January Issue of Digital Paint Magazine

January 2011

Watercolor Painting with ArtRage Pro Painting with Photoshop CS5 Protect Watercolor White Space

I love January! It is usually fraught with activity of planning, scheduling, and tweaking and has an overall feeling of optimism and controlled chaos. This year falls absolutely in line with that. Many things are happening here at the magazine as well as our parent company Prosperity Publishing.

This month the magazine is not your typical issue. We still have a few nice tutorials from the talented and generous artists who volunteer their time, thank-you to all of those that make this magazine possible. We don’t have as much content specific to tutorials as we normally do but what we do have are a few really cool things.

We have included a very nice recap of the year in the form of a resource guide that categorizes and cross references the year. How cool is that? A long-time reader and volunteer who wishes to remain nameless put a tremendous amount of work into it so you could find the things you are looking for quickly and easily. Thank-you!

Additionally you will see an announcement that I have acquired Marilyn Sholin’s Digital Painting Forum. This is an exciting new addition that will help round out the Digital Art Academy and Digital Paint Magazine.

Marilyn has a few things to say about this change as well.

Moving forward the magazine is being turned into a membership site. Nothing different initially except that you will have a user name and password that will give you access to all of the content. Hopefully that change will happen by February.

Other exciting things coming around include the Winter Digital Art Summit. There are some exciting new artists being presented as well as a few of your favorites from the Summer Summit. The webinars will be mid February to mid March. Also in March will be a project that Heather Michelle and I are working on together called Digital Painting Mastery. A side note and pertinent to only a few of you is the launch of Mamarazzi Academy. This is a school specifically designed to help those just coming into photography; whether they are a budding pro or a serious amateur, the school will teach capture and post-capture basics as well as advanced workflow and techniques.

We have a survey we would love you to participate in at https://www.surveymonkey.com/s/ DigitalPaintMagazine2011Survey I have a very cool podcast mp3 download to give everyone who takes the time to answer the 10 questions in our survey. This information will help us develop programming to server you better. Have a specific class you want or artist you would like profiled? If so then head over to the survey and let us know.

Finally the other thing you will see is that the magazine is in flip format now as well as available on many handheld electronic devices. An iPad app is in the works.

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 - January 2011

So enjoy this issue and be sure to comment on FB the blog or other social media sites. We appreciate your input.

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In This Issue A note from Digital Painting Forum Founder Marilyn Sholin Readers’ Gallery

by Altman Victor

Cartoon

by Victor Lunn-Rockliffe

Painting With Photoshop CS5

by John L. Stevenson

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True Colours

How to Make a Note Card Using Your Own Art in Corel Painter

by Joan A. Hamilton

Readers’ Gallery

by Bob Bello

Marketing Buzz:

by Tim O’Neill Cover

DPM Composite

By Tim O’Neill

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DPM Index for 2010

17 22 24 25 3

A Note From Digital Painting Forum Founder Marilyn Sholin It is with great excitement and sadness that I have reached an agreement for Tim O’Neill to take over and own the Digital Painting Forum.

You may be confused by that statement, but don’t be. The Digital Painting Forum founded by me in April 2005 was a wish and a dream for a community that could discuss digital painting and learn together helping each other. And it Happened! I am honored to have met so many of you in person and others through our friendships via the internet. I treasure each one of you!

Over the years it became clear that where I wanted to take the forum was more of a job than I had the time for. It broke my heart. Honestly, I just didn’t know what to do, until Tim and I had a few wonderful conversations and I saw an opportunity to let the forum grow and thrive and for me to be an active member able to post more instead of worrying about the administrative end.

I am beyond thrilled, excited, happy that Tim, who is an incredible painter and an amazing business person with ties to the digital painting community via the Digital Art Academy and the Digital Paint Magazine is able to take over and let the forum members expand on their education.

Truly, it is always hard to give up a “baby” you have nurtured, but it’s an amazing feeling of security to know it has a nourishing new home. Please give Tim a warm welcome and all your support as I am!

Marilyn FACEBOOK twitter: @msholin @digitalart Blog PIXIQ: http://www.pixiq.com/contributors/marilynsholin ZAZZLE for gifts Fine Art America for Prints

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Readers’ Gallery Altman Victor He has shown a vast sample of his works and his career as a guest in almost a hundred on-line galleries and forums all over the world.

