Subtitles of the Movie

Let's develop the face by first turning tracing paper on so we can have the clone source as a guide, and I am going to switch to the oil brush cloner and make strokes that follow the contours of the face. I'll need to turn tracing paper off periodically to see what my results really look like, and let's do that right now. See what I have at this point; I probably don't need tracing paper on, I can simply work with what's already been established here. And every time I make another stroke I'm getting a slightly different result because of the nature of these brushes. Now I am going to switch to the flat Impasto cloner, and all Impasto brushes have a thick paint quality to them which something we are going to want to emphasize on this piece. I am not going to get into an extremely tight painting here; I want this to be fairly loose throughout. And I would like to develop now the model's hair, and for that I am going to use a brush that is not a cloner but we can make it into one. The scratchboard rake is what I want to use, and if I go to the color palette and I see that the clone color is checked so that means this rake tool will function as a cloner, picking up color from a source image. And I see that this is perhaps a little too strange looking. So I might go over it with some strokes with the van Gogh cloner, and that is found right here in the alphabetical list, which also has some color variability built into it; and this is one of the few cloners, possibly the only one, that works in a way that is not continuously updating the color information but a stroke depends entirely on which pixel you begin with. Well, this looks a little bit too much like a medusa so I think we are going to fix that.