Index

A

Abstracts:

creation, 75

to still life transformation, 86

Alioto, Joseph L., 253–5

Art & entropy, 123

Art materials (extra), 20–2

Artist's styles, 186

Auto-painting, 115–16

Avery, 222–4

B

Beach, 270–2

Big working image on right, 111–13

Black and white thumbnail, 177–82

Boat, 273–4

Bonnard, Pierre, 103

Borders and images, 148–9

Brother Ray, 168, 170

Brown, Willie L., 221

Brush:

Acrylics, 36

Airbrush, 37

Art Pen brushes, 39

Artist, 38, 116

Artist's Oils, 38

Blenders, 40

Calligraphy, 41

Chalk, 42, 227

Charcoal, 43

Cloners, 44

Colored Pencil, 45

Conte, 45

Crayons, 46

Digital Watercolor, 47

Distortion, 48

Eraser, 49

F-X, 51

Felt Pens, 50

Gouache, 52

Image Hose, 53

Impasto, 54

JeremyBoxSet1, 70

JeremyFaves2, 69, 226–7

JeremyGuestFaves4, 71, 125, 272

JeremyOwnFaves4, 72, 131

Liquid Ink, 55

Marker, 56

Oil Pastels, 58

Oils, 57

Palette Knives, 59

Paste, 60

Pattern Pen, 61

Pencils, 61

Pens, 62

Photo, 62

Real Bristle brushes, 63

Smart Stroke brushes, 64

Sponges, 65

Sumi-e, 66

Tinting, 67

Watercolor, 68

Brushes:

controls, 82

extra, 16–20

painting from photo, 107–41

variants, 73–5

C

Canvas as continuously transforming surface, 87

Cecilia's quince años, 147

Charles, Ray, 167–8

Clone color, 109–10, 115, 135

CMYK printing, 172

Collage portrait:

copy & paste layer technique, 200–8

custom paper texture technique, 208–18

media completion-post print treatment, 218–19

primary/secondary images, 194–8

research images, 192–4

selection, 189–219

template size, 198–200

term, 191

Color, 167–88

clone, 109–10, 115, 135

complementary, 173–5

dependency on one another, 175–6

hue, saturation and value, 168–70

management, 156–7

palette, 77–8

perception, 167–8

photo, 109–10

pick, 76–7

practice, 186–7

primary, 170

wheel, 171–5

wild, 185–6

Color Sets palette, 80–1

Color Variability palette, 81

Complementary colors, 175

Composition, 98

Computer system fine tuning, 2

Contrast and saturation:

Painter, 105–6

Photoshop, 96

Coppola, Francis Ford, 135–6

Copy & paste:

from another photo, 99

layer technique, 200–8

Copy variant, 84

Copyright, 193

Corel Painter 11 set up, 24–34

brush

cursor, 29–30

size, 9

tracking, 27–8

color management, 25–6

custom palettes, 32–3

customize keys, 32

default palette arrangement, 27

general preferences, 30–1

new canvas, 26–7

palette layout, 33–4

PPI (pixels per inch) v. DPI (dots per inch), 26–7

tracker palette, 33

updates, 24

welcome screen, 24–5

Corel website, 24

Crop image, 98–9

Custom paper texture technique, 208–18

Custom variants, 82–3, 84–5

D

Dad, 267

Dawn Hampton:

canvas, 145

color, 132

computer edge, 148

desaturated, 176, 180

“muck up”, 125, 127

post-print acrylic paint, 144

warm background, 118–19

Dawson, Henk, 270–5

Default settings, 75–6

Detail, too much, 109

Divan Japonais, 287–8

Doll, Carol Pucci, 241

Dominant secondary images, 196–7

Dragone, Mariane, 238

Dropper tool, 77

E

Edges and images, 148–9

Elise, 181

Elsa, 289–90

Entropy & art, 123

Extra:

art materials, 20–2

brushes, 16–20

canvas, 99

templates (optional), 23

workspaces (optional), 23

F

Femme au Chapeau, 186–7

Fixing prints, 158, 159

Flamenco Jam, 149

Flatten workflow strategy, 140–1

Foundation image, 195–6

Foxx, Jamie, 167

Free at Last, 252

Freeman, Clarence, 281

Freeman-Fox, Lois, 276–81

Friedgen, Jaimes, 238

G

Gatsby, 282–3

Gelling, 158–60

Generations:

detail, 109, 128, 131, 135

expressions, 99–100

heart and soul, 116–17

Kim Nalley, 93

“muck up”, 125

Photoshop, 98, 104–5

video tutorials, 119

working image, 120

God is Time, 279–81

Gray, Simon, 282–6

Grip Pens, 5

Groovin’, 240

Gyulai, Peggy, 281

H

Hedges, Tom, 35

Henderson, Giles, 258–9

How to Paint from Photographs Using Corel Painter X (DVD), 20, 71

Hue Ring command, 172, 174

Hue, saturation and value, 168–9

I

Images:

big working image on right, 111–12

borders/edges, 148–9

canvas, 99

crop, 98–9

“muck up” stage, 122–4

paths, 113–14, 116–20

research, 192–4

small source image on upper left, 111

“small-BIG” arrangement, 111, 115

Imagine and compose before capture, 94

Impassioned, 238

Island, 175, 176

J

Jan Di Nuoscio, 176, 179

Jay, 239

Johnson, Harold, 145

K

Kaleidoscope, 88–9

Kukaek, 225–8

L

“Less is more” concept, 127–8

Lights and darks (chiasco charo), 168

LoraRose, 276–8

Luncheon of the Boating Party, 170–3

M

Mac specific system requirements, 2, 3

Madden, April, 235

Mandela, Nelson, 252

Manning, Frankie, 266

Marcus Shelby, 185

Market, 274–5

Mastering Digital Printing (book), 145

Matisse, Henri, 186–8

Mid-tone color study, 182–4

Mississippi Goddam–Portrait of Nina Simone, 265

Mixer palette, 78–80

Mixing, 136–9

Moment in Time, 238

Monterosso Bike, 283–4

Montgomery, Jolyon, 287–93

“Muck up” stage:

Generations, 125

images, 122–4

Waterfall, 125–6

Mum, 188

N

Nalley, Kim, 93

See also Generations

Newton, Isaac, 167–9

O

Obama, Barack, 262

P

Painted border for printing, 151–6

Painting:

applying paint, 163–5

colors, 161

paint, 160–1

palette, 162–3

preparation, 144–5

Painting Curacao project, 272

Painting from photos:

brushwork, 107–41

completion, 143–66

Paths for working image, 113–14, 116–20

PC specific system requirements, 3–4

Pens, additional, 5

Perceived saturation & tone, 176–7

Photo color, 109–10

Photographic grain, 107

Photography and painting, 91

Physical comfort, 5–7

Physical dimensions, 101–2

Pick color, 76–7

Pixels and resolution, 99–101, 105, 149–51

Post, Marjorie, 231–3

Post-print painting, 157

PPI (pixels per inch), 26–7, 102

Practical Color Management: Eddie Tapp on Digital Photography (book), 145

Practice use of color, 186–7

Printer substrates, 145–6

Pritikin, Robert C., 221, 256–7

Pritikin, Robert C., 256

Professional Photographers of America (PPA), 286

Project folder, 194–5

R

Rabin, Yitzhak, 264

Ray, 167

Red Umbrella, 284–6

Refine stage, tone and contrasts, 129

Rembrandt, van Rijn, 103

Renoir, Pierre-Auguste, 169–70, 169–73

Research images for collage portraits, 192–4

Resolution and pixels, 99–101, 105, 149–51

Resolve stage, what is not working, 132–4

Reveal, refine, review and resolve (four Rs stage), 124–6, 134–5

Reveal stage, subject and limited cloning, 126–8

Review stage, what is working/not working, 130

Reynolds & Brown, 206, 249–51, 253

Rick and his Buick Beauty, 150, 263

Rock, 243–5

Roll That Boogie, 221

Roper, 291–3

Rough v. flat media, 146

S

San Francisco Bay Area Women of Style series, 241

San Francisco Heart, 189–92, 196–7, 219

Sargent, John Singer, 169

Saturation & tone (perceived), 176–7

Save variant, 83

Shirley, Stephanie, 260–1

Simone, Nina, 265

Single lens reflex (SLR) cameras, 193

Size or not resize, 102–5

Skycap Keith, 2, 189–92, 194, 197–8, 211

Small source image on upper left, 111

Small-BIG’ arrangement for working images, 111, 115

‘So familiar I don't need to look’ concept, 110

Song for Peace–Portrait of Yitzhak Rabin, 264

Source photo, 94–6, 97–8

Still life, abstract, 86

self –portrait, 86–7

Stock, Jay, 230

Stroke nib, 5

Subject and limited cloning (reveal), 126–8

Summer Afternoon, 172, 174, 187

Swingout, 242

System requirements, 2

T

Tapp, Eddie, 145

Template size, 198–200

Templates (optional), 23

The Art of Collage Portraiture (DVD,), 219, 256

The European (newspaper), 264

The First Dance-Portrait of Annette and Roman, 178

The Life and Times of Elsa and her Friends, 290

The Night Watch, 103

The Speech-Portrait of Barack Obama, 262

Toland, Hugo, 234

Toulouse Lautrec, 103, 288

Tribute to Frankie Manning, 266

U

Upside down option, 110

V

Vuillard, Édouard, 103

W

Wacom control panel settings, 7–16

ExpressKeys, 10–12

grip pen, 8–9

mapping, 9–10

radial menu (advanced), 12–16

TouchRing, 12

Wacom tablet customization, 4–6

Warnock, John, 229

Waterfall

Artist brush, 116

Big working image on right, 113

black brush strokes, 244–5

Chinese characters, 246

color, 135

composition, 98

contrasts, 131

detail, 108, 247–8

development, 129

divine proportion, 96–7

heart and soul, 117

intermediate stage, 244

layers, 138–40

location, 92

“muck up”, 125–6

photograph (original), 95

pigment/acrylic on canvas, 245–6

PPI, 102–3

resizing, 102–3

“small-BIG” arrangement, 114

soft clone brush strokes, 139

video tutorials, 119

Woodcut, 117–8, 137

working image, 121

“Wet” studio set up, 158

Wild color, 185–6

Wilks, Yorick, 236–7

Woodcut, 115, 118, 137

Workspaces (optional), 23

Z

Zimmer, Mark, 35