His work has been published (sometimes on request, as from the magazine Año Cero) in specialised magazines devoted to avant-garde art such as “Atlántica Internacional” (the magazine by CAAM in Las Palmas –Spain-), “Arte & Diseño por Ordenador” ,“LIA magazine”, “Natural awakenings” or “Computer graphics world”, published in the United States.

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The appreciation for the quality of his works is present on the many occasions when his creations have been awarded a prize or honourable mention, as well as when they have been selected in competitions and artistic events both in Spain and abroad (MAC21 art-e-mail International Contemporary Art Fair Marbella –Spain-, International Festival PIXXELPOINT in Slovenia, ARTEXPO Bari 2002, Asia Digital Awards 2002 in Fukuoka (Japan), Biennial of Arts in Tenerife –Spain-, SIGGRAPH 2003 San Diego (USA), 5th International Digital Salon from Cuba, Biennial of Florence –Italy-, etc).

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Homage to Delacroix Delacroix urged his students to be able to draw a man falling out of a window. This triggered the thought that it would be even more impressive if the man falling out of the window kept drawing on the way down. So in this seasonal image a whole bunch of enthusiastic artists are so intent on their mission that they keep drawing right the way through a sleigh crash!

http: //cargocollective.com/victorlunnroc Digital Paint Magazine - January 2011

Victor Lunn-Rockliffe 7

TrulyScene a column: exploring Digital Painting with Photoshop CS5

John Stevenson jstvnsn@photoscena.com January 2011 Introduction This is the third in a series of tutorial articles. The first two, published in the preceding issues of this magazine, concentrated on the Bristle Tips, which are an innovative addition to Photoshop in the CS5 release.

The other major advance in the CS5 painting “engine” is the Mixer Brush. Many commentators and teachers have been attracted to the use of these two new features in direct combination, one with the other. I am taking an alternative pathway, initially exploring their scope and use as separate entities.

However I am going to take a short detour before embarking on some simple painting examples involving the Mixer Brush. Another new function in CS5 is the HDR Toning option, which is newly added to the Adjustments options in the Image Menu. Basically what this initiative by Adobe does is to “split off” one of the components of the original Merge to HDR command that has been present since the release of Photoshop CS3. Forming an HDR image via merging involves – necessarily – the use of multiple photographs of a single subject, collected with bracketed exposure settings. But, the now fully independent HDR Toning capability can be applied to just a single image. And this is what is explored first in this article, this month.

It is always worth remembering that one of the primary attractions of working and painting solely within Photoshop is the ability to combine different image editing and rendering/reconstruction features in specific workflows, essentially treating Photoshop as “Imageshop”.

Background – Painting Analysis Nevertheless, an understandable initial question from the audience

Digital Paint Magazine - January 2011

might be: I’m only interested in digital painting, what in goodness gracious does HDR photography have to do with that? The short answer is that digital painting aims to incorporate painterly effects within some specific and stylized pictorial rendering. And it happens that traditional painters have used the principles which underlie HDR photography, for more than a century already.

Originally, master painters did this on a primarily intuitive basis. As an example, Illustration 1 here uses an impressionistic still life by Paul Cézanne. The Levels dialog open at the top-right of the screenshot shows how few tones at the low and high ends of the range were used in painting this work. From a critical viewpoint, this could be argued to be unnatural. There is enough light incident from the right hand side to produce reflections from the glassware. In this case then, the gray cloth folded over the table top at bottom right would have left a far stronger shadowing there “in reality”. The white cloth does cast a hint of a shadow against the wall at the left side, but not the bottle adjacent to it. Most of the deepest/darkest tones in the painting are used to record the patterning woven within the gray cloth. Meanwhile, amongst all of this, the apples seem the “heaviest” components of the piece.

Illustration 2 is another Cézanne work – a landscape this time. Again the Levels histogram shows just how biased the emphasis on mid-tones is. Are there natural shadows below the foreground tree trunk on the left side? No. Does the sunlight illuminating this scene from the left produce realistic highlighting? Only perhaps on the wall of the small red-roofed building on the lakeshore. And barely at all in the form of reflections from the surface of the lake itself. Plus, the highlights in

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the far background are only sufficient to indicate just the presence of a mountainside (with only very little of its structural detail).

