And all painted on an iPhone.Here's the first in a series of tutorials to share some of the things I do when I paint with the Brushes app on the iPhone (everything here also works on iPod Touch). These arent in order, although I might consider some more important than others, or maybe a better way to put it: some of these are work-for-me-but-may-not-work-for-you kinds of techniques, while others are just things to try, and still others are general use and Id advise using them no matter who you are.
Morewith videos: www.flickr.com/photos/the0phra…
Okay, lets get started.
I've broken this up into a set of "techniques", which run from advice, to the painting processes I use, tools I like and use, and other suggestions. Again, some of these work for me, and may work for you. Try them out, let me know what you think, let me know what I'm missing.
Technique: Start with a background and tell a story
Or just start fiddling and see if a story shows up on its own. Start with a blank Brushes canvas by hitting the + sign. Open up the brush size dialogue and slide it right, to the largest size. Pick a color, any color, and keep the transparency slider somewhere less than the middle. (You can also slide the brush selector to the bristly one--my favorite).
I think it depends on what youre drawing. It may make sense to create a new layer and use the smallest brush to outline a figure, the horizon, ocean waves, or a 24-hour diner in the treetops. Then on another layer, use a broad brush to fill in with solid coloragain, use transparency to your advantage. I rarely use a full solid color unless Im drawing lines with a tiny brush. You can also do some fantastic shading and reflection with the transparency down very low and then going over a shaded or highlighted area repeatedly.
I'm painting something inetresting for this set of techniques, and here's what I started with, a background with a few colors and then some defining with the smallest brush:
<img alt="IMG_0662" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b84696970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 240px;" /> <img alt="IMG_0663" class="asset asset-image at-xid-6a00d8341c7bd653ef0120a6b67fa5970b " src="the0phrastus.typepad.com/.a/6a…" style="width: 240px;" />
I pictured trees, giant blue trees with an airship-catering all-night diner a hundred meters off the ground.
<img alt="IMG_0650" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b851e5970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 100px;" /> <img alt="IMG_0652" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b85220970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 100px;" /> <img alt="IMG_0653" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b8525a970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 100px;" /> <img alt="IMG_0654" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b852b9970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 100px;" /> <img alt="IMG_0657" class="asset asset-image at-xid-6a00d8341c7bd653ef0120a6b689b1970b " src="the0phrastus.typepad.com/.a/6a…" style="width: 100px;" />
I drew the basic structure of Nazca's All-Nite Diner, and then started adding details, lights, some bracing--with shadow and highlight using a nearly transparent brush:
<img alt="IMG_0661" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b8571f970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 200px;" /> <img alt="IMG_0659" class="asset asset-image at-xid-6a00d8341c7bd653ef0120a6b68d51970b " src="the0phrastus.typepad.com/.a/6a…" style="width: 160px;" /> <img alt="IMG_0660" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b857e3970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 160px;" />
Technique: Finger-painting works better than a stylusYou may not think so, and I didn't either when I started out with Brushes. I bought a stylus, used it for a few days, and have never picked it up again. If a stylus works for you, use it. I think the perception is that a stylus (a pen like device for drawing on the screen) will give you accuracy, better fine line drawing, and while I think this is generally correct, there's a serious downside: it affects the way I use Brushes. While painting I'm constantly hitting the Brushes toolbar buttons--undo, layers, brush sizing, colors. In a typical work I'll hit undo five hundred times or more, I'll change colors and brushes a hundred times, roll through a hundred layers. The stylus quickly became a pain to flip out of the way every time I wanted to select buttons, colors, and anything else. And with a little practice I've found I have everything I wanted: accuracy, pressure/touch sensitivity, and easy access to the toolbar with my fingers. Fingers work better. Try them out.
Use it like it's keeps your heart beating. Paint with the boldness of grizzly bears on Red Bull, because you can always undo anything you paint. This feeds into the next technique on using layers. I can't tell you how many times I've created a layer just to see what something looks like, then if I don't like it, I'll trash the whole layer. Another tip that fits with this is to create duplicates of your work as you go. When I get to a settled point in the painting--and there can be ten of these along the way in a single work, I'll click the "Done" button, and in the lower left, select "Duplicate Painting." I've only gone back and started with an earlier version four or five times, but it's a peace of mind thing--knowing that if I somehow crap up a painting, I can always go back and start over with a good copy with layers intact.
<img alt="IMG_0673" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b84910970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 200px;" /> <img alt="IMG_0672" class="asset asset-image at-xid-6a00d8341c7bd653ef012875b8496b970c " src="the0phrastus.typepad.com/.a/6a…" style="width: 200px;" />
Technique: Sometimes you cant undoGet used to this. Youre pinching and expanding the canvas, painting, hitting buttons, more painting, doing all kinds of things. And sometimes youll paint a line you dont want and you wont notice it until youve flattened the layers and youre a hundred paint strokes on. What you cant undo, you can paint over. Maybe this isnt a technique all on its own, but I wanted to call this out as something that is going to happen. I do it all the time. Painting along, everything looks lovely, and theres a thin orange line through the center of the work. The only thing you can do is create a new layer, use the dropper tool to set the color next to the offending paint, and paint over it with little or no transparency.
Technique: Use hundreds of layersCreate a new layer for everything, a new highlight, shadow, new figure, every cloud in the sky. Give them all layers. Brushes currently supports five layers, so make new ones and flatten as you go. When I paint in Art Rage, Painter, or Photoshop, I use dozens of layers. I just keep adding new ones as I proceed through a painting. I know some artists--when they use Photoshop--like Stephan Martiniere (www.martiniere.com) go through a hundred layers or more on most works. Crazy cool.
Heres what the layer panel looks like:
Click the + to create a new layer above the currently selected layer (thats the one with the blue outline). With layers, you can draw at different depths in your painting. The checkboard pattern is the layers transparencythis wont show up in your work, but lets you know whats solid and whats notwhats going to show through any particular layer from the layer underneath it.Click the down-arrow to merge layers. Brushes currently supports five full layers, and if you need another youll have to flatten the image a bit. Over the course of a painting I will run up to five layers and flatten twenty or thirty times.
One final note on image quality: Brushes allows you to download and create a high resolution rendering of any .brushes file, which is essentially a store of every recorded brush stroke for a work, with all its attributes, including color, transparency, layer, etc. For a quick copy of your work you can also have Brushes send a lower res version to your camera roll and from there, email it to yourself or sync the images with your computer.
This is a low-res copy--nice enough for posting, but it gets a bit jagged when blown up.