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84933ffirs.indd i 7/9/08 9:41:03 PM
 Advanced
Painter
™

Techniques

84933ffirs.indd i 7/9/08 9:41:03 PM

84933ffirs.indd ii 7/9/08 9:41:04 PM
 Advanced
Painter ™

Techniques
Don Seegmiller

WILEY PUBLISHING, INC.

84933ffirs.indd iii 7/9/08 9:41:06 PM

 Acquisitions Editor: Mariann Barsolo
Development Editor: Stephanie Barton
Technical Editor: Howard Lyon
Production Editor: Elizabeth Ginns Britten
Copy Editor: Karen A. Gill
Production Manager: Tim Tate
Vice President and Executive Group Publisher: Richard Swadley
Vice President and Executive Publisher: Joseph B. Wikert
Vice President and Publisher: Neil Edde
Book Designer and Compositor: Chris Gillespie, Happenstance Type-O-Rama
Proofreader: Nancy Bell
Indexer: Ted Laux
Project Coordinator, Cover: Lynsey Stanford

Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-28493-3

No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, pho-
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Limit of Liability/Disclaimer of Warranty: The publisher and the author make no representations or warranties with respect to the accuracy or
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Library of Congress Cataloging-in-Publication Data:

Seegmiller, Don.
Advanced Painter techniques / Don Seegmiller. — 1st ed.
p. cm.
ISBN-13: 978-0-470-28493-3 (paper/website)
ISBN-10: 0-470-28493-5 (paper/website)
1. Computer graphics. 2. Fractal Design painter. I. Title.
T385.S3648 2008
006.6'86—dc22

2008020135

TRADEMARKS: Wiley, the Wiley logo, and the Sybex logo are trademarks or registered trademarks of John Wiley & Sons, Inc. and/or its affiliates,
in the United States and other countries, and may not be used without written permission. Painter is a trademark of Corel Corporation. All other
trademarks are the property of their respective owners. Wiley Publishing, Inc., is not associated with any product or vendor mentioned in this book.

10 9 8 7 6 5 4 3 2 1

84933ffirs.indd iv 7/9/08 9:41:06 PM

 Dear Reader,
Thank you for choosing Advanced Painter Techniques. This book is part of a family of premium-quality
Sybex books, all of which are written by outstanding authors who combine practical experience with a
gift for teaching.
Sybex was founded in 1976. More than 30 years later, we’re still committed to producing consis-
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84933ffirs.indd v 7/9/08 9:41:07 PM

 This book is dedicated to my family. First and foremost,
to my dear wife, Marti; she endured my constant whining
about how stressed I was and kept me on track and
productive. To my son, Andrew, who had to tolerate the
daily ups and downs associated with having a father
who works at home. To my daughters, Jenn and Nicole,
who have an easier time loving me since they don’t have
to live with me anymore. And to my parents, who are a
constant support and provide encouragement.

This is also for all the artists I know and those I have
not met who have influenced me either knowingly or not
by their work. In addition, I would like to thank all my
students over the years. You have taught me more than you
will ever know.

84933ffirs.indd vi 7/9/08 9:41:07 PM

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 Acknowledgments
I would like to thank my family. Without their support, I could not have fi nished this
project.
I need to thank David Fugate. Without his help and interest, this project would
never have happened.
Thanks to the patient folks at Wiley, in particular Mariann Barsolo and Stephanie
Barton. Thanks to Karen Gill; you make my ramblings understandable. And thanks to
Liz Britten and the Wiley book-production team for making it all come together.
Howard Lyon, thanks for the fine job you do as my technical editor, catching all
my inevitable errors.

