dabs and brushes that suit your style.

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Wind Force controls the amount of force exerted on the diffusing particles. How stiff is the breeze, in other words. Because we can tell the paint which direction to flow in, it is like tilting your paper to let the paint run. It makes gravity a factor in how to paint particles are moving. Therefore Wind Direction which is set by the arrows (in P11 and by a number in P12) is an important water control to consider. It can be set in any direction in the 360 degree radius.

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To help you set the wind direction Painter 11 has the circle with the arrows which you can move around a 360 degree radius by clicking on the point of the arrow and pointing the arrow in the direction you would like the paint to flow.

Painter 12 does not have the circle with the movable arrow, so you need to know the number to set your Wind Direction. Being a visual kind of person I need the little circle to figure it out quickly and easily, so I made the circle with some of the numbers on a sticky posted to my screen.

With Accurate Diffusion enabled a smaller diffusion window is

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used. In sample 2 you can see that the diffusion is more focused and the grain of the paper shows more than the wider spread diffusion of sample 1.

If you really want to see diffusion in action check out the Real Watercolour brushes in Painter 12. You can be sure I am studying them pretty closely too, to figure out how they work!

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All three of these brushes have very similar, or the same brush controls. Notice that they all have a high Diffusion value of 89%, Pick Up 20 % and 0% Grain Soak -In or Cap Factor.

The two grainy versions Diffuse Grainy Camel and Diffuse Grainy Flat use Cap Factor and Grain Soak-In to get the paint particles to soak into the paper grain.

I must admit though, that I see very little practical difference between these three brushes, even though one is a bristle dab and one is a flat dab type. Perhaps the differences show more when other controls are changed in conjunction with the Wetness Control.

Hope this helps you understand the controls and gives you the confidence and skill to feel comfortable and creative with these amazingly versatile brushes.

Until next time! Happy Painting!

Joan

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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, yellow­green hues into cool cyan­blues.

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!"#$%&'%(%)*""#+%",#%#+"-.#%-/*0#1%23%(4/%+35%$*-+"-+0%3+%3+#%6*7#.8%%(%2635% 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 ahve 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.

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.

!"#$%9'%:%$*-+"-+0%-2%;+-2,#<%5,#+%73=4>#%2*-<%5,*"%73=%2#"%3="%"3%2*78%%?,*"% sounds vague, so allow me to clarify. Could I have rendered stuff out more? Of course. But the important things, like values, color temperatures, and relative <#"*-6%*.#%*66%+35%*"%*%<#0.##%",*"%(%;+<%2*"-2@7-+0%*2%*%;+-2,#<%2"*"#/#+"8%%("42%

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3A*7%@3.%*.#*2%"3%,*>#%6#22%B;+-2,4%",*+%3",#.%*.#*2%C(%5*+"%",*"%"3%D#%",#%E*2#1% 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 "3%0#"%,#.#%-+%",#%;.2"%$6*E#F

Method 2: The Direct Approach 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 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,

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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 *"%3+E#G1%*+<%D.-+0%-"%"3%*%+#*.%;+-2,8%% 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 *%033<%6#>#6%3@%;+-2,%-+%73=.%@3E*6%$3-+"% area(s), some controlled abstraction can be a nice thing. Compare this block­ -+%"3%",#%;+-2,#<%$*-+"-+0%"3%2##%,35% much further I took some parts, but also +3"-E#%,35%6-""6#%(%<-<%"3%3",#.%$*."2F%%(% recommend trying this approach. I’ll 5*.+%73=%",*"%-"42%2E*.7%*"%;.2"1%D="%5-",% 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 am releasing 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 <#/3+2".*"-3+2F%%("%5-66%D#%.#6#*2#<%-+% July 2010, and will be announced and available to order online from my website: www.marcobucci.com.

