David Gell’s Living Oil Brushes

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David Gell has created a set of brushes for both beginners and advanced users. Beginners will enjoy the oily sponges and advanced users will enjoy painting with the graphical interface created.

Description

David Gell has created a set of brushes for both beginners and advanced users. Beginners will enjoy the oily sponges and advanced users will enjoy painting with the graphical interface created.

The resources are actually in three parts (please click the links below);

  1. Living Oils  (A pdf file with information on using thebrushes).
  2. Living Oils Movie (A small Quicktime movie demonstrating some of the variants in action).
  3. Living Oils Zipped brushes (This is a zipped brush category and category jpg.   The brushes have been backward converted for Painter IX, but I have only tested them in X. Painter IX users will need to install the brush category manually). Please download the FREE How to Install Brushes if you have any questions. It’s under FREEBIES.

General notes

There are a large number of captured dabs (mostly the same dab actually) in this category, so you will need plenty of system resources and may even have to reduce some of the brush sizes.

I have saved several of the sponges with different Color Variability settings, so you could even delete some of these and use the Color Variability palette.

Some additional information relating to the Z Grain Sculptor variants and paper texture

The Z Grain Sculptor variants react with the luminosity of the paper texture such that areas corresponding to the white or light areas in the texture are smeared by the brush stroke, whilst regions corresponding dark areas in the texture are effectively fully or partially masked i.e previously painted areas remain unaffected and are not smeared. (Note that without checking I may have got this the wrong way round).

The effect works best with larger scale open textures, where there is significant contrast between dark and light areas. I would recommend generally increasing the paper scale settings (in the case of initially smaller textures), and adjusting the paper brightness and contrast settings to achieve a suitable ‘bite’ in relation to the texture.

Although the effect is neither true 3D or impasto, using black as the main color, and ensuring that any given brush stroke is painted only in one direction, a shadow effect is created giving the illusion of both depth and viewing angle when using the Sculptor variants over previously painted lighter areas.

Another thing to try, which I have not previously mentioned is to experiment with checking/unchecking the Invert paper button in the Papers palette (effectively making the light areas of the texture dark, and the previously dark areas light).

Please Visit Davids Jitterbrush site!

David
jitterbrush.com

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