The important thing to realize here is that these works do not have to be painted in this way. They (both) could contain much deeper shadowing, and way more extensive highlights. If either of these two scenes were to be photographed, in the natural light hinted at by Cézanne, then that is the way the recorded images would most likely appear. It’s easy to find other Impressionist still life studies which use a far fuller range of tonal values, and which look intentionally more dramatic as a result. But, in fact, Cézanne is representing – albeit in an extreme manner - both of these scenes in a way which is intrinsic to the human eye. By giving more weight to what is in the mid-tone range and by allowing what is in highlight and shadow to reveal details (which the eye could capture if it were directed and focused in a glimpse at those areas alone). So, effectively, the paintings include an HDR-like image Digital Paint Magazine - January 2011

treatment. (By the way, there are at least four other still life works

by Cézanne in major museum collections which use the same black patterned gray cloth in a very similar manner to that in Illustration 1 here. All painted between 1893 and 1895. So it is clear that he was, at that point in time, very committed to experimenting with this rendering style; aiming to examine and resolve it in a careful way.)

More than a century onwards, digital photography is now fully engaged in the development of HDR techniques but from an entirely different standpoint. The full range of tones of gray which can be recorded by a modern-day digital sensor chip in your dSLR camera is actually less than applied in the case of an older camera loaded with professional-grade film. However, on the other hand, it is possible to build digital tools to analyze the distributions of tonal information across and within an image. So this information, gained analytically not intuitively, can be used to “rebalance” the digitally recorded image; to - in effect - correct 9

it in a way which approximates the adaptive processes which the human vision system uses to track the distinctions between highlights and shadows.

A Worked Example – HDR Toning Illustration 3 here includes an original photograph which is at the full opposite extreme to the two Cézanne paintings. It has only very few mid-tones – a large majority of the content registers at the lowand high-ends of the histogram. Could this image, once corrected for a green color cast, be suitable “as is” for digital painting? Possibly.

The primary subject – the nuns and their guide – would still be lit in the shaft of white light from above. But several of the contextual components of the background (and also the floor) would become lost.

The next screenshot image (Illustration 4) shows the photographic

Digital Paint Magazine - January 2011

source within the HDR Toning utility which CS5 now contains. Note that the input image, which was a 16-bit scan, has been upsampled to a 32bit format at this point. Also, the HDR Toning function only operates on a flattened (one single Layer) image. Unfortunately the functionality as a whole is poorly documented by Adobe, at least within the standard Help resources. But, basically, the dropdown menu titled Method in the dialog at top-right in the screenshot allows selection from four alternatives. Amongst these, the Local Adaptation Method seems likely to be the most universally useful, and allows the use of a number of Presets. (It’s interesting that some of these are named with “painterly qualifications”, such as “Surrealistic” …) But the principal contrast resets are the Radius and Strength sliders in the Edge Glow sub-menu.

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Overall it seems best to push the image quite hard at this stage – to a point where the adjusted tonal distribution has a mid-tone peak (see Illustration 5). In this specific case – as per Illustrations 4 and 5 - it can be seen now that there are two illumination effects revealed within this photographed scene, including a purple-colored light incident from the left side on the rear wall (from a stained glass window). Also, the re-toning has uncovered the full color components in the stonework of the columns and the marble flooring.

Finally Illustration 6 here shows one method for incorporating some of these attributes back into the original photograph, on a selective and subtle basis, via the use of luminance masking. Both of the two topmost Layers in the sequence included there use the output from the HDR Toning Adjustment. And both have been allocated Masks which utilize luminances taken from individual Channels of the original. In the first case, some mid-tones below the median are inserted back into the Digital Paint Magazine - January 2011

original by setting the Blend Mode of the lower Layer to Multiply. While the upper Layer – where the Mask has been inverted - is then set to the Screen Blend Mode, so as to filter some upper-middle tones back into the final re-toned and re-mapped image.

Painting Options Another justifiable question at this point would be: might either the original image (see Illustration 3) or its enhanced, tonally remapped version (the output shown in Illustration 6) be exhibitable as photographs? Probably not (… at least in the personal view of the photographer!). But – as an easier question - might they be the subject of a intriguing digital painting? Well, the HDR Toning procedure may have put that within grasp. And the CS5 Mixer Brush could perhaps be a key means of meeting that objective. Almost uniquely in the “lifetimeto-date” of Photoshop it is a fully-fledged Tool which can be used in at least four different painting modes: 11

i. free painting – that is the construction of an image with no tie-in to any specific pictorial source (other than the artist’s imagination …), ii. reference painting – which can be either external (where a hardcopy, non-digital reference is used), or, internal (where a base image is open in Photoshop but is used just as a guide), iii. image over-painting – where a source image is used as the direct origin(s) of color and spatial information and where it is obliterated in the course of completing the painted re-rendering (on the same Layer), and, iv. image sampling – where a source image is again used as the foundation of composition, detailing and colors, perhaps on multiple Layers, but is itself “protected” and left untouched during the painting, and also, of course, in any combination of these four.