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â&#x20AC;&#x153;Gremlinsâ&#x20AC;? http: //cargocollective.com/victorlunnroc Digital Paint Magazine - May 2011

Victor Lunn-Rockliffe 33

The Old Masters Pierre-Auguste Renoir

by Nadia Lim Every day people breathe in and out art in their lives. Many people won’t see it that way but even a simplest glance defines art. Art is a form of expression reflected on different medium. And one very popular medium when it comes to art is painting. Painting on its own contains a lot of genre as well. One of which is the Impressionist art. On this style of painting, the artist confines the image of the subject in a way how a simple glimpse on the subject would look like. Just like the word impression means, it is the feel or sense we get upon looking on something. When we talk of Impressionist art the name Pierre-Auguste Renoir would probably be the greatest way to describe it.

Renoir was one of the greatest Impressionist artists in the world. He has done many masterpieces in the Impressionist mode. Most of his art works showcase the effect of sunlight on different objects with vibrant and saturated colors. He also loved working people especially on the physique of a female subject. The details on his work blended in natural way that leaves a sense of softness and comfort that is very relaxing to the eye.

‘Two Sisters (On the Terrace)’ is one of his works. He made this oil painting on the year 1881. The painting suggests that the scene was taken in springtime because the vines in the terrace rail have just bloomed. The harmony of light and dark shaded colors further highlights the girls in the image. He also obviously used contrasting colors on the girls’ dresses to further create balance on the painting.

A decade after he made the ‘Two Sisters (On the Terrace)’, the French government summoned Renoir to create a painting for the then newly built museum which is the Musee du Luxemburg. You can see how the emotion of the subject was dinsctictively captured in this painting. The details and shading are flawless and you can see in this picture the amount of effort he put into this painting. He did a great job in creating the innocent and domestic theme. The choice of colors he used also sets a light but sincere Digital Paint Magazine - May 2011

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tone in this work of art.

Among Renoir’s well known art works, ‘The Boy with the Cat’ is probably the most significant in his career as a painter. He made this painting on the year 1868. This marked the turning point of his career after experiencing rejection from the Salons on the years before he completed oil painting. The devious look on the boy’s eyes remains to be a mystery until today.

You can see the shading he used to define the boy’s toned body is so simple yet so natural. You can sense the passion the cat and the boy share on how the boy embraced the cat and the way the cat laid its hand on the boy’s arm. The choice of color he used suggests strong emotions of melancholy.

As a creative artist, he was able to complete thousand paintings. The affectionate sensuality and passion of Renoir’s style made his work some of the most popular and frequentlyreplicated works in the history of art. He left young artists an inspiration that despite the obstacles that may come their way, they could still be successful in their craft if they just persevere and believe in themselves.

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Marketing Buzz

By Tim Oâ&#x20AC;&#x2122;Neill

Are Charitable Donations A Good Marketing Technique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

