The Art of Sheffield Abella

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Computer Paint

Instruction - Computer Paint
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Computer Paint MMA202
Thursday 6pm -10pm

 

Week 9

Assignment 8:  Create a room or set from a film property that was never shown in the film (Neo's Bathroom, John McClane's Desk at the Precinct, etc.)  You are to produce 3 B/W thumbnails and 1 color image from one of those thumbnails.  Include your character in the finished piece.  

This was inspired by an a student piece by Ben Mauro.  He created Skinner's apartment from Ratatouille.

 

Seeing as a majority of you are animation students, this should be right up your alley.  First you should decide on what character and what movie you are going to do and THEN  go look for reference.'

By popular demand, this assignment has been extended to two weeks and is now due Week 11.

Maximum Points Total: 20
Utilization of acquired skills and knowledge. 8
Completeness of color corrected images. 8
Participation in class, feedback, comments. 4
 

Week 8 

This week we are going to depart slightly from the book.  Hopefully you are improving your painting skills and speed.  Eventually, when you have amassed numerous drawings and paintings you will reach a point where you will be able to visualize anything you can imagine. You should be able to paint anything that you can see and paint anything you can imagine with or without the help of reference. 

But where do you go from there?  How do start creating images that aren't tired clichés of the same old ideas?  Take a look at this speedpainting forum.  You will see many of the same ideas repeated.  It's not a bad thing as long as the paintings are good, but as a group, you can see subject matter tends to be somewhat constant.  

So we already know about 3CH and Random Logline Generator as an external method of generating concepts for creating images.  The idea comes from someone else.

What we have not done yet is Pareidolia.  This is where an idea comes from your subconscious.  Think about looking at clouds.  Clouds often times resemble something.  And then change shape to resemble something else.

 

Take a look at this link.

Essentially you want to start fostering a method for creating happy accidents.  This is more common when working in traditional media, but is also beneficial when working digitally.  By playing with blending modes and your layers, you will start creating stuff that begins to resemble something.  Obviously you could begin with a preconceived notion of what you want to paint.  But that's not the goal here.  The goal is to begin working like you're going through the motions, and let a concept 'float to the surface' if you will.

Assignment 7:  Abstract or Random Images.

This will be due next week.

Create 10 abstract images that are all the same size.  1280 x 720 Then combine them into one document where they are each in their own layer.  From there, begin playing with blending modes and opacity of each layer along with transforming, rotating, skewing, flipping, etc each layer.  Eventually you should start seeing shapes taking form.  This requires you to use your imagination regarding what you're seeing.  Once you see an image that appeals to you, flatten the layers and begin painting on a new layer on top of your abstract background.  If you know how to use actions in Photoshop, play with that as well for creating abstract images.

Tools for creating your abstract background:  Anything and everything.  In addition to photoshop and painter, you may use jacksonpollock.org, escapemotions/flame, alchemy, sketchbook pro, or whatever.

Next week, I will assign you your final project.

 

Week 7

Assignment 6:  Environments.

Let’s talk a little about perspective.

Perspective (from Latin perspicere, to see through) in the graphic arts, such as drawing, is an approximate representation, on a flat surface (such as paper), of an image as it is perceived by the eye. The two most characteristic features of perspective are that objects are drawn:

Smaller as their distance from the observer increases

Foreshortened: the size of an object's dimensions along the line of sight are relatively shorter than dimensions across the line of sight (see later).

In a nutshell, objects appear to become smaller, the further away they are from you.

If you were standing on a railroad track the rails are an equal distance away from each other for the length of the track. However, if you look down the track, the rails seem to converge because the distance between the rails appears smaller in the distance.




The actual distance has not changed, it just appears that way. The points at which parallel lines converge are called vanishing points.

In addition to objects appearing smaller in the distance, they also appear less saturated and less contrasty.




Consider these images below:

You may use depth of field in your images, but only if the image shows quick action or if it takes place at night. 



