Lessons
Day 1
1Introduction
37:33 2Why Do Expressive Painting
21:39 3Adobe Bridge Setup & Image Optimizing
27:03 4Jack's Painting Presets
15:18 5Enhancing Source Images
24:01 6Photo Hand Tinting & Workflow Options
26:23 7Working with Brushes & Palettes - Part 1
20:10Working with Brushes & Palettes - Part 2
37:59 9Pattern Stamp Tool & Watercoloring - Part 1
22:08 10Pattern Stamp Tool & Watercoloring - Part 2
13:58 11Enhancing Methods of Watercolor Image
27:33 12Creating Repeating Patterns
17:14 13Actions, Layers & Filters for Sketching
24:50 14Accessing Jack's Free Basic Presets
06:32 15Smart Objects & Oil Paint Filter
34:10 16Inverted Mask Trick & Q&A
13:00 17Q&A
10:22 18Mixer Brush & Parameters
21:27 19Jack's Brushes & Brush Strokes
15:20 20Secrets of the Mixer Brush
20:05 21Still Life Painting with Mixer Brush
28:27 22Still Life Underpainting
30:32 23Final Blending of a Still Life
25:17 24Print Discussion with Q&A
09:28 25Snapshots for Painted Portraits
15:19 26Painted Signature Stamps
10:15 27Simple Portrait with Mixer Brush
53:01 28Pet Portrait Overview
08:42 29Enhancing in Camera Raw & Lightroom
35:28 30Painting a Pet Portrait
1:17:41 31Pet Portrait: Final Blending
13:41 32Photo Prep for Watercolor Painting
17:36 33Watercolor Painting of a Flower
36:27 34More Enhancing & Embellishing of Images
28:04 35The Liquify Tool & Sketching
39:12 36Comic Book Action & Watercoloring
15:22 37Changing Image Aspect Ratio
11:55 38Framing Effects & 3rd Party Apps
16:39 393rd Party Painting Filters
23:56 40Final Q & A
15:54Day 2
Day 3
Lesson Info
Q&A
Question you may get to it later in the day but we had somebody bring it up and then someone else echoed the same sentiment so casey jones from illinois said that he'd like to see a chunky impressionistic portrait that emphasizes brush strokes so we had a lot of people charming in about they do a lot of sort of chunky brushstrokes and they were interested in seeing example of that so maybe that ok come in later today um absolutely I can actually um uh do that because that is where we were the chunky breaststroke will just uh bring up in the let's just we'll do this right here just so we get that out of the way the samples so what I would consider um chunky this chart here in terms of mohr expressive where you're seeing the brushstrokes certainly this fits into the chunky expressive brushstrokes we will be doing it this afternoon mohr uh this right here is kind of super chunky in terms of that we're going to be bringing up this gentleman a cz well today in terms of then this is an abstr...
act showing again the how far you can push the brush strokes so that's not the chunk ification of our paintings is not going to be a problem in fact most even my portrait are gonna have um that kind of expression of expressive brushstrokes is part of them um so what everything that we do today will we're gonna have I do tend toward what would be considered an oil paint sketch, and I think that is what's unique about selling a painting to today's market is that those chiseled breast strokes set it apart from other medium, so certainly great. So duke in park city says if actually printing on canvas, would you reduce the amount of canvas texture so it's not fighting with the media's? Absolutely. We touched on that just briefly yesterday that if you are going out to the media that you're trying to imitate with a watercolor paper or canvas there's no reason to do such an excessive texture, because it'll be inherent in it. Um, the reason why one I do such express such exaggerated one for teaching is, obviously we're dealing with a screen so that's the only way will imitate it, but also things like the, uh, the princess diana portrait, and here we actually have got two different versions that I did one for the greeting cards that will be printed on a coating. Stop on a coded stock, a flat coated, you know, traditional green card and another one for the actual gallery rap, so but even my gallery wraps were made at the resolution that matches the warp and woof of the gallery wrap itself, so it's an excellent question, and yes, you definitely would want to be cautious about that. Um, you'd still in the same thing this jess so that I'm using here that this is again, this is the thing that we're going to be using even today as well, it's, to be careful that you don't do too much of that brush stroke texture because if you actually are going out to canvass, as soon as the person gets up to it, they're realized that that's not really there there is no dimensionality to it it's still going to be a perfectly flat canvas, even though you're putting in the strokes as if jess oh, or brush strokes had been applied. One thing I have done on that subject matter when you really want to mess with people's mind is you pull it, kincaid pull it. Thomas kincaid, who did two things to his paintings, is that it would put a transparent gel medium what's known on it a gel coat, and then, um, I won't say who or what their financial hourly rate wass would basically follow with this transparent joe, the rough strokes on the canvas. So actually the speculum highlights in a studio you put it on the wall and it would actually you would see the brush strokes of the painting, they weren't actually there, they weren't based upon the pigment that made the painting. It was just a clear gel that actually had brush strokes. So when you had studio light on it, you saw speculum highlight you saw a shiny, breast stoked image, and you'd usually only really follow it around, you know, the face and the hair, and then the rest was completely random and didn't match up, but it was a beautiful and I've done it myself. People go with obviously a painting because you walk up to it and you see light shining on it, you could touch it, and you would feel texture. What thomas kincaid would then do is he would come back in with a speculum, highlights pure white titanium white to start off with them. Then they would add other ones. So the little candles on the little picket fences that went off in the distance, he would each a little candle, he would do it, and that would be a little glove of white paint. So as you came up to it, you would see little globs of paint again applied by somebody getting three dollars an hour. And but it was great, because if you go up to it and again, he's thomas kincaid has made more money painting than anybody else on the planet that's alive. He's no longer alive but when he was alive he had he was I'm sure the most profitable painter on the planet because you could go into his galleries and even though they're g clay prince people would buy them as augmented you know