Digital Paint Magazine - January 2011

That underlined word almost is used intentionally in the preceding paragraph. This is because there are several functional similarities between the Mixer Brush and Photoshop’s Smudge Tool. The latter is not at all new within the “lifetime-to-date” of Photoshop. And whether or not its introduction and development was ever intended to provide a serious basis for painting is not clear (at least to the writer here).

Nevertheless it can indeed be used in all four of the primary painting scenarios just outlined. So, just as an introductory baseline, I’m going to concentrate just for a while here upon the generic use of these Tools in the last of the four modes listed above. (It’s a lot easier to deduce how to work in the other three modes from this starting point than the other way around!)

Illustration 7 is the result of a simple exercise undertaken with a test pattern image (1200 by 1200 pixels in size) in a single Layer configuration. It includes two single strokes made with the Mixer Brush and, comparatively, two more laid in with the Smudge Tool. And it

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confirms just how similar the output from the two Tools can be made to be (in this instance when using original static Brushes from the default Photoshop set).

A primary feature common to both the Smudge Tool and the Mixer Brush is the Sample All Layers option (found in the right-hand portion of the Options Bar). This is the key preference which enables the image sampling mode (sometimes mistakenly called “cloning”). The next screenshot (number 8) illustrates an initial setup scheme which allows for this, for either Tool, where the Layers included are, from the bottom upwards: · the original, but tonally remapped, photographic image, · a Layer which acts as the source for the image sampling, · a Layer, filled with white, which acts as a temporary viewing backdrop for the painting, Digital Paint Magazine - January 2011

· a Layer which provides an outline guide (in this case derived from the output of the Glowing Edges Filter), and lastly, · the first of multiple Layers, all initially transparent, from which the painting will be constructed.

Note that neither the white nor the outline guide Layers can be active when painting (otherwise their colors will be used as a part of the sampling performed by either Tool). One way to have a visible guide in place while painting, as shown in the Illustration, is to copy and paste the same Filter output image to be an alpha channel.

With this configuration in place the user should be aware that the output painting created on the topmost transparent layer has both a color and a spatial definition which is somewhat dependent on the Opacity setting of the single Layer from which the sampling is made (the Layer immediately above the original in the stack) – the best idea is to get used to working at one fixed setting. Also that both the 13

Smudge Tool and particularly the Mixer Brush can be very sensitive to both stylus pressure and tilt on a graphics tablet – so it’s important to pre-calibrate this carefully. And again, the best idea is to get used to working at one setting. Finally, in this preamble, both Tools seem to be limited, practically, to 8-bit images no bigger on average than 2000 by 2000 pixels, (or no larger than 12 Mbytes in file size). Otherwise the “action” on the screen lags the strokes made with the stylus – and any lag at all is more pronounced when using longer, more expressive strokes.

The unavailability of the Texture option in the Brush Panel for the Smudge Tool (see Illustration 7) is problematic. The overall appearance of a brushstroke can be changed from that included there, for example by using static brushes from the Natural Media set or the Bristle Tips, though not by much. But in addition it’s not practical to use the Smudge Tool at a Strength setting of less than the full scale (100%), otherwise the stroke “action” on the screen again starts badly lagging the movement of the stylus. (I have no idea why a setting which does less pixel-scrambling should have this disadvantage … ‘tis a mystery.)