Here is a quick diagram explaining how this works

If you attempt to apply depth of field to a brightly lit day it will cause your scene to look small, like you are looking at a toy, or a bug.

Your assignment: Create an enviroment that has linear perspective or atmospheric perspective.  This can be a simple landscape painting or it can be an insane sci-fi futuristic alien world.

You may use reference.  The requirements are is that there must be a clear foreground, middle ground and background.  Keep in mind if you cannot make the image look correct, believable or appealing using only value, adding color will not help.  You may use photography in your piece but ONLY IF YOU HAVE TAKEN THE PICTURES YOURSELF.

1280 x 720 at 72 dpi.

If you feel that this assignment is beyond your ability, do a master copy of Albert Bierdstadt only in value.

Demo:

Basic Sky and Mountains

Guidelines for creating perspective.

Dylan Cole videos

Dusso

Albert Bierdstadt

Maxfield Parrish

Ansel Adams

Matte Painting.org
 

 

Week 6

So there wasn't any homework this week. I would encourage you to take a look back at your midterms and honestly ask yourself, "Does this piece of art look like it took FOUR hours to create?"  I'm not going to ask anyone this outloud, but I want you to start looking at your work with this in mind.  Does it look like it took a lot of time to create?  

One of the biggest advantages that the computer provides us with is speed.  The faster you become, the more money you can make.  That's assuming that your drawing is good.

Also, I noticed that some of the grades seemed a little low to me.  If you want to bring your grade up, do a master copy for extra credit.  I'm not placing any limits on the number of master copies that you do.  However, I would rather see 3 kick ass master copies than 10 half ass ones.  

So today I will cover paper textures in Painter and layer masks and effects layers in Photoshop.  This is covered in Chapter 6 of your textbook.  Read through the tutorial.

The idea here is to increase speed of rendering something by creating short cuts.  Anything you can do that will save you time will benefit you once you go pro.  Anytime you think that you are doing something tedious and repetitive, try and create for yourself a shortcut.

Your assignment is as follows.  The size is 1280 x 720 at 72 dpi.  You are to create a piece that has repeating elements, like scales on a dragon, rocks on a wall, texture on armor, etc.  And there must also be something with hair or fur.  This could also be grass, but don't use the standard grass hose in Painter, make your own brush.

Use any software you want to create you repeating elements for a brush or for a paper.

So conceivably, you could illustrate an werewolf wearing armor, or a knight fighting a dragon.  This can be futuristic or based in the past.  

This is due next week for critique.  

 

Week 5

Today we will start with a quick run through, but not a full blown critique of the homework assignment.  I want to give you as much time as possible to work on your midterm assignment.  

Your midterm: 3CH or Random Logline Generator based inspired speedpaintings.  Cut and paste the text generated and include it in the image. 

On the student server in my folder you will find a program called 3CH.  You can also use a Random Logline Generator.

This piece is to be 1280 x 720 at 72 dpi.  It is due at the end of class.  Please create a text layer that contains the concept and your name.

This simulates the professional situation where a client approaches you and you are expected to visualize a concept that isn't your own.  This is how it works most of the time.  The client comes to you with their idea and you take it to a finish.  Very rarely someone will pay you to do whatever you want.

I would suggest you use the method of coloring a line drawing.  I also recommend doing a couple of thumbnails to resolve your composition before you begin painting with color.  I will do a quick demo on an image from the book.  Hopefully you will remember this from Randolf's demo.

Here are some examples of 3CH paintings.

The main thing I'm looking for is completeness.  A great idea or solution to a problem is worthless unless it is realized.  

There will be no homework this week.

 

Week 4

 

Today we will start with a critique of the homework assignment.


Now that you have completed coloring black and white line art, I hope you will have realized that you can leverage your ability to draw by coloring you drawings very quickly.  You should be thinking of ways to improve your art by working from areas where you are or should be strong(drawing) and then adding to that a very simple component (digital color).  