hand tuned hand painted hand enhanced is I think the term that was used just because a little white paint and these fake brushstrokes were put on it but it was beautiful and it sells the effect and for those of you with your own studio if you do want to sell it and you want to sell in them hand enhanced literally you can add another you know, ten minutes to in half an hour to the canvas and they are gorgeous and there when they're over the mantel place and the spotlights on it it will show and everybody coming into that house we'll swear it's a real painting and that is the one thing that you would add to it the breast strokes using a transparent gel medium and if you wanted to really sell it, you go in with the speculum highlights on like princess diana I would take like the little diamonds on the tiara and just tap those with true white paint little just a little titanium white great questions yes if if we're using one of your actions and we know we're going to print on canvas do you have a specific um, formula or a specific number that you would reduce that the canvas effect in the action? No, because one there's more there's more than one canvas. Some people print the campus paper now, which has a subtle texture to it, some canvas that the warp and woof of that we've is more exaggerated in some now a lot of cheap when you go out to a cheap services, which most people do for a gallery wrap it's a very, very inexpensive canvas. Some gallery wraps aren't even really on wheel canvas. It's it's kind of a vinyl that's been impregnated with a texture it's a canvas but it's not really made of canvas, so I couldn't you know it's a good question, but I don't know what you would specifically reduce it down to. That would be a case where you do a test based upon yours. It also depends funnel, but about how it's going to be lit. Like I said, if it's going to be lit in a studio environment where the nice spotlight over it at a angle, then that's going to hit the dimensionality of the rial canvas and add quite a bit of texture to it, you'd need much less of my textures. If it's being shown in an environment that's not his traditional studio light just the ambient light of a room then that's lights coming from all directions it's going to have very little effect of that texture and you'd use a little bit maur what really is a case of lighting as well as what specific you know watercolor or canvas paper but it's a very good question okay well good well like I said at lunchtime I'll find django and we'll do a little pet portrait but it's going to be virtually identical to what I just did where I will do one um general in order for using that uh oil paint filter one general setting for all the details all the fur duplicate the layer changed that oil paint setting and bring down the detail allowing more detail for things like the eyes so they're not distorted and furthermore going back I'm sure that is still open because if you really want this let's find the one so here is the one with the duplicate in the eyes where we just were okay we're going in and again we're going toe add oil paint to it if you need it even mohr in here I go gosh I really want that to be the rial I no matter what I do I'm not getting enough detail this is there's plenty of detail but remember you've got this layer mask right here and this this layer mask is actually going to hide the effect so if I paint on this with our gold girl fashion black paint brush, hide our thing this right here is going to hide the entire filter and if I did this that was at one hundred percent if I do that at fifty, I can bring in exactly how much detail I want by simply erasing this is the mask I'm painting on and this is removing my oil paint and everything else. So um you have a cz much control us you'd want in this technique, you know, in terms of pulling out detail. One thing I will mention which is going to be one of the questions is can I mask out the individual components that make up a smart filter recipe? No, you can't you can only have one layer mask for all of the recipe if you do need that kind of control that basically you're going to do it like we did in the olden days where you're going to duplicate the layer, filter each layer and then you can mask each layer independently. You can use the exact same settings you khun duplicate and then apply the settings you would you know, do this duplicate that layer than oil paint, duplicate that layer and then in boss duplicate that layer and then do the rough passed out duplicate that layer in the news texturizing so it's the exact same method. Um, and that would give you more control. But that's it. So it's it's. A very good question.
Class Materials
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Ratings and Reviews
Shannon
Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.
Shannon
Okay, I'll be first. Jack has an easy, approachable way of teaching. It was more like being in the room with him, watching over his shoulder as he created something utterly new and exciting. Even when he worked on images he had done many times, I never sensed boredom or a lack of enthusiasm. He was patient with questions and answered them completely. I hope Jack enjoyed this way of teaching as much as the world enjoyed watching. Maybe he'll find more to share. I know I'll sign up for his next one. This workshop inspired me to start creating art again. I'm slowly losing my sight and sad to say, I was starting to let it get to me. As I watched Jack, I tried just a few things and realized that I can do this. Digital art is much easier for me than pencil and paper because of the technology. I miss the pencil and paper drawing, of course, but this is so much FUN! The techniques that Jack shared are wonderful and the results rockin' ... or as Jack says, bitchin'. Thanks to Jack and creativeLIVE I'm back in my head in a good way.
a Creativelive Student
Thank you Jack Davis. Having tried to paint, both in the real and digital worlds, this is the first time I have seen a comprehensive demonstration of the techniques and philosophy for the artist. This course is valuable for any aspiring artist, digital or otherwise. By the way thank you CreativeLIVE for the long form training space you offer both the teachers and students. Jack is inspirational, talented and sometimes funny. Watching him paint in real time is by far the most impressive sight but the information about why is more valuable. Overall this course will give you ideas, knowledge and skills (if you practice). I highly recommend this course for anyone that has tried to paint in the past and was underwhelmed by the results.