The Mixer Brush, by comparison, has a whole slew of features and options. So many in fact that initial configuration and setup can be really forbidding. There is - for example - scope to use it with old(er) static-imprint Photoshop Brushes, as an alternative to the new Bristle Tip family. The final two Illustrations here - 9 and 10 - just provide an early-stage look at a painting project which will be described in detail next month. It uses the image captured in Illustration 6 above as the source. And, from a technique(s) standpoint, the following are key aspects: · all of the brushwork recorded in both Illustrations involved use of a single Bristle Tip, though in subtly different configurations, · the source image has, in this instance, its Opacity fixed at the minimum (1%) – see Illustration 9, · the added alpha channel, which carries the painting guide (subject outlines), can be seen as active within the Channels Panel shown in Illustration 9, · there is a concentration upon painting just one component of the overall composition first (in this case the background, working towards its completion first), Digital Paint Magazine - January 2011

· there is initial use of very simple brushstrokes, laying down just limited color per stroke; as per Illustration 9, · then the painting itself is performed upon multiple Layers – as can be seen in both Illustrations, · a further limitation in the overall color build-up is made by reductions in the Opacity (i.e., increasing the transparency) of each finished Layer, · there is substitution of a colored backdrop for the white one (i.e., effectively reassessing the painting above a colored underlay), plus, · the painting guide has been made inactive; both in Illustration 10.

Afterthoughts and Resources This month’s contribution has really been principally about an ageold mantra: you cannot paint what you cannot see. There is actually a halfway step between seeing and painting – it involves nailing-down a vision of the art that’s possible. In the digital domain, what can be envisioned is sometimes more dependent on the piece-by-piece construction of, and adjustments to, the final work.

Now the reader may object to the use of Cézanne’s paintings as examples of artistic vision within this article; specifically involving his deliberate extremism with tonal values. However, excellent constructive and helpful analysis of this can be found in “Cézanne’s Watercolors – Between Drawing and Painting”, by Matthew Simms, published in 2008 by the Yale University Press. Additionally, Al Gury’s book “Alla Prima – a Contemporary Guide to Traditional Direct Painting” (published by Watson-Guptill, 2008) includes very useful instruction on the analysis of the values of color and tones using the photography of still life objects (by one more of the ever-famous apple studies!).

One recommended resource which provides additional/specific details on HDR photographic constructions (and conversions back into a LDR viewing/working environment) is Martin Evening’s newest version of “Adobe Photoshop for Photographers” – the edition for CS5, published

by Focal Press (in 2010). But, alas, it includes no photography of apples …

There is a comprehensive Photoshop Smudge Tool exercise included in the book “Beyond Digital Photography – Transforming Photos into Fine 14

Art with Photoshop and Painter”,

by Cher Threinen-Pendarvis and Donal Jolley (published by Peachpit Press, 2009). However, it concentrates upon an oil painting emulation scheme alone and uses (therefore) a single Brush type. While a multi-Layer assembly is made to gain the final output image, the construction scheme itself is very different to what is outlined here.

My next column in this magazine series will deal exclusively - and in detail - with the Mixer Brush, new in CS5. We will see that the configuration of a range of Brush types can be important.

However, it’s also a complex task - the whole slew of Mixer Brush settings, options, parameters, etc. often promotes a real stew!

But also – consistent with “you cannot paint what you cannot see” – Adjustments, Adjustment Layers and Masks all can have an equally important role. I always welcome any questions or feedback the reader may have.

Just send e-mail to: jstvnsn@ photoscena.com

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Digital Paint Magazine - January 2011

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How to Make a Note Card Using Your Own Art in Corel Painter Setting up your Card Template: Open a document the same size as your card.

This tutorial is based on a 6.25 in. x 9 in. card. The cardstock is Red River Aurora Fine Art White. I use Corel Painter to make my cards because I don’t have Photoshop.

From Canvas Menu choose Show Rulers and then Show Guides. Set guides as shown in illustration no. 1.

Width – 0.25, 3.125, 6.0 Length – 0.25, 4.5, 5.0, 8.75 Make sure there is a ¼ in border all around.

This is an unprintable area with my printer.

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Areas of the Template 1. Printable Area – area within the red boundaries. Printer does not print to edge of card, so you need to allow for this in your design and placement.

2. Center of card lengthwise and widthwise – blue lines.

3. Design Area – within green boundaries. You need to keep all of your imagery within this area.

4. The center line lengthwise is the point you use to line up the center your imagery and the center of the text on the back outside.

5. The center line widthwise is where you measure the top of the image from the fold in the card. It has to be at least ½ inch to be consistent with the bottom margin, which will be ½ inch as well, when printed.

6. I have found that being precise about the measurements makes for a more professional look to the finished card.

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Design Decisions I chose a really simple design for this card because I didn’t want to detract from the lines and shapes in the painting. I placed a pale violet box around image, and then a rusty coloured one, slightly larger, to frame the painting. I found that anything thicker or darker made the eye go the box too much.