One of the advantages that using the computer gives us over painting with traditional mediums is the ability to repeat objects very quickly.  This can either be done with a cut and paste method or by creating a custom brush or nozzle.  It's all well and good to color drawings, but what if you have an assignment to paint an army of soldiers?  Or a forest full of trees?  That situation becomes much easier when you create a custom brush to get the bulk of the work done for you.

I will demonstrate how to make a brush in Photoshop and how to use the image hose in Painter.  

Your homework:
Your assignment is to create an illustration that is 1280 x 720 pixels at 72 dpi.  The image can be of anything, but must contain REPEATING elements that are produced by creating a custom brush in Photoshop or a nozzle in Painter.

This is due next week.

Notice:  The reason I am giving you these lectures ahead of time is because I am going to be absent for Week 2 and possibly Week 3.  You will have a substitute, Randolf Dimalanta.  He has taught this class in the past prior to focusing on teaching 3D classes and he is a great resource.  Please kind and respectful towards him.  

Week 3 

Today we will start with a critique of the homework assignment.

 

Now that you have completed the master painting exercise, hopefully you will have realized a couple of things. One; I hope that by doing this exercise you have learned ‘how’ the artist made the image. It doesn’t matter that you use the exact same brush or technique, what matters is you are able to successfully emulate what you see and have a method of reproducing an image. Two; more important that figuring out ‘how’ is figuring out ‘why.’ Knowing why another artist made a particular decision is a far more useful resource that simply knowing how. What is important is that you understand how another person looked at a particular problem, and came to the solution that they did. Whether or you come to the same conclusion when faced with a similar problem isn’t paramount. What’s important is that when you face a problem, you know how to solve it. You’ll be far better off having multiple solutions to a problem so then you can choose which is the best one to use.

While that’s all good and conceptual, we need to get back to the basics a little bit. I don't feel that getting all emotional and flowery about fine art is going to be useful to any of you at this stage of the game. What I want is to provide you with some methods and techniques that will enable you to start producing quality work very quickly. To that end, I offer you my method of working quickly. My method is to separate Line, Value and Color into different stages. This week's focus will be on color.

To speak briefly about what I mean:

This demo was done from life in colored pencil, but the methodology is put to better use with digital painting.

Realize the advantage of this.  By breaking your process into three distinct areas, line, value and color, you can always 'go back' to any point to prevent screwing up.  Also, when you transition from one phase to the next, you can make a choice about how you are going to tackle that phase.  In terms of professional practice, it's also good to have these stopping points to get approval from your clients.  Get them to sign off at a preliminary stage and it will minimize the number of changes expected from you at the later stages.

In Week one we began playing with value. Week two began with an exercise in seeing color. The issue at this school with color theory, is that there often isn’t an opportunity to apply what you have learned in an immediate and visceral way, i.e. traditional painting.

What makes things difficult to learn is if you try to learn too much all at once. It’s much easier to learn if you tackle one thing at a time. This is why I’ve broken down the classes into basic elements of picture making, (Value, Color, etc.) I realize that some of you might not be strong on your draughtsmanship at this time, so for this week’s exercise I’m taking drawing out of the equation. In a perfect curriculum, you should have a bunch of life drawing and painting under your belt before you take a digital painting class.

By now, you should be fairly confident that you can look at color and emulate it. You should also be able to look at shapes and copy those as well. By all rights you should be able to create silhouettes and have them read. You should all have a clear understanding of value form and edges (from life drawing).

This week, I want you to start creating your own color schemes.

The first thing I want you to concern yourself with is ‘The First Read.’ This is the area of your image that has the highest level of contrast. I will show you some movie posters and we will analyze where the artist wants you to look. We will also look at some tools besides value which can control the viewers eye.

Warm Light Cool Shadows

Wayne Thiebaud


 Demo: Multiply and layers

 This information comes from Sergei Bongart via Norm Nason. He was the painting teacher of my painting teacher’s painting teacher. Essentially, Bongart->Dan McCaw->Steve Huston->Me->You.  

