Again, within the Pixel brush tab, I select the FX > Inksplat brush. I loosely draw and flick paint around the canvas, adding interesting shapes and pulling the pressure off at the end of the stroke to add the painterly effect.
I choose the Ruffin brush, which creates a dry brush effect with no impasto – perfect for quick emotive shapes. To ramp up the texture and movement I create a new layer and click the Pixel brushes, selecting the Painting tab. Then I delicately apply splashes and drops to areas that may have caused a splash if I were painting this in real life (and no doubt creating a bit of a mess in my home studio in the process). I decide to convey the looseness of my brushstrokes and add a little randomness to the piece with splashes, so I select the Live Watercolour Wet Splatter brush and increase the Spacing and Size in the Brush Setting panel on the left.
I select a medium tone for each element of the picture – brown for the hair, ochre for the skin and crimson for the red paint – and begin to paint in the shadow areas again with the Live Oilpaint brushes. I then set its Opacity to between 40 and 50 per cent. However, I want to add more depth to the work and make the face look more three dimensional, so I create a new layer and change its mode to Multiply. The main structure of the portrait is looking good and I’m happy to let my textures, pencil strokes and base colours poke through in certain areas. Then I begin to pick out the shadows and darkest elements of the painting along with dabs of white and pinks to highlight the brightest areas.
I create a new layer on top of the detailed paint and select the Oilpaint Chunky brush with Flow turned down a little. I’ll keep it there just in case it comes in handy at some point, but it’s done its job for now. Now I have my detail I can hide the top pencil layer. This alters the strokes’ direction of texture and blending, giving the impression that I’m painting from different angles on a real canvas. I also adjust the angle of the brush head. Next, I add more structural and detailed brushstrokes that have a lot more texture to them. Then I pick the Oilpaint Chunky brush and use the Color Picker tool by pressing down on the area of colour I wish to select. I create a new layer on top of the blocking-in layer. I work swiftly during this stage because my pencil layer is still on top to guide me for the more detailed work that’s to come. Then I switch to the Oilpaint Filbert brush and lift the pressure off my stylus towards the end of each stroke to create a wispy, paint running-out effect. I loosely block in colour values, basic shapes and shadows. I create a new layer between my two pencil layers and select the Oilpaint Short tool again, this time reducing the size a little so I have more control.
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