The original painting was a square format, but I stretched it lengthwise to make it fit in the design area better. Some images don’t take kindly to this stretching, so be careful when you try it.

Most of my paintings are rectangular in shape, so they actually fit the design area quite well without much embellishment. I want it to look like a tiny watercolour in the end, so keeping it simple enhances this.

Don’t forget to flip your outside text horizontally and vertically after committing it, so it will be the correct way up when the card is folded over.

This is a quick and simple way to use one of your paintings as a Note Card.

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Preparing your image to print: When printing my digital watercolours I have found that reducing the dye concentration to 83/42 % gives me a print that matches the monitor output more closely. Some slight tweaking with Brightness/Contrast is often necessary as well. Without doing this, the prints are too dark with the printer settings and paper I have chosen to use. I found this held true when using Epson’s Radiant White Watercolour paper and other matte finish papers and card stock too.

Before you click print make sure the placement of your imagery and text is correct and that you spell check any text‌(Including your name!)

You can put text on them if you choose to, or a message inside, because these cards are printable on both sides.

The cost of printing these cards is a lot less than store bought ones, and I think they are more meaningful to family and friends because they are much more unique and special with your art on them. I prefer to make Note Cards which are blank inside, so the sender can write whatever message they like and a have room for short note too! Themed sets make lovely gifts, and sell well at Art and Craft Fairs packaged appropriately in wrappers or little plastic boxes.

Printer Set Up: These are the settings I use on my Epson Stylus Pro R1800 Printer to print a 6.25 x 9 inch card on Red River’s Aurora Fine Art White Paper Cardstock.

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Premium Presentation Paper Matte – works well with the cardstock I’m using * (you have to reduce the dye concentration of your painting first, by about 15 %, or it will be too dark.)

You can download ICC profiles from the Red River site for the Aurora paper, but I’ve found this Epson ICC Profile SPR1800 EnMtteBst Photo.icc works better.

Set up the Paper size by clicking User Defined and putting the dimensions of the paper in.

On the first print set up screen choose Portrait orientation because that is the orientation of the card stock in the printer. The imagery is in a landscape orientation on the bottom half of the card for a top folding card.

You reverse this for a side folding card.

The cost of printing these cards is a lot less than store bought ones, and I think they are more meaningful to family and friends because they are much more unique and special with your art on them. The Red River Paper Website has a chart calculating card costs, according to your printer, including ink and envelope. The Aurora Fine Art Cardstock is $1.25 per card. I prefer to

make Note Cards which are blank inside, so the sender can write whatever message they like and a have room for short note too!

Themed sets make lovely gifts, and sell well at Art and Craft Fairs packaged appropriately in wrappers or little plastic boxes.

I entitled this Winter Leaves with idea in mind of doing the four seasons. Maybe I should have called it “Hanging In There!”

Hope you are all hanging in there and having a great New Year so far!

Happy Painting and Creating!

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Readers’ Gallery

By Bob Bello An illustration to Kim Lord’s “Modag Saharu” (Scorpion Desert), published in Sci-Fi Almanac 2009. Created in Corel Painter Essentials 4 for 2 full-days work in 2 layers. More at http://scifialmanac.com

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Digital Paint Magazine - January 2011

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Marketing Buzz

By Tim O’Neill

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Digital Paint Magazine - January 2011

24

Digital Paint Magazine - January 2011 25

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By Author

Key

Index 2009‐2010

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Digital Paint Magazine

2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2009 2010 2010 2010 2010 2010 2009 2010 2010 2010 2009 2010 2010 2010 2010 2010 2010 2010

4 9 7 8 19 16 13 17 28 18 9 35 21 12 20 5 11 13 4 18 9 10 32 21 9 20 19 13 10 11 15

Digital Paint Magazine - January 2011 26

Victor Lunn‐M+$-%2Q.