There are three properties, or contrasts, of color. They are:

Value (Light to Dark)
Intensity (Rich to Gray)
Temperature (Warm to Cool)

These are some of the basic rules of painting:

Everything that receives light is a source of light.

Nothing in the light is as dark as the shadow.

Of all the properties of color, value is by far the most powerful.

Silhouettes can be strong or subtle.

What are going to be the lightest/darkest, richest/grayest, warmest/coolest areas of the canvas?

Relativity is the hallmark of contrast.

There is no such thing as white light in nature.

The color of the light plus the color of the object equals the color you mix.

Warm light, cool shadows.

Different plane, different color.

Think of color first, subject last.

A composition will often harmonize better if you bring some of the foreground colors into the background, and background colors into the foreground.

Avoid using pure white or pure black in a painting.

Halftones.

Highlights:
will not give you much turn of form;
will tell you what the surface is like (rough or smooth);
will fall in peaks and valleys;
will move with you, the viewer;
will reflect at the same angle as the light that hits the form as it bounces to the viewer's eye;
will take on the color of the light more fully;
are found on wet or smooth surfaces, especially;

• will be found on the corner separating two planes in light.
 

Edges.

When painting, pick out a few hard edges at points where you want the viewer to concentrate and soften the edges elsewhere.
 

I really hope you guys understand the difference between soft edges and hard edges.  I have seen students turn in projects that looked just like what is above. 

For the figure, the larger the form the grayer, the smaller the form the redder. Blood is closer to the surface on small forms. The nose is redder than the face, the face redder than the head, the head redder than the torso.

Your assignment:

Choose a black and white line drawing from the folder. Use layers and the multiply setting to color the image. Think about warm light and cool shadows(or cool light and warm shadows) as you color the image. Consider what you want the first read to be and have a strategy for making your viewer look towards it.

This hopefully will be completed at the end of class.  

Your homework:

 

Is the same as the exercise.  Only use one of YOUR OWN drawings. You can use an existing drawing you have already made or you can make a brand new one.  

Use layers and the multiply setting to color the image. Think about warm light and cool shadows(or cool light and warm shadows) as you color the image. Consider what you want the first read to be and have a strategy for making your viewer look towards it.

This is due next week.

 

Week 2 

Today we will start with a critique of the homework assignment.


Below are some of the quick keys from last week which you should remember.  If you use Photoshop, the keys are very similar.

This week's exercise is about being able to create the colors that you see. I realize that there might be some students who have color blindness issues. Don't fret because I'm really more concerned about you being accurate in value more so than in hue. If you're in the ballpark with hue, that's great. I would rather you be dead-on with value. If you can be accurate in both, all the better.

The important thing to remember is VALUE IS MORE IMPORTANT THAT COLOR.

If you get your values right, then whatever colors you apply will simply work. If your values are wrong, or if they are off, then it doesn't matter what color you apply, you piece will still not fly.

Here's a quick recap of Color Theory. 

Color Theory is all about the color wheel. If you know the color wheel and know how to apply it, then you know pretty much everything you need to know about color theory.

Here is a basic color wheel.



I try to think of it like a clock with Yellow at High Noon, Red at 8 o’clock and Blue at 4 o’clock.

The whole idea behind the color wheel and color schemes is that if you apply a color scheme to your artwork, it will harmonize. In color theory, you are forced to memorize a bunch of different color schemes. In reality, I will show you one color scheme that encompasses the other color schemes so there will only be one thing for you to remember.



 

Link to Monochromatic. Link to Complements.
   
   
Link to Triads. Link to Analogous.
 

      Values as they relate to the real world.

In Daylight, when objects are close to us you have a full range of value. The values cover the gamut from Light to Dark (black to white).

As distance increases, the value range begins to clamp down. In addition, colors as they get further away will also become more desaturated.

