Im looking for Craig Mullins brushes, anyone knows wich one he uses? how to setup them on Painter?
Craig Mullins is using Photoshop, and there are HUGE differents between Painter and PS brushes.
Craig uses both PS and Painter. For the longest time he used pretty much only PS, but in the recent years, he’s been using Painter more and more. It’s a known fact that Craig uses just the factory setting brushes, doing tweaks to them on the fly as needed.
One thing I alwasy stress whenever questions like this are asked is–don’t dwell on the brushes of other artists, instead, study the underlining structure of their work. Understand how they use values, colors, composition, edges…etc. Those are the things that matter the most. Brush work can be imitated easily, as anyone who keeps up with the Speedpainting thread at Sijun Forums knows. There are countless Craig Mullins clones who just copy his brush work, but have no idea that what makes his work strong is far beyond the brushes.
Hello, i am looking for the Craig Mullins plugin for photoshop? also the Ryan Church filter and anyone know where I can find ‘Genius’ 1.2 patch?
lunatique: while you are right, of course, I can’t help but think of the Ryan Church DVD I bought where he explains his line of work: first lying out some b&w forms with a charcoal, then blocking in the values with watercolor brushes, then adding a layer with the main “mood” (dark blue/purple for sunsets and nights) and then, the most important step, adding light with the glowFX brush. Ryan admits he enjoys letting the brushes do the difficult color mixing for him.
the point: brushes are important in fact. My paintings improved a lot by watching this DVD. What’s your opinion on this?
Why buy the DVD then? lets all just get his brushes. Surely it could not have been his instruction that helped you improve?
So he blocks it it with this brush, then does this with that brush… so? Do you not think that he would be able to paint to the same standard using other brushes?
Ok, here’s my opinion on this. Essentially, there are three things we can breakdown when we look at a painting we admire. They are:
The idea/story/emotions behind the piece.
The artistic knowledge behind the piece (values, colors, edges, drawing, composition…etc)
The surface technique behind the piece (brush work, paint splatters, scumbling, dabbing, glazing, impasto, line quality of drawing…etc)
When people ask for the brushes of other artists, they are basically thinking about #3. There’s nothing wrong with that, because for some artists, #3 is what people associate with their works (Nicolai Fechin comes to mind). There are artists where you associate #2 and #3 with (Richard Schmid comes to mind). Then there are artists where you associate all three elements with (Van Gough comes to mind).
Sometimes, it’s #1 that makes a piece successful, sometimes it’s #2 or #3. Of course, IMO, the best we strive for is all 3, or at least that’s what I feel we should strive for.
With that in mind, I think for different people, they place different emphasis on their work. Someone like Craig strives to hit all three marks, but what many novice artists try to mimic is only #3. Now, I’m not saying Craig’s surface technique isn’t important, because it is, and it’s such a signature look of his. But, you have to remember, when you mimic the surface technique, it makes you a cheap imitator with no substance. In a way, that’s why I think someone like Godward never reached the heights of other masters like Waterhouse, Bouguereau, or Alma-Tadema. Granted, Godward polished his surface technique to death, but going through his body of works, it’s one piece of redundant imitation after another.
I can guarantee you that if you forced people like Ryan or Craig to paint the same quality of paintings with a complete different set of brushes, they’d do it just as well, and just as easily. The flavor might be slightly different due to the changes in surface technique, but different absolutely does not mean better or worse. It’s like when digital artists use both Painter and Photoshop–their brushes are as different as night and day, but I bet you can’t tell when Linda Bergkivist uses one or the other–her work is just great, period.
For me personally, yes, if you took away my palette knife, I’d be pretty upset, and I do rely on it for certain surface techniques. But I can definitely paint without it, and I’d just find some other way to get the look I want.
So, anyway, those are my thoughts.
Those dvd’s are extremely helpful to me because they put the pieces of the puzzle together. Often I have a painting in mind but I just don’t know how to paint certain parts, or how to achieve a certain look, with a particular program. I know what I want, I just don’t know how. Those dvd’s show me how to do it one way, which is helpful. That’s why I’m also interested in brushes from certain artists, they show me ways to achieve certain effects I wasn’t able to achieve all by myself. For example because I never knew that you could “texture” a brush, or that applying the glowfx brush with very low red/orange values gives you those warm values which are very nice for sunsets. etcetera, etcetera.
lunatique: Thanks for the effort, I totally agree with you. I think you nailed it pretty good. It’s like I said to mcwilliams, #3 can be hard to achieve if you just don’t know how to do it digitally. That’s when brush sets and dvd’s come in handy, I think.
its kind of like magic. people just want to know the tricks instead of learning what is really important behind every magic trick. usually its storytelling to distract the audience.
it’s an old misconception, isn’t it : just because it’s digital, some people expect things to be easy/easier, and when it all comes down to it, it’s still all about the mad skills.