Tim O'Neill

Skip Allen

Kathy Pilgrim Kirk Mathew Gatska Marco Bucci Marilyn Sholin Mary Hannon Mary Mortensen Michelle East Patri Feher R Geary 6+Qman :$+P DeardorQ Sian Lindemann

Lost &Found Edges Online Classes for Newbies Vi4/.P.( in Painter Watercolor <*2/#/4 with ArtRage Pro Be Fearless Collage Exploring Imaginary Places Keep It Simple Gallery Seaside at Treehaven Gallery Floral Vi4/.P.( Gallery Animal Portraits First Things First The Mystery of ,*"-.#/4 Revealed Breathe Life into an Old <*2/#/4 Color Expression Landscape Tools Make Textures with Channels R.4*#1. <*2/#/4 with Watercolor Protect Watercolor White Space :.%.$#+/( Slow Brushes The Journey !Stude and ,*"-.#/4 Finding your Passion Impressions, Elevator Speech Inbound ,*"-.#/4 Joshua Bell Make a Mess Personal Mission Statement Spam Summer Digital Art Summit Unique Selling Point !"#(#$ Licence Digital Flower Press Digital Programs Hazards of Landscape <*2/#/4 Pixelated State of Mind Plug‐ins Sandsculpture Varnishing Point Watercolor pooling

Apr Sep Mar Dec Mar Nov Jun Apr Sep Aug Aug May Sep Jul Sep Aug Nov Sep Jun Apr May Dec Mar Jan Jul Jun Sep Apr May Jul Nov Dec Aug Aug Jan Dec May Nov Jun Mar Jul Aug Apr Sep

T A T T T P T T I T I A I T M M T T T T T T T T A M M M M M M M M A M I I I I I I I I I

2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2009 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010

2010 2009 2010 4 20 38 4 3 11 4 9 14 12 4 6 7 17 18 8 7 17 26 3 13 10 26 23 6 12 25 36 39 22 24 9 19 21 8 20 16 20 16 15 22

16 12 17

Digital Paint Magazine - January 2011 27

Barb 6*")(++k !//.%% ,.)(-." :$+P DeardorQ V2$)+" Lunn‐M+$-%2Q. Karen Bonaker 327 O'Ne2%% U*)?8 <2%4"27 Bob 5.%%+ 327 O'Ne2%% :-2> !%%./ 327 O'Ne2%% 327 O'Ne2%% U2"- ,*)?.9 C*)(-* :-2> !%%./ 327 O'Ne2%% Karen Bonaker V2$)+" Lunn‐M+$-%2Q. V2$)+" Lunn‐M+$-%2Q. Karen Bonaker Marco Bu$$2 327 O'Ne2%% :2*/ F2/B.7*// Pa)"2 Feher 5.)? Tango

5+//2. G2%%2( Bruce 5'"-?+%B." A?.%(.8 5'"-?+%B." Darre%% Ch2P8 John Derry John Kr*T U2"- ,*)?.9 C*)(-* Marco Bu$$2 ,*"2%8/ :?+%2/ Mark ,+/$2*"B2/2 Maura J')"* @B92/ M./(./ 3?+7*( V2"42% Dube Tony ,.""2)?.9 Woody G*%)."(

Add Drama )o a Ske)$h An !/4.% !/27*% Por)r*2)( !"#(#$ F2cence !")M*4. W*)er$+%+" :'/(.)( !S)ude and ,*"-.#/4 Be Fear%e(( Bob 5.%%+ 5+//2. G2%%2( 5".*)?. F2E. 2/)+ an @%B <*2/#/4 Bruce 5'"-?+%B." A?.%(.8 5'"-?+%B." A+%%*ge A+%+r Expre((2+/ Darre%% Ch2P8 J242)*% Ar) E+r 5.42//."( J242)*% I%+9." <".(( J242)*% Progr*7( N()*O%2(?2/4 )?e I+$*% P+2/) ND>%+"2/4 &7*42/*"8 <%*$.( I2/B2/4 your Pa((2+n I2r() 3?2/4( I2r() I%+ra% V24/.P.( C*%%."8

By &'()*+

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T T T I T M T I P T P P I T P A I I T T M M A I

P P P P P P P P P P P P P P P

May N+1 Ju% Dec Jun Jun Mar N+1 May N+1 Sep Aug N+1 Sep Mar Jan May N+1 Ju% Jun Sep Sep May Aug

May Sep Aug Mar Sep Aug Aug Sep Aug Sep Jan Aug N+1 Jun Apr

2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2009 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2010 2010

2010 2009 2009 2010 2009 2009 2010 2010 2009 2009 2010 2010 2010 2010 2010

9 4 4 19 10 26 20 35 22 17 4 14 38 18 1 11 21 8 15 4 23 6 14 9

22 4 14 1 14 9 11 14 4 9 5 12 25 15 1

Digital Paint Magazine - January 2011 28

Hazards of Landscape <*2/#/4 How do you Paint your Summer?