84933ffirs.indd vii 7/9/08 9:41:07 PM

 About the Author
Don Seegmiller was born in Provo, Utah, in 1955. He grew up in both California
and Colorado.
Don graduated Brigham Young University in 1979 with a Bachelor of Fine Arts
in graphic design, with a concentration in illustration. After graduation, he decided that
he would rather pursue his passion for painting and began a career as an oil painter.
While his work has been shown in many major art galleries, the majority of his tradi-
tional work is handled by Wadle Galleries Ltd. of Santa Fe. Over the course of the past
30 years, Don’s work has been shown worldwide. He has completed close to 1,000
paintings that are included in many private and public collections. His work hangs in
the permanent collection of the Springville Museum of Art.
A resident of Orem, Utah, Don lives at the foot of the 11,000-foot-high Mount
Timpanogos. He teaches senior-level illustration courses, traditional head painting,
figure drawing, and digital painting for the department of visual design at Brigham
Young University. He also teaches an upper-division figure drawing class at Utah
Valley University.
Don was the art director for six years at Saffi re Corp., a well-known game devel-
oper in the late 1990s. He has produced art work for many leading game publishers
over the years.
A regular speaker at the Game Developers Conference for eight years, Don
presented hour-long lectures from 1997 to 2001 and presented full-day tutorials from
2002 to 2005 on character design and digital painting, with bits of creativity thrown
in for good measure.
Don was the keynote speaker for the Association of Medical Illustrators at their
national convention in the summer of 2003. During the summers of 2004 and 2006,
he was invited back to do workshops for the illustrators at the convention. He traveled
for a while demonstrating Metacreations Painter 6 at trade shows. Don demonstrates
Painter at Corel’s booth at major trade shows, in particular Siggraph. His work is fea-
tured in the Painter 6, 7, 8, IX, and X Wow Books, Step by Step Electronic Design,
Design Graphics, and both Spectrum 7 and 8. He has written tutorials for Corel’s
release of Painter IX. He was featured both on the Corel web site and in the Painter IX
manual.
Don was one of the judges for Ballistic Publishing’s Painter book and coauthor
for the upcoming Digital Painting 2 book by the same publisher. He has written the
following books: Digital Character Painting Using Photoshop CS3 (Charles River
Media, 2007), Digital Character Design and Painting: The Photoshop CS Edition
(Charles River Media, 2004), and Digital Character Design and Painting (Charles River
Media, 2003). He also co-wrote Mastering Digital 2D and 3D Art (Thompson Course
Technology, 2004).
You can see examples of Don’s work at www.seegmillerart.com.
In his free time, Don enjoys fly fishing with his son and riding his motorcycle.

84933ffirs.indd viii 7/9/08 9:41:07 PM

 Contents
Introduction xiii

Chapter 1 Painting an Oil Portrait 1

Creating a 3D Look with 2D Tools. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Considering the Result First . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Setting Up Your Canvas 3
Adding Light 5

Painting the Portrait . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Drawing the Sketch and Toning the Canvas 7
Enhancing the Oil Painting Texture 15
Refining the Portrait 18

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

Chapter 2 Painting Clouds, Water, and Stone 33

Learning the Fundamentals of Painting a Landscape . . . . . . . . . . . . . 34
Painting the Clouds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Defining the Horizon 38
Creating Fluffy Clouds 38
Refining the Details 42

Painting the Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Painting the Rocky Cliffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Creating Pits and Holes 57
Adding More Textural Effects 59

Completing the Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63
Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Chapter 3 Painting a Rocky Surface Then Making It Look Wet 69

Creating a Rocky Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Adding Color Using Gradients 74
Combining the Images into One Texture 78

Painting a Wet Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Duplicating for Future Use 82
Creating Shadows 83
Adding Shine 84
Darkening and Softening 86
Adding Reflected Light 86
Adding Highlights 87

84933ftoc.indd ix 7/9/08 9:41:29 PM

 Painting a Gooey Surface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88
Creating Cracks in the Rocks 88
Giving the Cracks Dimension 91
Getting Gooey 92
Adding Dimension 94
Removing the Bevel 95
Adding More Shadows, Highlights, and Texture 97

Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Chapter 4 Painting a Fantasy Forest with the Image Hose 101

Using the Image Hose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Setting Up the Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102
Painting Trees in the Forest. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104
Painting a Few Trees to Produce a Forest 104
Creating a Nozzle File of the Trees 106

Adding Leaves to the Trees . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116

Creating a Leaf Brush 116
Creating a Leaf Nozzle 118

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Enhancing the Scene with Shadows 123
Adding Light 126
Adding Dust Motes 127
Adding a Little More Light and Dust 128
Adding Fauna in the Flora 128
Putting a Soft Focus on Reality 129

Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Chapter 5 Painting the Sleepwalker 133

Painting a Night Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Setting Up the Image 134

Painting the Sleepwalker . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .139

Putting Up Wallpaper 139
Darkening the Image 142
Painting the Sleepwalking Character 144
Cloning the Image 146
Adding Floorboards for Balance 147
Smoothing Out the Rough Spots 149

Painting the Eye Candy in the Image. . . . . . . . . . . . . . . . . . . . . . . . . .151

Adding Wispy Smoke 151
Cooling Down the Night 154
Enhancing the Mood with Moonlight 155

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .158

Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Chapter 6 Painting a Sea Serpent 163

Using a Paper Texture for the Image . . . . . . . . . . . . . . . . . . . . . . . . . .164
Creating the Paper Texture 164
Wet and Dry Digital Watercolor Layers 166

84933ftoc.indd x 7/9/08 9:41:30 PM

 Painting the Sea Monster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .167
Moving from Dark to Light 167
Painting in the Details 168
Making the Scales Seamless 171
Practicing Scales 173
Adding Scales to the Sea Serpent 176

Adding the Fog Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .178

Adding the Sea Serpent’s Reflection in the Water . . . . . . . . . . . . . . . .183
Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .186
Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187

Chapter 7 Red Riding Hood 189

Importing the Sketch and Setting Up the Image . . . . . . . . . . . . . . . . 190
Using Custom Brushes to Paint the Forest Background . . . . . . . . . . .192
Creating a Leaf Brush 193
Separating the Character and Background 200
Painting the Separated Background 202
Painting Vines 204

Making a Grass Paper Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Building a Grass Nozzle File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210
Painting Red Riding Hood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213
Adding Weave to the Basket 214

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215

Anchoring with Gravel and Shadow 215
Adding Texture to Red’s Cape 215
A Little Lighting 216

Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

Chapter 8 From Concept to Complete 219

Defining Concept Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Setting Up the Image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Setting the Mood and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Playing with Color Schemes 222
Choosing the Light Source 223

Painting the Monster. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Making More Monster 226
Developing a Wet and Gooey Look 231

Finishing the Monster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .235

Refining the Monster Details 235
Softening the Edges 236
Adjusting the Foreground 238

Painting the Foreground . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .239

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241
Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .243

84933ftoc.indd xi 7/9/08 9:41:31 PM

 Chapter 9 Painting Shiny Baubles 245
Using a Different Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Painting the Face . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Adding a Decorative Pattern to the Fabric . . . . . . . . . . . . . . . . . . . . .247
Painting the Earrings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Painting the Neck Rings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256
Creating the Neck Rings 256
Turning the Neck Rings Silver 259

Using Liquid Metal to Paint Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . 260

Accessing the Liquid Metal Plug-In Layer 261
Painting Jewelry Using the Liquid Plug-In Layer 263
Creating Another Piece of Jewelry Using Liquid Metal 265

Using a Custom Brush to Paint Decorative Shapes . . . . . . . . . . . . . . .268

Creating the Custom Brush of Feathers 269
Adding Beads 272

Creating an Amazing Background . . . . . . . . . . . . . . . . . . . . . . . . . . .273

Finishing Touches . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277
Final Thoughts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .277

Index 278

84933ftoc.indd xii 7/9/08 9:41:32 PM

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