Does anyone know what Nikes Jordan uses?
Garma, can i ask which ryan church dvd you did get that you are talking about below.
sometimes the ‘right tool’ does help. its the difference between using your fingers in a charcoal drawing or using a stump (though some people in my old art class didnt know what a tortillion(spelling?) was!!)…
AH… I hate to break it to you … but the computer is just another tool… like a pen / pencil / brush … perhaps an evolution of all three even… but still just another tool! If you want to know why guys like Mullins are so good… go back and learn all the analog shit!!! From the likes of Sargent, Loomis, Bridgeman… etc. That’s where the real knowledge lies…, all the rest is application technique (what kind of PS / FP brushes does he use ?? puhlease!!). Go for the true fundamental art knowledge!
Have anyone watched Richard Schmid Landscape DVD? I am about have them, and wish to hear opinions…
I have all of Schmid’s DVD’s, and they are freakin’ awesome. You really have to be realistic about what to expect, because he makes it look so easy, but in reality, every little thing he does contains decades of experience and expertise. You will NOT get the same effect just by watching the DVD’s (although you will learn tons of stuff)–you have to actually paint for years and years to do what he does. If you expect to be able to reproduce the same brushstrokes he does after watching the DVD’s, you’ll be in for a shock of reality. It’s far, far harder than it looks. He demonstrates each painting from start to finish, and talks a lot of why he makes the decisions he makes while painting, explains his materials and techniques, and has a great sense of humor. After each session, he talks a lot about other very practical and useful information too. I highly recommend his DVD’s 100%. I’ll be buying DVD’s from Weistling and Lipking too when they become available.
I think the Mullins’ look lies in the balance he achieves between high opacity/low opacity brush strokes and the same goes for his treatment of detail, only emphasizing areas with detail where he wants you to look. Sure he has good technical drawing skills from his education but his greatest achievement is what he has taught himself from ‘a fair bit’ of practice. Just an observation.
That sounds right… I have purchased Alla Prima years ago, and it has served me as the greates guide for painting. Thanks for sharing, and two other painters as well… Their works looks amazing…
I always strive for the story, using composition, lighting, value, line quality, and all other techniques to achieve a great drawing. All of the old masters did it; I want to do same. I will continue to draw until the day I die.
Very helpfull suggestion that! Firstly mate…I am inspired by John Berkey, there is something in his painting which just moves me to pick up a paintbrush and paint…as a beginner we must understand the process involved from concept to production. Using their techniques is as much a part of that process as their instruction, or lighting or composition or whatever! Thus knowing how…why…and ‘what’ he used to paint helps the beginner tremendously!! For example I would not begin to paint with watercolours if I was desiring to emulate the inspiration I felt by Berkey…because the pictures he paints are a ‘certain’ way…they involve certain techniques which aren’t generic…and brushes which aren’t generic and colours which aren’t generic!
With digital painting you must get to grips with Photoshop or Painter…opacity…differing brushes…paper styles…filters…painting on light…the list is endless [as a beginner]…so we strive to follow a technique which we are inspired by, which we feel compelled to do…so understanding which brushes Ryan Church uses does not reflect a status of ingorance but a realisation of how his techniques fit with the other advice he gives! Why would he put his brushes on his website? Why does he refer so much to the ‘implements’ he uses in creating images? Becuase he understands that a beginner first emulates, then after they’ve ‘soaked up as much as you can’ as Ryan Church says, go and adapt your own style!
There are a lot of people who believe that getting a certain brush will help them achieve a certain position in digital painting…but what is actually wrong with that? Have you never looked at someone else, studied someone elses style and technique? Thats the first thing you do at art college!!
Painter is a daunting program to use let alone learn…helping people with this side of the process cuts the learning curve down to the most important part…which you refer to…the understanding of Ryan Churchs’ painting skills or design or composition…or anyone else who might inspire you to draw or paint.
Oh sure, but remember that the common attitude that we see very often, is that getting hold of a particular tool will suddenly make the world of difference to your work. It won’t.
I was told by a photographer that someone said to him: “My camera is twice as expensive (as his), yet my pictures are still not as good as yours!”
Or how about composers who buy the latest orchestral libraries and then complain that there must be something wrong with the product because their compositions don’t have a ‘hollywood’ sound, when in fact they should look at their orchestration. I’ve seen this first hand for years.
Too many people blame thier tools, mate.
and from ryan churches website…“It is important to remember that programs are just tools. The two most important parts of what I do are Good Design and Good Composition.”