Consider the painting below by Dusso.



Notice that the colors that are close to us are highly saturated and the colors further away are desaturated(gray).

Notice the value range. Up close you have a full range of value from white to black. As you get further away, you have a much smaller range of values and you have no whites or blacks.



This is how you apply value, if you're using Corel Painter:



When painting foreground objects, use a full range of value and color.



When painting middle ground objects, use a limited range of value and color.


When painting background objects, use a tight range of value and very little color.

[b]Why you can forget the schemes and simply apply Analogous complements.[/b]



Here’s how you apply it.



The color wheel in Painter is a little funky in that the complements are not directly across from each other.

Link to Analogous Complements.
 
 
When you’re coming up with a color scheme you want to do, simply stay within an analogous color range and add a complement to it. That’s it. It will automatically harmonize the colors in your image.

Assignment Part One: Color Accuracy







Use Corel Painter 11 for this assignment.  Resize your brush so you can fill in the box in a single stroke.  A good brush to use for this would be a chalk.  Don't use any soft edge brushes like airbrushes or blenders.  Load up the alpha channel as your selection and hit CTRL-SHIFT-H to hide the marching ants. Also resize your color wheel so you can be more precise about picking colors.

The purpose of this assignment is purely about skill in assessing value and color. Choose one of the 4 color target files in the teacher folder. Pick a simple brush which will paint over previous colors. In each of the white boxes, choose the color of the swatch next to it and paint in the white box. DO NOT USE THE EYEDROPPER TOOL!

This is about gaining a specific SKILL. You could easily cheat and use the eyedropper tool to pick your colors to fill the boxes, but you will HAVE GAINED NOTHING. You can use the eyedropper tool to CHECK IF YOU ARE RIGHT, but don't cheat yourself out of gaining this valuable ability. 

As you do this assignment, you will become more accurate and increase your speed. You will be able to look at any color and know how to mix it. I am interested in you being as accurate as you can. If you are dead on in all your swatches, I will know you have cheated. I expect you to be CLOSE.

Due at the end of class.


Assignment Part Two:

Choose a master painting and copy it.  Do it in color(lets take a vote).  Ignore details, go for the big shapes.  
Here is a source of master paintings:  http://artrenewal.org/ Below is a list of some people I consider to be masters:

Dean Cornwell
Norman Rockwell
J.C. Leyendecker
Alphonse Mucha
Nicolai Fechin
Sergei Bongart
Dan McCaw
Joachin Sorolla
Kazuhiku Sano
Robert Hunt		 Anders Zorn
Gustave Klimt
Maxfield Parrish
N.C. Wyeth
Gregory Manchess
Steve Huston
Drew Struzan
Thomas Blackshear
Bob Peak
Frank Frazetta
Howard Pyle		 John Singer Sargent
Rembrant
Sebastian Kruger
John Asaro
John LaGatta
Saul Tepper
Ilya Repin
Burt Silverman
Morgan Weistling
Dan Gerhartz
Scott Burdick

If you are feeling advanced and wish to focus on digital painters you may paint from the likes of Craig Mullins, Sparth, Justin Sweet, Vance Kovacs, Mark Djurjevic, Android Jones, etc.  Just be sure that you are using the same software they are using.  For example, if they painted in Photoshop, use Photoshop.  If they painted in Painter, use Painter.   Make sure that what you are copying you are painting in the same dimensions.  Keep in mind that we are PAINTING SIMPLE SHAPES.  Don't concern yourself with blending edges.  This should also not take more than an hour.  If you're going over an hour in producing this, you're doing it wrong.

Please save your Color Squares as 2_1_YourName.jpg and your Master Copy 2_2_YourName.jpg.

Read Chapter 1 in the book.

This is due for critique at the beginning of class next week. 


 


Week 1 

Syllabus

Acknowledgement

Welcome to Digital Paint.