Digital Paint Magazine - May 2011

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`-'/3%3*% 6(3%3"($(%\-*+-($$#*+$^7%a.@#+6%$.#1%3".3C%3"(%"#6"(2%(+1%$"*9$%.2(%3"(%*+($%?% 9.+3%.+1%#+%3"(%(+1%.2(%A'-"%(.$#(2%3*%9*2=%9#3"7%8.+0%)A($%3"(%4'+12.#$(2$% ?%".@(%4*'+1%3*%5(%3"(%5($3%4*2%+*3%*+/0%$"*9-.$#+6%A0%9*2=%5'3%6#@#+6%.+1% 2(-(#@#+6%32(A(+1*'$%@./'(%.2(%3"*$(%3".3%?%.A%,.$$#*+.3(%.5*'3C%3"*$(%3".3% ?%$((=%*'37%80%/.$3%4'+12.#$(2%1*+.)*+%9.$%9#+B9#+7%b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.+1%9"0%?%+((1(1%$*A(%,2*3(-)*+% 4*2%-*//(-3*2$%$,(-#Y-%3*%,2#-(7%V>(2% .//%#4%.%/#A#3(1%(1#)*+%,2#+3%+*2A.//0%#$% $*/1%4*2%cPCQdd%*+%A0%$#3(%.+1%#3%9(+3% 4*2%cRdd%.3%.'-)*+%3".3%9*'/1%5(%.% -*+-(2+7 G#+.//0C%*+(%*4%3"(%/.$3%3"#+6$%3*%5(% 9.20%*4%#+%3(2A$%*4%1*+.)+6%.23%#$%3"(% 3._%2.A#Y-.)*+$7%?%".@(%".1%A.+0% .2)$3%$.0%3"(0%-.+%K'$3%92#3(%*e%3"(% -*$3%*4%3"(%1*+.)*+7%MN%fVONGgb7%?% .A%+*3%.%3._%,2*4($$#*+./%$*%-"(-=% 9#3"%0*'2%,(2$*+./%fhV%5'3%?%".@(%+*3% 4*'+1%3".3%3*%5(%3"(%-.$(7%?4%?%1*+.3(% .+%Vh%4*2%(_.A,/(%3".3%?%+*2A.//0%$(//% 4*2%cQCTddC%*+(%9*'/1%3"#+=%3".3%?%-.+% $"*9%3".3%.$%.%1*+.)*+%*4%cQCTdd%K'$3% /#=(%.%1*+.)*+%*4%4'2+#3'2(%*2%-/*3"#+6% 6#@(+%3*%6**1%9#//7%!".3%#$%+*3%3"(% -.$(C%3"(2(%.2(%.%1#e(2(+3%$(3%*4%2'/($% 6*@(2+#+6%.23%D$'2,2#$(1IE%.+1%.2)$37% H*%.6.#+%-"(-=%9#3"%0*'2%3._%,2*%3*% 6(3%3"(%1(3.#/$%Y2$37 80%(_,(2#(+-($%9#3"%1*+.)+6%.3% 4'+12.#$#+6%(@(+3$%".@(%2'+%3"(% 6.A'3%42*A%3*3./%9.$3(%*4%)A(% .+1%(_32(A(%(A5.22.$$A(+3%3*% 3"(%*,,*23'+#30%3*%5'#/1%/#4(/*+6% 42#(+1$"#,$%.+1%+(9%-*//(-3*2$%./*+6% 3"(%9.07%V%/#;/(%5#3%*4%1'(%1#/#6(+-(% 9#//%6#@(%0*'%.%5(;(2%*,,*23'+#30%3*% $'--((17

Digital Paint Magazine - May 2011

37

A New Tool to facilitate color!

Well maybe not exactly but Chris Price’s MXSMaker is awesome! What does it do? Below is the text from Chris’s blog that explains it.

MXSMaker is a minimal application with only one button that does one thing – make MXS files for Painter, and it is as easy to use as it looks:

MXSMaker: Image to Painter Mixer Pad Painter has a few ways of creating color palettes from images whether it be through color sets, the Match Color command or the stylistic coloring achieved through automatic processes such as in the Underpainting panel. Now, add one more: the Mixer panel. With MXSMaker, it is very easy to convert any JPG, PNG or GIF file, with transparency preserved, into a Mixer Pad file that can be loaded directly into the Mixer panel of Painter 8.1 through Painter 12.

Click the Select Image button Choose an image from the dialog Save the converted file In addition to the button, there are three other ways to create Mixer Pad files with MXSMaker, and all are just as easy and fast.

Drag any JPG, PNG or GIF file over the application window and drop the file Copy and paste any compatible file from your OS’ filesystem using standard OS shortcuts Copy and paste any image data from any application (ex. a selection from Painter’s canvas, Photoshop, SnagIt or your web browser) Automatic updates are included in the application and are checked every time the application starts if an active internet connection is available.

This behavior cannot be turned off; however, downloading and installing an update is your choice.

How cool is that? You can see more information on using the tool as well as the free download at http://www.studiochris.us/software/ mxsmaker/.

MXSMaker Main Window

Digital Paint Magazine - May 2011

Thanks Chris!

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