Technique: Woodcut-like colored drawing
Software: Corel Painter, Corel Paintshop Pro
I start landscape paintings either with photos, with rough, flat sketches from my imagination or with both at the same time.
Here I show the cropped picture of a current digital artwork. Initially, structures such as branches in the foreground (A) have only a slightly greater sharpness due to the firmer brush pressure. In the next phase (B) I already worked out the possible end result by painting the foreground and background simultaneous(!) with a suitable brush.
All areas of the upper part of the image (B) were executed with the same brush: "Oil Brush, Bristle, Medium". The simulated depth of field results only from different brush pressure values.
This technique result in a natural variation of the sharpness between foreground and background, without sketchy lines or blocks - for the benefit of a semi-realistic style.
Technique: Semi-realistic impressionist brushwork with a slight impasto effect
Canvas texture: Linen
Software: Corel Painter, Corel Paintshop Pro, Krita
Hardware: Wacom Intuos
The first step in a new series of digital watercolor paintings and graphical illustrations.
I have tried to realize this charming scene as a digital watercolor painting. After some trial and error and some practice I found a way to combine my attention to detail with the typical wet-in-wet impression of airy, bright watercolors.
Original size: 4896 x 3672 pixels
Made using Autodesk Sketchbook, Corel Painter and Corel PaintShop Pro
I took the subject for this brushwork from the original reference photo, a street scene that I shoot in Castel San Vincenzo, Italy. With the help of Autodesk Sketchbook I could achieve a subtle crossover between rough brush strokes and partially finer structures in order to reach the effect of a focal plane. It would naturally be totally unsuited for this purpose to use a photo filter, all the more as I apply a canvas texture in all parts of the painting. However it is admissible to use artificial light sources for the subtle accentuation of some specific areas.
Made with Autodesk Sketchbook and Corel PAintshop Pro.
Original size: 4480 x 3329 pixels
Canvas texture: Linen
It is still difficult for me to detach myself from the realistic look. In the uncompressed version this painting has a size of 5065 x 3800 pixels. That's more than enough for a finely structured appeal, that I break open through a soft surface texturing.
A combination of realistic paintbrushes with a simulated canvas background allows an infinite number of effects. Often I resort to a linen - or Ingres structure, because in this manner with little effort, every digital artificiality is forgotten in the end result
In addition, there are two other options:
1) Impasto paint application
2) visualization of bristles and the like brush textures
- both by simulated light.
In the following example, I show the effect of a linen structure in higher resolution, waiving the possibilities 1) and 2).
Incidentally, such texture effects can be achieved independently of the painting program since they are generated purely mathematically on a separate layer which can be faded in or out as desired.
The linen structure in this painting is perhaps a little daring, but I like it. The slightly broken verticals ensure a certain vividness. A typical scene at a quiet Sunday morning in Berlin.
"On the Trail"
Made with Autodesk Sketchbook, Corel Paintshop Pro
Canvas effect: Ingres-Paper
Original size: 6000 x 4000 pixels
I think, that the use of traditional paper textures gives a very charming visual appearance. For this painting "Ingres-Paper" serves as digital canvas.
Digital relief painting
Software: Krita, Corel Paintshop Pro