Impressions, Elevator Speech Inbound ,*"-.#/4 Joan Hamilton John Derry John Kr*T Joshua Bell Keep It Simple Kirk Mathew Gatska Landscape Tools Lost and Found Edges Make a Mess Make Textures with Channels Marco Bucci Marilyn Sholin Mark Monciardini Maura Dutra R.4*#1. <*2/#/4 with Watercolor Odwin Rensen Online Classes for Newbies <*2/#/4 Pets <*2/#/4 with Photoshop CS5 Part 1 <*2/#/4 with Photoshop CS5 Part 2 People Photo in Oils Personal Mission Statement Pet Portraits Photoshop and Painter: Pair of Shoes Pixelated State of Mind Plug‐ins Portrait from Casual Snapshot Professional Gallery Wraps Protect Watercolor White Space Revising a Digital Waterscape Sandsculpture

Bruce Burkholder Bryn Geronimo Jones Cr2(#. Lechlitner Joan Hamilton John Derry Joseph Johannes Willems Judith Phares Mary Hannon Michelle East R Geary 6+Qman Victor Lunn‐M+$-%2Q. Barb Hartsook Tim O'Neill Tim O'Neill Joan Hamilton Tim O'Neill Tim O'Neill Tim O'Neill Marilyn Sholin Tim O'Neill Skip Allen Karen Bonaker Tim O'Neill Skip Allen Tim O'Neill Tim O'Neill Tim O'Neill Tim O'Neill Skip Allen Tim O'Neill Karen Bonaker Barb Hartsook John L Stevenson John L Stevenson Barb Hartsook Tim O'Neill Diana Dillion Jill Tovey Victor Lunn‐M+$-%2Q. Victor Lunn‐M+$-%2Q. Barb Hartsook Bryan Linden Skip Allen Joan Hamilton Victor Lunn‐M+$-%2Q.

I I I I I I I I I I I T M M P P P M T P T T M T P P P P T P A T A A A M A T I I T T T T I

Sep Apr Sep Aug Sep Apr Sep Sep Aug Sep Jun Aug Apr May Aug Sep Aug Jul Apr Aug Jun Apr Nov Apr Sep Aug Sep Jan May Aug Sep Jul Nov Dec Mar Dec Jul Sep Mar Jul Jan Aug Dec Dec Aug

2009 2010 2010 2010 2009 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2009 2010 2010 2010 2010 2010 2010 2010 2010 2009 2009 2010 2010 2010 2009 2010 2010 2010 2010 2010 2010 2009 2010 2010 2010 2009 2010 2010 2010

21 20 11 9 21 19 13 11 9 12 20 7 6 12 10 14 9 25 3 11 8 16 36 7 14 4 9 5 17 12 12 8 9 20 19 39 13 18 16 20 16 12 26 32 16

Digital Paint Magazine - January 2011 29

Seaside at Treehaven :.%.$#+/( Slow Brushes Spam Stained Glass Manger Summer Digital Art Summit Surrealist <*2/#/4( of Flowers Textures for Landscapes The Journey The Mystery of ,*"-.#/4 Revealed Tony Merrithew Unique Selling Point Varnishing Point Vi4/.P.( in Painter Thomas Virgil Dube Woody Walters Watercolor Ballerina Watercolor <*2/#/4 with ArtRage Pro Watercolor Pooling Watercolours Why Take an Art Class?

Mary Mortensen Skip Allen Skip Allen Tim O'Neill Barb Hartsook Tim O'Neill Cher Threinen‐Pendarvis Barb Hartsook Skip Allen Sian Lindemann Tony Merrithew Tim O'Neill Victor Lunn‐M+$-%2Q. Karen Bonaker Tim O'Neill Tim O'Neill Heather Michelle Bjoershol Karen Bonaker Victor Lunn‐M+$-%2Q. Barb Hartsook Barb Hartsook

T T T M T A T T A M P M I T P P T T I T A

Aug Mar Jan Aug Dec Aug May Jun Jul Aug Jun Jan Apr Mar Nov Apr Sep Dec Sep Nov Apr

2010 2010 2010 2010 2010 2010 2010 2010 2010 2009 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010

4 3 13 22 13 24 5 17 10 7 15 9 15 17 25 1 4 4 22 28 18

Digital Paint Magazine - January 2011

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