I want to try something different with this class this year.  I would like to introduce you to some simpler programs before getting into Painter.  

A word about the Cintiq's.  They are very new.  I would advise you to take good care of them as they are very expensive.  You might want to get a cotton glove so that your hand/finger grease doesn't smear on the display for the next person.  Treat these machines like they are your workout equipment for the gym.

I encourage you to use this program to create images that would eventually be used for your portfolio. This includes character designs, storyboards, matt paintings, layout design, illustration and texturing for your 3D models. Instead of drawing something by hand, you draw it immediately in Painter. This saves time. It eliminates scanning and unnecessary file manipulation like clean up and color adjustments.

PREPARATION:

Borrow a WACOM tablet from the Service Bureau before we begin each class.
  Optional, get yourself a Nostromo n52.  http://en-us-support.belkin.com/app/answers/detail/a_id/478

DISCUSSION:
1) What are the main reasons you would use Photoshop, and some of the reasons you would use Painter?


First of all, let me say that I am not picky about which programs I use. I use whatever it takes to get the job done. In many cases, I use more than one program to do my work.





I have had occasions when one program didn’t work and another did. It doesn’t really matter if the client can’t tell what you used. All they care about is the end result.

Today, I don’t want to slam you with a ton of information. The fact of the matter is, as you learn to use various programs, you’re going to find a way of working that you like that may or may not involve every single function of the program. For the most part, with painting programs, you’re going to discover brushes that you like and some that you dislike.

I am going to cover only a couple of things about the Painter, and from there I want you to work on your own and simply explore using it.

What I will cover is:

• HOTKEYS and important tools found in your properties palette:

• Properties palette.


• Color Wheel Sizes.


• Brushes and Variants


• Adjusting Your Canvas.
• Brush size: [ and ]
• Opacity: keyboard numbers
• Grain (the lower the number, the greater the texture)
• Shift X
• Layers, use layers to separate your drawing from your values as a means of organization.


• Grouping layers
• Collapsing
• Preserve Transparency
• Customizing Palettes
• Saving Files
• Iterative Saves
  • Preserve Transparency

The bottom line is the limit of the software is determined by the limit of the artist. Just using the program won’t make you great if you don’t know how to draw or paint and you have lousy or boring ideas. In the same way, using Microsoft Word will not turn you into Shakespeare, Painter or Photoshop will not turn you into DaVinci or Michelangelo.

The only thing that software does is magnify and expedite the abilities you already have.

That being said, if you have the ability to draw and paint, Painter and Photoshop will help you take your skills to the next level.
 

 

Value (Light to Dark)
Intensity (Rich to Gray)
Temperature (Warm to Cool)

These are some of the basic rules of painting:

Everything that receives light is a source of light.

Nothing in the light is as dark as the shadow.

Of all the properties of color, value is by far the most powerful.

Silhouettes can be strong or subtle.

What are going to be the lightest/darkest, richest/grayest, warmest/coolest areas of the canvas?

Relativity is the hallmark of contrast.

There is no such thing as white light in nature.

The color of the light plus the color of the object equals the color you mix.

Warm light, cool shadows.

Different plane, different color.

Think of color first, subject last.

A composition will often harmonize better if you bring some of the foreground colors into the background, and background colors into the foreground.

Avoid using pure white or pure black in a painting.

Halftones.

Highlights:
will not give you much turn of form;
will tell you what the surface is like (rough or smooth);
will fall in peaks and valleys;
will move with you, the viewer;
will reflect at the same angle as the light that hits the form as it bounces to the viewer's eye;
will take on the color of the light more fully;
are found on wet or smooth surfaces, especially;

• will be found on the corner separating two planes in light.
 

Edges.

When painting, pick out a few hard edges at points where you want the viewer to concentrate and soften the edges elsewhere.
 

I really hope you guys understand the difference between soft edges and hard edges.  I have seen students turn in projects that looked just like what is above. 

Assignment #1 Getting your feet wet.  Artrage, Sketchbook Pro, openCanvas, Painter and Photoshop and how they are all similar.

 

Objective:  Your assignment is to do two illustrations of a person or thing.  The silhouette shape of the thing should be the same for both illustrations.  The difference will be where the light is coming from.   Your illustration should have a clear light source, a shadow side with soft and hard shadow edges, a cast shadow and a reflected light.  This is to be done only in VALUE.  NO COLOR AT ALL.

Feel free to experiment with brushes. Try to determine which brushes you like and create a custom palette if you wish. Concentrate on figuring out which brushes will give you hard edges and which brushes will give you soft edges. Try pressing CTRL, ALT, and SHIFT in combination with your strokes and see how they affect the brush behavior.  Do NOT undo.  Paint over your mistakes.

 

Skills: Become familiar with the idea of painting  in a digital medium.  Become used to painting out your mistakes rather than using CTRL-Z to undo.  Also realize what matters is the end product, not the tool used to create it.

Reading Assignment: Chapter 1

Maximum Points Total:                  20
Utilization of acquired skills and knowledge.         8
Completeness of color corrected images.              8
Participation in class, feedback, comments.          4

You are to do this piece using only value. The size of the piece will be 1280 x 720 pixels at 72 dpi.  Please save it to the 01_Sheff folder on the student data drive.
 

For an understanding of these dimensions, click here.

  This piece is due at the end of class.  When turning in your project, please use the naming convention - 1_1_LastName_description.jpg.  For example, my project would be 1_1_Abella_valuepainting.jpg AND  1_2_Abella_valuepainting.jpg

Here are some links to Prominent Painter Users:

Ryan Church

Dan Milligan

Feng Zhu

A couple things I would like to add:    

  • You are responsible for backing up your files. Data loss is not a valid excuse for missing assignments.
  • Assignments should be named, labeled, or otherwise marked in a CLEAR AND OBVIOUS manner. Choose naming conventions and stick with them. Filenames such as J_Jones, John-Jones, johnj, and JJ might in fact belong to the same person, but I cannot guarantee that I will be smart enough to figure that out.
  • Assignments are due on time. Late work will be penalized 30%.  Late work beyond a week, will NOT be accepted at all.  However you may turn in additional assignments for extra credit. 
  • If you are unable to attend a class meeting, notify me in advance via email and attach a jpg of your assignment(s). 

 

Extra Credit

I will accept a copy of a master painting as make up work for missed assignments. I will ONLY accept openCanvas Event Files as the format for this homework. I need to see you create your painting from start to finish.

Click here to download openCanvas.

Below are a list of Master Painters.
Master copy List (A partial list) – Painters/Illustrators
Dean Cornwell
Alphonse Mucha
Dan McCaw
Gustave Klimt
Gregory Manchess
Thomas Blackshear
John Singer Sargent
John Asaro
Saul Tepper
Morgan Weistling
Norman Rockwell
Nicolai Fechin
Joachin Sorolla
Maxfield Parrish
Steve Huston
Kazuhiku Sano
Rembrant
Bob Peak
Ilya Repin
Dan Gerhartz
J.C. Leyendecker
Sergei Bongart
Anders Zorn
N.C. Wyeth
Drew Struzan
Robert Hunt
Sebastian Kruger
John LaGatta
Burt Silverman
Scott Burdick
If you want to choose someone else, tell me who you want to use or bring in an example of their work. 

Here is the application I would like you to use.

openCanvas the latest version

openCanvas the free version.

Here is a source of master paintings: http://artrenewal.org/

Final Project

Part 1:  Do a slide presentation on a LIVING artist/designer who is doing what you would like to be doing for your career.  Present 10 images of their work along with a little about their education background and some career high points. 

Part 2:  Do a slide presentation of all of your past homework assignments.  If you have gotten everything done, this should be easy.  You may use next week to work on the last assignment, work on polishing up a past assignment, or working on extra credit.